I use Monitor for writing text on my computer, and GT Pressura Mono for coding.
Since I was making a page for my new browser extension, I wanted to toot their horn.

Glareless is a browser extension that protects your eyes by ensuring that the background color for text areas is not overly bright.

For the September 2022 issue of Fast Company, Creative Director Mike Schnaidt and Design Director Alice Alves assembled a refined editorial palette to present the magazine’s annual “Most Creative People in Business” list, honoring innovators across technology, healthcare, entertainment, and design.

The cover prominently features Cosi Azure Bold and Black by Nikolas Type, whose sculptural elegance and crisp modulation bring a sense of clarity and authority to the key headlines. Article sublines are in Cosi Times. The magazine’s text typeface is a customized Meret from TypeMates, and the logo is based on R-Typography’s Grifo, see this post.

The typographic system of the special issue is complemented by PP Monument Extended Black (Pangram Pangram), A2 Beckett Light and Regular (A2-TYPE), and Centra No. 2 Bold (Sharp Type / Monotype), creating a balanced dialogue between expressive display forms and precise editorial text.

The italic is from Colophon’s Grenette.

Beastly (OH no Type Co.) is used for the initial. The text typeface is unidentified.

The initial Y is from Salvaje Display (Typozon).

In 2014 Pentagram, led by Luke Hayman, partnered with Golf Digest’s creative director Ken Delago to redesign the magazine. The goal was to “connect with millennial golfers (ages 25–34)—the magazine’s fastest growing segment of readership—as well as the traditional core golfer (age 50–plus).”

To update the masthead, the designers looked for a font with balls—specifically, ball terminals, which add a playful touch given the subject matter. The contemporary stencil-like font Dala Moa was selected for its distinctive ball terminals, which break free from the letterforms so balls can be hidden in plain sight in the logotype and in display text. With the blessing of Dala Moa's designer, Paul Barnes, the terminals were customized to make them perfectly round. Commercial Type, the foundry that licenses the font, worked on refining the logotype by adjusting the letter spacing as well as the spacing of the stenciling, to make sure the identity would work in a range of different sizes. The colored dot of the “i” in “Digest” was retained as a link to the magazine’s former logo.

In addition to the Dala Moa used for the masthead, section openers and other display type, the team put together a suite of fonts: Heroic Condensed, used mainly for cover lines and display type on features; the Fakt family (Fakt, Fakt Semi Condensed, Fakt Condensed), used mainly for small headlines in front of book; and Tiempos Text, used for body text.

Heroic Condensed, a 2008 family by Silas Dilworth, may have been inspired by the condensed styles of the 1950s typeface Information, which has that telltale R with a straight, diagonal leg.

As of this writing (October 2025), the Dala Moa logo and Heroic Condensed have survived in Golf Digest for over ten years – even on social media – while other typefaces, Gotham and Tungsten, have replaced Fakt in print and the web.

Brazilian edition for the Arabian Nights, translated to the Portuguese by Mamede Mustafa Jarouche and published in 2017 in the Biblioteca Azul by Globo Livros. Illustrations by Bruno Algarve. All cover illustrations connect to each other.

Alias Perla is used for title type. The typeface used for other information is Fakt.

Fakt is the ICA Boston’s house typeface, and was chosen for the title treatment for Hew Locke: The Procession for its accessibility and neutral tone. Drawing upon a series of motifs and concerns that have occupied the artist over decades, The Procession is a colorful gathering of approximately 140 life-size sculptures of masked figures of all ages and abilities adorned in printed fabrics and embroideries—Caribbean carnival queens, dancers, refugees, horseback-mounted military figures, fishers, laborers, pregnant women, children, drummers, and flag bearers.

The primary goal of the layout was to flatten any hierarchy between the English and the Spanish, while maintaining accessibility and legibility through the exhibition didactics.

Curators: Ruth Erickson, Barbara Lee, Chief Curator and Director of Curatorial Affairs, and Anni A. Pullagura, Consulting Assistant Curator

The installation first commissioned by Tate Britain, UK, and making its North American debut at the ICA Watershed in Boston.

