Out of Control: The Concrete Art of Skateboarding reveals the intersection between contemporary art and skateboarding. The exhibition is curated by Patrik Andersson and is organized by the Audain Art Museum, Whistler, British Columbia. There are 19 artists in the show.

The type treatment explores ideas from an essay included in the accompanying publication, “Fractures and Expansion” by Natalie Porter, and the modular re/deconstruction of Raphael Zarka's sculptures. The rounded O of the typeface Orientation allows for skate-like motion. It’s supported by Objektiv. It was a large graphic campaign, with many ads, billboards, motion graphics, a catalogue, stickers, hoodies, etc., all designed by Judith Steedman of Steedman Design.

Festin, organised by Microgram, is a four days festival about food, located in different adresses in the city of Montpellier. The program presents a variety of events: talks about literature, food and feminism, tastings, art exhibitions, workshops and, to conclude the festival, a buffet and some music.

Aude Bertrand designed the graphic identity of the festival using illustrations by herself, and by Lucile Gautier.

Risograph printed poster

Storefront of the library En traits libres, Montpellier

Flyer

Facebook and Instagram posts

At the library En traits libres, Montpellier

Interferences was an exhibition held by the MAAT, curated by Carla Cardoso, António Brito Guterres and Alexandre Farto, dedicated to different expressions of urban culture, their underlying narratives and how they contribute to the design of the city of Lisbon. The exhibition was integrated in the commemorations of the 50th anniversary of the Carnation Revolution.

Designer Ana Teresa Assensão used two styles of Flecha for headlines – mostly distorted, sometimes outlined or set on a curve. Body copy and secondary information is set in Roboto Mono.

The Cholla typeface family was designed in 1998–99 by Sibylle Hagmann and named after a species of cactus indigenous to the Mojave Desert. Cholla was originally developed for Art Center College of Design in Pasadena, California. Denise Gonzales Crisp, then art director of the college’s design office, collaborated with Sibylle Hagmann to design a family of typefaces that would include a vast variation of font weights. This diversity of styles was applied to echo the institution’s different areas of study, yet the typefaces were to exhibit a unified feel.

Formally the individual styles have slightly varying personalities with subtly distinct ideas applied, but all weights share a tapered curve marked out as, for example, in the lowercase a’s bottom transition from the stem into the bowl as their unifying detail. The Cholla family was first used in the radically designed 1999/2000 Art Center catalog, which won a honorable mention in I.D. magazine and was featured in EYE, 31. Cholla’s original weight range as designed for ACCD included 12 different styles.

The extended range of 20 weights, bundled into Cholla Sans, Cholla Slab, Cholla Wide, and Cholla Unicase subfamilies, was included in Emigre's font library and offered for distribution soon after the foundry received a catalog (mailed by Denise Gonzales Crisp) that featured Cholla. The typeface family was introduced in Emigre magazine #50, “Think Ink”, and became successful in the following years.

Cholla received some awards, among them one for Excellence in Type Design from the Type Directors Club of New York in 2000. The Cholla type family was a winning entry of bukva:raz!, an international type design competition of the Association Typographique Internationale (ATypI) in 2002. It is featured in Language Culture Type, edited by John Berry and published by Graphis, New York, 2002, a publication that presents the winning entries of bukva:raz!.

Cholla was one of the typefaces showcased in the exhibition Frische Schriften (Fresh Type), at the Museum für Gestaltung, Zürich, Switzerland, in 2004. Experimental Typography, edited by Teal Triggs and published by Thames & Hudson showcases in-depth sketches of Cholla’s development. Frische Schriften (Fresh Type), Edition Museum für Gestaltung Zürich, 2004, with texts from Andres Janser, François Rappo, and Fred Smeijers also includes a feature on Cholla.

The Mittelrheinisches Musikfest, or Middle Rhine Music Festival, took place in May 1925. It was organized in Trier, Germany, in cooperation with the cities of Saarbrücken and Coblenz (since 1926 spelled Koblenz), and directed by Heinrich Klapstein.

The cover and the title page of the program booklet feature a typeface that was issued only a year or two before: Messe-Grotesk halbfett from 1923 is an extension to Messe-Grotesk-Versalien, a black all-caps design that was first cast in 1921. The series by the AG für Schriftgießerei und Maschinenbau in Offenbach/Main was concluded in 1927 with an inline version. In the 1930s, Berthold sold it abroad under the name Advertisement Grotesque.

The design by Albert Auspurg is characterized by diamond-shaped middle bars (in E, F, H), triangular forms (A, i), and descending diagonals (K, M, R, S). Note the compact capital umlauts in the stacked and justified setting on the cover, and the ligature for ck (but not for ch, although there was one) on the title page.

