Cover and concept design for the second EP called Toivon Ettei Sust Tuu Kuuluisaa, by Finnish rap artist Wil from Helsinki. The title for this artwork is set in Gallient. The tracklist is set in the better readable type Optima.

All the previous designs for Wil have been very classic, and inspired by mature horror movies like The Crow by Alex Proyas – the artist’s favorite movie. It’s just that in his case the bird is a parrot painted black, to resemble that there is still hope even in dark times to escape to a better place.

Source: www.flickr.com Steve. License: All Rights Reserved.

The Annotated Alice (1982 reprint).

Two books with annotated works by Lewis Carroll (1832–1898), both edited by Martin Gardner, and both with cover designs by David Pelham featuring two Victorian typefaces, Art Gothic and Gazelle.

The Annotated Alice with Alice’s Adventures in Wonderland and the sequel Through the Looking Glass was first published by Bramhall House in 1960, and by Penguin in 1965; the depicted cover was used for the revised version from 1970 and later reprints. The Annotated Snark with the full text of The Hunting of the Snark was followed in 1967, with this cover being used from around 1973. Pelham’s cover designs incorporate the original illustrations by John Tenniel and Henry Holiday, respectively.

Source: www.abebooks.com Libris Books Prints and Ephemera. License: All Rights Reserved.

The Annotated Snark (1987) and The Annotated Alice (1970).

Source: www.ebay.com chelseachelsea_88. License: All Rights Reserved.

The Annotated Snark (1973).

Source: www.ebay.com chelseachelsea_88. License: All Rights Reserved.

The Annotated Snark (1973).

Source: archive.org License: All Rights Reserved.

The Annotated Alice (1974).

Profile Books:

The twentieth century for Palestine and the Palestinians has been a century of denial: denial of statehood, denial of nationhood and denial of history. The Hundred Years’ War on Palestine is Rashid Khalidi's powerful response. Drawing on his family archives, he reclaims the fundamental right of any people: to narrate their history on their own terms.

Alias Harbour is used for title type.

Bottles for vodka and whiskey from Castle & Key, designed by Stranger & Stranger, who describe their artwork as “Elements of the restored historic distillery adorn every touch point in this crafted range”.

Cako is used for product names and selected lines of information, alongside Harbour. An unidentified set of sans serif capitals that could be either type or lettering is used for the brewery logo and product code.

Encyclies – the French word for the concentric circles formed on the surface when an object falls into the water – is a mémoire by Olivier Petitprez, made at the École Supérieure d’Art de Lorraine (ÉSAL) during the course “Arts et langages graphiques”. This work is divided into four parts; one about circles, one about cycles, one about some revived Labours of Hercules, and one attempt to turn text into a landscape.

The work of Petitprez is a questioning about the place of mankind in time and space. He doesn’t talk a lot about the place of the mankind in the world amongst the other species. It’s the typography that plays this role. In fact, he chooses two typefaces related to nature. Daubenton is used for the titles. Its name is borrowed from Louis Jean-Marie Daubenton, the first director of the French National Museum of Natural History. This font, linked to natural history, has this chiseled characterstic that gives it noble simplicity and calm grandeur, which pairs well with the timeless myths of Hercules. The second font is Faune by Alice Savoie which is inpired by the shapes of animals. In the words of Mrs Savoie: “Although natural history has inspired a lot of literature, poetry and painting, its influence on typography stays very narrow.”

This choice of fonts linked to the animal kingdom could be understood through a reference that Petitprez makes in his memoir. He talks about Herakles by Werner Herzog, a film that shows the failure of man in his goal of mastering nature and the destruction that results from his actions. Maybe by this choice, Petitprez wants to underline the fact that man is a part of animality.

The other thing that the two chosen fonts have in common is the roundness of the letter shapes. For example, the bowl of R in Daubenton is a real circle, and Faune, especially in its italics, eschews the straight line. Therefore, we could say that the typefaces chosen by Petitprez follow the title and the theme of his mémoire, the shape of the circle follows the idea of the cycle.

