The Joy of Cooking by Irma S. Rombauer (1877–1962) is one of the world’s most widely read cookbooks. The first edition shown here was self-published in 1931: Rombauer had 3,000 copies produced by A.C. Clayton, a local print shop in St. Louis that hadn’t printed any books before.

The book was illustrated by the author’s daughter Marion (1903–1976), who served as the art director at John Burroughs School at the time. After her marriage in 1932, she was named Marion Rombauer Becker. For the dust jacket, she made a papercut depicting Saint Martha of Bethany, the patron saint of cooking, slaying the dragon-like Tarasque. The design helped to sell around 2,000 copies in the first year. After the Rombauers found a publisher in 1936, The Joy of Cooking has been in print continuously, and has sold more than 20 million copies to this day.

The chromatic letterforms in black, blue and green are custom made, closely following Bifur (Deberny & Peignot, 1929), with overall bolder lines and a wider K than in the typeface. Bifur was designed by Cassandre. The French artist was born in 1901 in Kharkiv (Ха́рків), nowadays the second-largest city in Ukraine, and currently one of the sites of the terrible war.

Hat tip to Alexander Tochilovsky of the Herb Lubalin Study Center, who was born in Odessa.

In 1998, Scribner published a facsimile of the original 1931 edition, with a foreword by Irma’s son, Edgar Rombauer. The added text is set in Champion Gothic.

Degular is the typeface used for the visual identity of Manuvo. From Pentagram:

Founded in 2010, Manuvo is a technology company based in Mexico. It transforms cultural resources into applications and digital media, making them accessible for people from marginalised communities in different parts of the world. […]

Pentagram designed a visual identity, including logotype, logo animation, typography, colour palette, graphic language and composition. The brand needed to work across Manuvo’s various services from educational courses to experiences, as well as reflect the accessibility of Manuvo’s numerous online resources.

Manuvo’s apps and programmes create building blocks for the education of marginalised communities, this principle was carried through to the identity by building the entire system out of moving parts. These blocks were used across the brand to create not just the logo but a moving language, from illustrative patterns to infographics.

The vibrant colour palette suggests Manuvo’s bold new vision, framing culture and education as a catalyst for change. The project uses the typeface Degular, designed by James Edmondson and published through OH No Type Co. The typography is a modern twist on the conventional that matches Manuvo’s goals to innovate education. The design team also created an eye-catching animation using Manuvo’s colourful shapes for use across its website and social channels.

Design agency Von Helden und Gestalten (From Heroes and Characters) designed a new corporate design for the the management consultancy Struktur Management Partner (SMP).

The new design pairs Glance Sans by Identity Letters with Aribau Grotesk by Emtype.

Black Forest is the second act in a trilogy of performances by Luke Shaw, initiated at None Gallery in Dunedin, NZ during the winter of 2018 and concluded at The Physics Room contemporary art space in the spring of the same year. This book (200×130×30mm case bound) uses the form of the loose bound ephemera box to collate together a series of images and recordings to represent the non-narrative nature of Shaw’s practice, allowing the reader to form the narrative for themselves

The artist’s book, containing images and sound recording by Luke Shaw (and liner notes by Luke Wood) was edited, designed and bound by Daniel Shaskey. Typography is set in Harbour and Gill Sans. The title used Harbour Bold with an elongated t.

F37 Bella Stencil by F37 Foundry was chosen by Hugo Aranha for the brand design of the Brazilian Coffee Co.’s Mesteeso blend.

F37 Bella Stencil is used to create the core brand identity working across packaging design through to interior and exterior signage.

“Harvested in Brazil” and “Roasted in California” is set in condensed caps from Knockout.

Cover and promotional poster of Do You Compute? featuring a single weight of LL Lettera Mono, designed by Kobi Benezri and available from Lineto. The cover was designed by John Zabawa. From publisher Hat & Beard:

Do You Compute? is a broad survey featuring the very best of computer advertising in the 20th century. From the Atomic Age to the Y2K bug, this volume presents a connoisseur’s selection of graphic gems culled from museums, university archives, and private collections to illustrate the evolution of the computer from its early days as a hulking piece of machinery to its current state as a handheld device.

Established in 1966, The Ruby Company (formerly Ruby Robinson Produce) is one of largest suppliers of fresh produce to national and regional grocery chains, restaurants, and distributors across the country.

The One Design team recently overhauled their brand. When looking for inspiration, we turned to the company’s midwestern work ethic, industry, and long-haul trucking. Mix that with a healthy dose of attitude and a deliberate u-turn away from the expected, and an exciting new graphic language was born.

Robinson – the calligraphic sans we chose to anchor the brand – was selected for its balance of human warmth and chiseled edge. And the same goes for GT Sectra – classic proportions with a dash of edge.

Poster for the fifth edition of the Metropolink Urban Art Festival in Heidelberg 2019, combining text in Moderat with hand-sprayed numbers.

So — small between the stars
So ——— large against the sky

Fakepaper’s greetings cards 2017

Homepage header

Kozakov keeps a methodical record of his life. Starting at fifteen years of age, he writes his diary: detailed notes penned in 96-page standard exercise books, each entry beginning with air temperature and wind direction, describing occurrences at work and at home, and switching back and forth between musings on love and his place in society.

Moscow-based publishing house Gluschenkoizdat have come into possession of Nikolai Kozakov’s notebooks for the year 1962. Following extensive work on their transcription and preparation for print, the publishers present the present volume for the edification of readers, in conjunction with a radio drama. The publication of Николай Козаков. Дневник. 1962 (Nikolay Kozakov: Diaries. 1962) has been timed to coincide with the publishers’ summary exhibition Our days are rich and bright.

See the website at 1962.gluschenkoizdat.ru. There is also an extract in English, covering twelve days from the diary.

Art direction: Kirill Gluschenko
Designers: A. Glushkova, A. Moskovsky
Illustration: A. Koltchina

Chapter header (January)

English extract

Homepage footer

Chapter index

Book cover, 170 × 215 mm, 624 pages, ISBN 978-5-9906255-3-2, edition of 1,000. Gluschenkoizdat, 2016.

Cover of the radioplay, 2 LP, 88 min 41 sec, 8 pages booklet, edition of 300. Gluschenkoizdat, 2016

Following on in the tradition of the Hotels Executive, established with the nationalisation of railway owned hotels, British Transport Hotels maintained high standards of printing and publicity – including the widespread use of Monotype typefaces and “printers’ flowers”. This 1967 menu card is from the old Great Eastern Hotel at Liverpool St station, constructed and opened by the Great Eastern Railway that would be merged into the LNER and then BR. The hotel, now privately owned and run, is still in business.

Below:

British Transport Hotels – Montfort Restaurant, Charing cross Hotel, London WC2 – menu card from 1967, printed at Curwen Press. Another in the fine series of BTH menu cards – to their house style and printed at the exemplary Curwen Press at Plaistow in east London.

Main title sequence.

“Jon, a young wanna-be musician, discovers he's bitten off more than he can chew when he joins an eccentric pop band led by the mysterious and enigmatic Frank.” — IMDB

The opening main title is set in Futura Black with a custom ‘ra’ ligature sharing a dot that is centered in the frame. Other titles are in Bliss. Twitter and blogging intertitles are in Chunk (why, I do not know) and Arial, with at least one character from Apple Color Emoji.

You can watch a video of the end titles at The Chase.

Art Director: Tamara Conboy
Title Design: The Chase

Opening titles.

End main title.

Twitter and blogging intertitles.

End titles.