Birra Stout and Fayon are the typefaces used for An Autobiography of the Autobiography of Reading. The latest non-fiction book by Dionne Brand, one of Canada’s most accomplished poets, was published by the University of Alberta Press in the CLC Kreisel Lecture Series.

Designed by Joshua Darden, Birra Stout is the first in Darden Studio’s Birra Flight of fonts, a continually expanding collection of stylistically heterogenous display typefaces by different designers.

Alan Brownoff, book designer at the University of Alberta Press, used Birra Stout for the title, in three lines of alternating colors. The font also appears in tracked out caps for the author’s name, the series title, and, inside the book, for headings and lead-ins. Brownoff comments on his choice: “I wanted to show that a designer can use Birra for a serious scholarly book. There’s a lot of type out there to explore, why use the same old things?”

He paired Birra with Fayon, a contemporary serif designed by Peter Mohr, which is used in roman and italic, including small caps. Birra Stout and Fayon are very different in terms of width, weight, and, above all, personality. And yet the pairing isn’t random: there are parallels in the shape and the structure of the serifs, allowing Birra to pass as a whimsical relative of Fayon in this context. The two typefaces go along very well. Sue Hall, jury member of the AUPresses Book, Jacket, and Journal Show, agrees: “Bold, quirky display type contrasts nicely with classically readable text in an inviting an open format.”

The art featured on the cover is the work of Howardena Pindell. It’s titled Memory: Future and includes paint, confetti, and pieces of photos, among other media.

Birra Stout (top) and Fayon (bottom) exhibit similarities in the shape and the structure of some serifs, see for example the leaf-shaped terminals in J.

Title page

Foreword

This poster for a concert by the prestigious BR musica viva’s symphony orchestra makes use of Klub 11 Normal – drawn by Pierre Pané-Farré and available through Type By. It is used in combination with Univers Ultra Condensed 49 Condensed Light, Doppel-Mittel Egyptienne FSL by Forgotten Shapes and Arnhem, designed by Fred Smeijers and like Klub available from Type By.

Alexandre Dumas gained the admiration of critics and the public with the publication of La Dame aux Camélias in 1848. It became one of the most popular novels of all times. Turquoise Inline and Turquoise are the fonts chosen for the book cover and the title on the spine of La dama de las camellias. This Spanish edition by Editorial Alma was translated by Mauro Armiño and illustrated by Maite Niebla. Turquoise Inline is also used for the initial caps of each chapter.

Argo, the journal of the Slovene Museums, is the most important publication of Slovene museum experts dealing with art history and the museology of ancient and medieval periods. The National Museum of Slovenia, which established the journal in 1962, today co-publishes it with the Association of Slovene Museums and the Slovene Museum Society.

Papers are in Slovenian with abstracts in English. The journal is published twice yearly and distributed within international museum networks. Back issues are available and can be purchased at the museum store of the National Museum of Slovenia or ordered by email.

Argo 2020 63/2 is using Spektra, designed by Type Salon as headline typeface. It is paired with a yet unidentified serif [edit: probably Arnhem, see comments]. The designer of the magazine is Ajdin Bašić.

Forgotten Shapes’ Doppel-Mittel Egyptienne FSL combined with Champion Gothic and Arnhem on a poster announcing Bayerischer Rundfunk’s Musica Viva season concerts for 2020/21 after a first phase of Covid-19 lockdowns.

Ballycopeland Windmill is the last working windmill in Northern Ireland and the only example of a functional roller reefing system left in the world. Tandem worked with the passionate team at Historic Environment Division to design and deliver site-wide interpretation at the newly restored windmill and surrounding complex at Ballycopeland.

Working with a unique heritage site such as this, we needed to strike a balance between authentic interpretation of its history and the benefits of technology and design to enhance visitors’ understanding. We employed a combination of industrial heritage inspired graphic design, physical interactives and engaging AV to bring the stories of the windmill to life.

Through interpretation in the form of engaging graphic design, AV and physical interactives, visitors get a sense of the day-to-day realities of a working windmill like Ballycopeland, as well as the skills and expertise of the specialists helping to conserve and restore this heritage gem.