Cooking for Christmas is an A5 recipe zine acting as a guide to the festive season. A collection of twelve classic and contemporary Christmas recipes written and photographed by writer Bre Graham (2020). Designed and typeset by Holly Eliza Temple.

All proceeds from sales went to Refuge UK, a charity providing support and safety to victims of domestic violence.

Chambord Étroit in blue caps for a shop sign of a toy, gift and leather goods shop as found in Niort, France, 2006.

Buds is a woman-owned floral design company, founded by Kayla Gould. Based in Boston, Budsoffer one-of-a-kind floral compositions for events.

The typefaces used on the website are IvyPresto for headlines and Degular for text. The navigation is set in Sweet Gothic.

Intro, with The Bloom logo responding to cursor movement.

From an Instagram post by agency The Bloom:

To celebrate four amazing years of The Bloom this March, we've launched a new design. Our identity is routed in the everchanging movement of culture and the people who drive it forward. To the people who have moved with us for the past four years and the people to come, thank you. Please visit our world at the-bloom.com. Link in our bio.

Our beautiful custom font Serif No02 is designed by Erik Sachse and timeless Suisse Int’l from Swiss typefaces.

Our new Identity and website design is by Jess Mae with development by legends Rifke Sadlier and Daniel Bara of DXR Zone.

Serif No02 is available from Napoleon Services.

Main page

The symbol of the brand Maloka is the representation of duality through the sun and the moon. The typographic part of the identity is bold, angular, and preserves a formal relationship with the brand symbol.

For Monifue, our chili pepper sub-brand, we work with the cosmogonic story about the birth of chili according to the Uitoto Murui ethnicity. For the Monifue brand typeface, which will also be used in the future Maloka sub-brands, we worked closely with Bastarda Type and Fer Cozzi. We used their BT Bárbara typeface, a more subtle font than Harbour by Gareth Hague which we have chosen for Maloka – the relationship through the angular endings.

Additionally, BT Bárbara’s designers added characters typical of the Uitoto script to the typographic set, so we can use words from the culture while maintaining and respecting their writing.

All the elements that integrate Maloka’s identity are loaded with indigenous cultural significance. Our goal is that when the indigenous people of the Amazon see the brand of their products, they can see the connection and the symbolisms that it contains and relate them to their cosmogonic vision.

The open caps used on the cover are from Naudin champlevé, issued by Deberny & Peignot in 1924 to complement Naudin. The typeface was also sold in the U.S. under the name Sylvan.

County of London Electric Supply Company – Opening of the New Power House at Creekmouth, Barking by H.M. King George V., 19th of May 1925.

A beautifully produced brochure, resplendent in a presentation envelope, and issued by the County of London Electric Supply Company to commemorate the opening of their new power house (power station) on the banks of the River Thames at Creekmouth in Barling. This great evening took place on 19 May 1925 and, one strongly suspects, was the one time Royalty set foot at Creekmouth! The brochure has a potted history of the company that has been incorporated in 1891 to serve parts of South West London and some inner parishes adjacent to the City of London itself. These two supply areas were the reasoning behind their first two power stations at City Road, Islington and in Wandsworth.

The brochure has a number of colour plates and sketches by artist Norman Howard as well as photographs of the plant. It is spledidly printed and produced by one of the better printing houses of the day, the esteemed George W Jones, at The Sign of the Dolphin in Gough Square, Fleet Street.

Read more about Barking and the UK’s fledgling electricial supply industry on Mike Ashworth’s Flickr page.

The oldstyle roman used with discretionary ligatures for the caption appears to be Granjon, designed by Jones himself and officially released by Linotype in 1928.

Cover

Mediterraneo Blues by Iain Chambers was published by Tamu Edizioni in December 2020. It’s a book about “music, postcolonial melancholy and maritime thoughts”.