A poster for the New York 1927 Machine-Age Exposition. While much of the typography is set in gothics such as Gothic No. 578 (for “119 West”), Gothic No. 122 (for “New York”, cf. the R in the 24 pt size) and what appears to be ATF’s No. 545 (see Lining Gothic), Gothic No. 545, Cooper Black is used for “Exposition”. “Machine-Age” is in an unidentified crude grot.

Font Review Journal shows this poster in its review of the Cooper family.

The interior of the box (I have cut the box and opened it). Angled repeats are cool!

As I live at 51° North I supplement my diet with vitamin D most days. I have a soft spot for Handel Gothic so I spotted it immediately on the “ultra” on the packaging for these vitamin D pills by Vitabiotics. The interior of the box uses the “ultra” trademark in an angled repeating pattern, and it was seeing this that prompted me to post this to Fonts In Use.

Repeating type on an angle is cool type.

Box front and used pill cassette

I designed the logo for Lentement (렁트멍), a fine dining restaurant in Seoul run by chef Lee Hae-wook (이해욱), using a customized stencil version of F37 Bergman. It’s paired with Sometimes Times.

The rest that Lentement pursues is a gap in everyday life. The space where you can enjoy a neat meals and neatly prepared meals with high-quality fresh ingredients.

Visual identity and website for Studio Mimi, a new photo studio based in Maisons-Alfort, France. The only typeface is FT Aktual, used in two weights. Their portfolio website is a one page scroll with little surprises on each menu and faded colors.

Asfen in use for the logo and visual identity of Shinto, a producer and beatmaker based in Geneva, and for his new EP Mantra. Designer Benoit Dumont paired Asfen with ES Klarheit Grotesk.

Helsinki based Boutique produces “high quality motion across all screens and media by combining an eye for design with outstanding animation expertise and creative direction.” Their logo and typography use Majorant from Emtype Foundry.

Shatter (Letraset, 1973) is the typeface used for the title of Sky. The British children’s science fantasy TV series was produced by HTV for ITV, and broadcast from 7 April to 14 May 1975. Opening and end credits as well as episode titles are set in Helvetica, mostly using its Bold Italic style. Vic Carless likely based his Shatter on a skewed Helvetica Bold.

On The Medium is Not Enough, Rob Buckley comments:

Sky is perhaps the most obvious example of a kids’ show written by people on drugs. Created by Bob Baker and Dave Martin in 1975, it was a curious seven-part serial about an alien that comes to Earth. So far, so simple, no?

What differentiates it from other similar fare is that it’s clearly off its face. Sky is a time traveller with incredible powers from another dimension. Or maybe another universe. Except he might be a god. Just like Jesus and any other religious figure in fact, since they were all time-travellers too.

He’s arrived here before the correct time – we’re still “before the chaos” – and needs to get to the future where he can show the surviving people of the Earth the right way to live in harmony with the Earth. Trouble is, the Earth of today senses that’s he’s alien and tries to repel him, just like an immune system repelling a bacterium. While he searches for ‘the Juganet’ – the way to the future – Sky is attacked by trees and plantlife, before eventually the Earth creates something in human form – ‘Ambrose Goodchild’ – to destroy Sky.

Writers Bob Baker and Dave Martin “were also known for their scripts for the BBC cult sci-fi series, Doctor Who and the HTV West cult children’s fantasy drama series, Into the Labyrinth.” – Wikipedia. The music was provided by Eric Wetherell, who died earlier this year at the age of 95.

Meyy is a Belgian artist who debuted in 2019. She collaborated with Lacuna Studios for the art direction of her latest single. BM Erkin by Murathan Biliktü is used as the main typeface for her single cover art and the title graphic for her music video.

Cover art for the single.

Music video credits.

Exploring traditional notions of portraiture through a contemporary lens, Looking at You (spring 2019) exhibited paintings by Rebecca Harper, Ross Head, Anna Ilsley, Igor Moritz and Janet Sainsbury. Curated by Charlotte Flint and produced by arts collective, Gedney Common, the show presented bodies shrouded in raucous colour, abstracted and amorphous, playful and life-like; celebrating the figure in a myriad of ways.

The type-led identity paired a highly elegant display cut of Leonardo Fascia by Quentin Schmerber with a light and spacious cut of Thomas Huot-Marchand’s chiseled Minérale. The oversized interplay between the alternating artist names and show titles formed a theme across event promotion, signage and printed information in the space, with an electric blue running as a visual thread throughout.

Papelote is a Czech brand of stationery, a creative studio, a shop and a workshop in the heart of Prague. Typotheque's Jigsaw and Jigsaw Stencil go hand in hand in with handwriting and bright colors in the shop's signs and price cards.