A visual language inspired by the sails of the mill was complemented with display serif Arnhem, a typeface sympathetic to the industrial setting, and NN Nouvelle Grotesk, a typeface reflecting the everyday. Similarly, as the windmill was to be a destination for all ages and abilities, we used accessible san-serif FS Me, developed in association with Mencap, for interpretive graphic panels, which were complemented by a suite of delivery mechanisms to help bring the stories of the mill to life.

To design the visual identity of the concert series Tutti, Musik in Berner Hallen, the graphic designers 7er Studio (Eva Wolf and Basil Linder) used the typefaces Clifton and Arnhem Fine.

From the publisher, Karsten Schubert / Riding House:

This first ever queer history of St Ives weaves together biography with art and social history to shine new light on a pivotal era in the development of British modernism. At its centre is the sculptor John Milne (1931–1978), who arrived in the town in 1952 to work as an assistant to Barbara Hepworth.

With a stark clean design and sober left-aligned text, the book uses two optical sizes of Chassi by R-Typography: Chassi S for the main text, and Chassi M for the cover. The book also uses Ludwig from Type By for the running heads, which makes for a pleasant contrast with Chassi.

The book Meu mercadinho: teatro & comunidade presents the artistic-cultural experience of Grupo Atrás do Pano with the community of Santo Antônio do Mercadinho: “To arrive in a village like Santo Antônio do Mercadinho was a chance to perceive, in a single place, the concreteness of a longed-for dream: having art as a tool to enable the transformation of people and communities”.

The editorial project, commisioned and published by theater group Atrás do Pan, navigates throughout the text and the photographs using cropping, pasting and image coloring resources. The objective is to create a graphic-poetic visuality that gently and enthusiastically honors a community rich in unique characters, life stories and symbolic elements. For the cover and chapter openings, Futura Passata in large proportions was used for its resemblance to the vernacular typography. Mixing the two widths brings a playfulness and a unique human quality for the book. It is paired with Arnhem for the main text. This typeface can be classified as a very functional design suitable for setting long text and works really well with Futura Passata. For the printing, a combination of three spot colors was used.

A beautiful book set about Antônio Conselheiro, a Brazilian religious leader and preacher who achieved messianic status as the leader of a civil rebellion. He founded the village of Canudos in the backlands of Bahia, which attracted thousands of country people, including peasants, Indians, and freed slaves, and which was brutally destroyed in the so-called War of Canudos in 1896, with the loss of more than 15,000 lives.

The books and box covers were designed by Daniel Justi, who chose Granz by PintassilgoPrints for the task. The font is thoroughly used on the covers, showcasing its many alternates. Text on the back covers and inner flaps is set in Fakt. The project was a finalist for the Biennial Design Awards of ADG Brasil. It was published by É Realizações in 2017.

The typeface Granz is inspired by Oscar Peterson’s iconic Porgy & Bess album cover by David Stone Martin – a prolific American illustrator and author of hundreds of album covers, most of them for the jazz greats. The font comes with OpenType features such as interlocking pairs, swashes, contextual and stylistic alternates.

Typography Studio had the pleasure of designing this limited edition of Run, Rose, Run, Dolly Parton’s first-ever novel, co-written by bestselling author, James Patterson.

The design features a slew of ornamental tuscan and wood typefaces, including Mesquite (Adobe) by Joy Redick; Bery Tuscan by Fred Smeijers; Bracelet Victorian by Douglas Day; Magic by Eduardo Recife; and Paratype’s interpretation of Paul Renner’s Futura – Futura PT by Isabella Chaeva, Vladimir Andrich, and Vladimir Yefimov. White ink screen printed on 310gsm Gmund Gold Shimmer, with stencilled rose edges.

From the press release:

Dolly Parton has teamed up with the world’s bestselling author, James Patterson, to write a new book. “Run, Rose, Run,” Dolly’s first-ever novel, which will be published March 7, 2022. An album of the same name, consisting of twelve original songs by Dolly, will be released in conjunction with the book. The novel also includes lyrics to the songs, which are essential to the story. This dual release will mark the first time a #1 bestselling author and an entertainment icon who has sold well over 100 million albums worldwide have collaborated on a book and an album.