The Mediterranean blues is rap, electronic, raï, rebetiko and trap, and is the soundtrack in the metropolis of the south of the world, from Cairo to Nairobi passing through Naples, where there is no distinction between authentic music and imported music.
The sounds do not respect national borders and carry with them the traces of the destruction and at the same time of the survival of European colonialism, because that history is inscribed in the languages and rhythms of today.

The cover, with an illustration by Giulia Rizzi, pairs Program (Emigre, 2013) by Zuzana Licko with Aja, drawn in the early 1980s by Gustav Jäger and published by Berthold.

For the spine, back cover and the body text of the book interior, designer Greg Olla used a combination of Capraia by Giulio Galli and Arkit by Erasmo Ciufo. Both typefaces ara avalailable from CAST.

Flyleaf

Frontespiece

Internal spread

Internal spread

Backcover

Cover of the exhibition journal, French language, 24 pages.

From 9 October 2019 to 27 January 2020, the Grand Palais in Paris showed a huge exhibition of works by French painter Toulouse-Lautrec. It was the first major retrospective in the artist’s home country in decades. The show was accompanied by a number of publications, including an illustrated exhibition journal, a bilingual paperback edition with reproductions of all featured images, and a full-featured hardback catalog edited by Stéphane Guégan.

The display typeface used for all these publications is Zangezi. Started in 2018, Daria Cohen’s in-progress design is inspired by Salem, a metal typeface first cast by the Keystone foundry in 1901 – the year of Toulouse-Lautrec’s death. It’s used for headings and quotes, occasionally featuring its italics, too. Zangezi is also used for the exhibition logo that shows the artist’s double name in two stacked lines. The initial letters here touch each other, with unilaterally clipped serifs.

Zangezi is paired with Stanley for text. With its sharp details, Ludovic Balland’s reimagination of Times New Roman is a good fit for the eccentric Zangezi. Captions are set in Aidos. The “semi-proportional typewriter” face by Alexander Rütten nicely blends into the mix, echoing Zangezi’s “Latin” wedge-shaped serifs.

Spread from the exhibition journal with Danièle Devynck’s text about Lautrec and women.

Cover of the exhibition catalog, French language, 352 pages. Zangezi Italic is used for the quote by Thadée Natanson on the banderole.

Title page of the exhibition catalog.

Opening spread for Stéphane Guégan’s biography.

Chronology of Lautrec’s life, set in Stanley Regular and Italic, featuring its oldstyle numerals.

Spread from the catalog, with Zangezi for the quote and Aidos for the source and the image captions.

Tote bag showing the logo in Zangezi with modified serifs for the capital letters.

Cover and interior spreads from the 2020 Holiday Issue of Bon Appétit magazine.

The cover uses the third iteration of its logo in a decade. Originally designed by Matthew Lenning and Matthew Carter in 2007, the logo was re-drawn by Tal Leming in 2011. The current version was drawn by Commercial Type in 2018.

The typography uses Bon Appétit’s stalwart typeface Futura for all copy.

The holiday special guest typefaces are Warren Chappell’s Lydian, Margot by Nick Sherman, and Adamastor by Mário Feliciano. Margo is also used in the website version of this Bon Appétit issue, alongside Futura.

Creative direction by Michele Outland; art and design by Chris Cristiano, Bryan Fountain, Christa Guerra, and Leticia Sarmento.

“GIFTS” appears to be lettering, with a mix of styles. The G is similar to the one in Mostra Nuova Black, Kobalt, or Soda Jerk NF. [edit: It’s an unreleased typeface by Mário Feliciano named Adamastor, see comments.]

In 2020, Large was commissioned with the new visual identity for the Citadium department stores, part of the French Printemps chain. Citadium offers medium to high-end clothing and is aimed at a young audience, who likes to wear trendy clothes and sportswear.

Taking this target into account, Large created an identity filled with pop references, using different symbols, pictograms, logotypes as a graphic vocabulary arranged into a digital patchwork. This reference to how images are stored, released, copied and pasted in our digital era leads up into a playful identity, where symbols are diverted from their initial meaning, creating a new kind of syntax (this is very much visible on Citadium’s Instagram account and on their website). In terms of typography, Signal from Production Type is linked to this explosion of codes, and is used for the logotype and as the primary brand typeface, exclusively in all caps. Citadium employs a wide palette of secondary fonts, several of which are sourced from the library of system fonts.

Signal’s design is based on the French highway signage typeface, and is therefore anchored in the public space, as a kind of contemporary epigraphy. What better counter balance to the diversity of digital culture assumed in the identity, for a store claiming an urban style? While the font matches conceptually, it’s also coherent to bring back legibility and a simplicity that comes along with the evidence of fashion. In the end, Large succeeds in creating an identity that is the reflection of the youth of the time.

Signal in combination with Kaffi, an angular italic by Yin Fei Gwee which is among the recurring secondary typefaces.

Xmas 2020 graphics. Photography by Charlotte Navio, art direction by Virna Hagen & Hynd Mezaguer.

LittleTalks is a support framework that aims to protect the relationship bond between children and their loved ones in prison. It does this by using alternative tools of communication that are consumable for the child.

By sharing information, playing games and embarking on a research project, they can stay updated, inject fun and positivity into their time together and learn about each other's skills and interests.

Support is sustained at key touchpoints by LittleTalks liaisons in local support centres, as well as in prisons. In the end, LittleTalks offers the opportunity to pay it forward through mentorship and advocating.

The typeface Grenette by Colophon Foundry was chosen to emulate a tone that would appeal to both children and adults. A charming and friendly logotype was created that evokes trust and credibility in the brand identity. All other text uses Dazzed from Displaay Type Foundry. This typeface was chosen to ensure the character of the brand and while not comprimising legibility to the text.

Not three lost Marx Brothers but the keys – along with a grid-based layout and a lot more open space – to the redesigned v. 1.8 of music player Roon. There was something cluttered and fatigueing to the eye about the layouts and typefaces used for previous versions, which this redesign seems to have elegantly addressed. On their website, Roon write:

Roon now has a fresh new visual design that takes its inspiration from the idea of the museum – an airy, neutral environment in which to display things of beauty. We also took cues from classic music magazines, using bold typography and innovative layout to bring music to life. Along with innovations in data presentation, Roon is now a joy to use.

Headlines use the distinct Grifo; all information is set in a combination of two similar typefaces, Noto Sans and Lato.

English movie poster.

Invisible Life is a movie where two sisters born in Rio de Janeiro are kept apart by a terrible lie and a conservative society. They make their way through life each believing the other is living out her dreams half a world away.

Velodroma (RenegadeFonts) is used for various movie posters and also apears in the trailer. The all-caps display sans serif is featured in all of its three widths. The fonts come with stylistic sets that help to create a (pseudo)random pattern of alternating regular, wide, and superwide glyphs. In the movie logo and the trailer, the strokes of the first and last letter were additionally hyper-extended for a cinematic widescreen effect.

Still from the trailer.

Still from the trailer.

Still from the trailer.

Italian movie poster.

English movie poster by Films We Like.

Portuguese movie poster.

Portuguese movie poster.

Poster created for the Slovenian rock band MRFY. The goal was to create a poster that expresses the band's attitude towards music and through a variety of typefaces encourages all kinds of listeners to engage with their music.

This poster won a Gold Medal in New York’s Graphis Design Annual 2021.

From top to bottom, the typefaces in use are:

Bluu, Jean-Baptiste Morizot (Velvetyne)
Le Murmure Greek, George Triantafyllakos (Velvetyne)
Blocus, Martin Desinde (Velvetyne)
Kaeru Kaeru, Isabel Motz (Velvetyne)
DF Kai SB by Dynacom, available from Microsoft
Kozuka Gothic, available from Adobe

75010 is a city guide about the 10th arrondissement of Paris. The book is divided into six categories: Eat / Dance / Find / Drink / Read / See. Not famous or hype, only places of real life!

The typography uses Mars Extended and Condensed, designed by Alaric Garnier (75018) and released by Production Type (75002). The serif used for headlines and quotes is Quarto.