Published in October 2013 to accompany the Modernités plurielles. 1905–1970 exhibition at the Centre Pompidou in Paris, this book offers an exploration of the relationship between art and globalization, bringing together modern and contemporary artists from all walks of life, including Frida Kahlo, Tamara de Lempicka, René Magritte, de Chirico, Picabia, Álvarez Bravo, Otto Dix, Jackson Pollock, Roberto Matta, and Goncharova. Going a bit further than being just a plain exhibition catalog, its content tries to reconstruct the great impulses of the avant-garde within the networks of exchanges and emulations characteristic of this era. The book also analyses the complex and dynamic relationships between universality and vernacular culture, purity and hybridity, which run through the whole adventure of modern art.

Designed by French studio Prototype, the book is set with a variety of typefaces. Deberny & Peignot’s Egyptienne F is used for body text while various widths and weights of the Fakt family (available from Type By) are used for captions, notes indexes and tables of contents. Even Fakt Soft is used to set some pull quotes among artworks. Euclid Flex, set with a playful combination of geometrical alternate glyphs, is used on the book cover and for all titles throughout the book, bringing a modernish vibe to the catalog.

Euclid Flex is part of the Euclid typeface, available from Swiss Typefaces.

In 2019, deValence designed a series of three books for Éditions Dilecta, presenting the work of French artist Bernar Venet. Mostly known for his monumental steel sculptures, Bernar Venet’s artistic career has however shown different facets in the last years, such as conceptual art or painting. These different aspects are documented through this series: one book deals specifically with his conceptual work, another holds a retrospective, and the last one is an anthology of critical texts and essays about the artist’s work.

For this collection, deValence adopted sobriety through black covers with the text screen printed in white, the common factor between the three volumes being the typography set in the Mars family from Production Type. For each volume, Mars is used in a different way: in all-caps from the Condensed in left- and right-aligned lines; in caps from the Extended width, stacked and staggered; and in mixed case from the Extended, paired with the IBM Pica typewriter font. This creates a subtle harmony between the books, where the unity of the typeface is not noticeable at first sight. Mars is also visible in the setting of internal titles, paired with Tiina for legibility and reading comfort.

In these books, Mars displays an elastic quality, echoing the process of metal-shaping proper to Venet’s artistic work. Besides, Venet’s sculptures change regarding the angle from where we look at them: sometimes tight and compact, the moment after wide and curly, what looks like giant steel springs, they’re made to play with the eye and the depth in which the circles extend. Always the same, but variable in their perception, as Mars can be.

Three historical texts—recorded between 1863 and 1904—show the change in Pratteln, Switzerland, from a wine-growing village to an industrial location. The historical texts are complemented by contemporary commentaries and explanations.

Pratteln an der Schwelle zur Moderne was edited by Matthias Manz & René Salathé and published by Verlag des Kantons Basel-Landschaft in November 2020.

Arnhem is use for text. It’s contrasted with NN Nouvelle Grotesk for headings, running titles, footnotes, and page numbers.

Exhibition poster.

Justice Commune is an exhibition showing archival resources from the Municipal Archives of Toulouse, France. Taking place at the University of Toulouse, the exhibition focuses on traces of criminal justice during the seventeenth century.

Studio Vif Design used Sainte Colombe to set the title of the exhibition which translates to “common justice”. Used in caps, Sainte Colombe immediately evokes the aesthetic of lapidary inscriptions that used to show the laws and rules in the ancient city. Its sharp capital letters keep a legacy associated to authority, all the more when it comes to institutional authority. No wonder it seemed appropriate for an exhibition dedicated to judiciary archives.

We see here the classical aspect of Sainte Colombe, which is usually counterbalanced by its lowercase letters, showing more evidently the irregularities of the stroke: its design was directly aimed at reconciling illogical shapes with an overall stability, in order to obtain a regularity in diversity.

Sainte Colombe is contrasted with the sans-serif Fakt.

The exhibition graphics additionally use Steinbeck with its alternate r, see the bottom right.