Festeme, the Spanish Musical Theater Festival, is presented as a unique initiative that celebrates and encourages the creation of original productions within the theatrical-musical genre.

It’s a national reference that had its first edition in Córdoba from October 13 to 16, 2022. A cultural and creative explosion that served as an intersection and platform for professional artists of theater, music, dance, literature, design, etc. More than a festival, it’s a collective, collaborative and multidisciplinary creation movement for artistic promotion and innovation.

We have worked on elements such as the pentagram and concepts such as the movement that we capture graphically through the use of asymmetric horizontal lines that interfere and add dynamism to the identity. In addition, the typographic presence is very important. The use of Galgo and Cabinet Grotesk provide the composition with closeness and personality to the event, making it very recognizable.

Photos by India Gitana.

Neue Power in use for Singapore Food Festival 2022, a project by the Singapore Tourism Board. It is supported by Fjalla for the description texts. Design by the agency Bartle Bogle Hearty.

Returning for its 29th edition, the Singapore Food Festival (SFF) celebrates the richness of Singapore’s food culture and the creativity of our culinary talents who are reimagining Singaporean cuisine. Held island-wide from August 24 to September 11, 2022, participants can take part in virtual masterclass sessions, in-person heritage tours and culinary workshops hosted by experts and chefs, as well as an all-new virtual marketplace. And for the first time since the pandemic, SFF 2022 will host a festival village from August 31 to September 11 at the Bayfront Event Space.

Rounders, 1957, ft. lettering for the issue title, Ultra Bodoni Italic for the series titles, Gill Sans for the smaller text and Grotesque No. 9 for the price info

Covers from the Know the Game series, published between 1950 and 1990 by Educational Productions in the UK. In a time before the internet, the series was an essential resource for anyone looking to participate in sports and other recreational activities. The pamphlets were cheaply printed in two to three colors and highly affordable: just 25 to 45 British pence each (around $2.25 to $5 in modern US currency). Despite being published as a unified series, each issue was produced in collaboration with a recognized sporting club or association—from the British Sub-Aqua Club to the Royal Meteorological Society—to ensure the most up to date rules and regulations were included.

A range of typefaces are utilized across the series, with covers from the 1950 to 1960 also featuring lettering, and those from the 1980 to 1990 using everything from Dempsey to Herkules. The mid-1960s pamphlet designs seem to cohere around a consistent use of Monotype Grotesque, and those from the 1970s settle on tightly tracked Helvetica for titles. While the “Know the Game” title is initially written out in a variety of typefaces, later versions feature a logo set in Condensed Sans Serif No. 6 (“KTG”) accompanied by a lighter weight of either Monotype Grotesque or Helvetica (“know the game”). By the late 1970s, “KTG” was changed to the slightly wider Grotesque No. 9.

From a design perspective, it's interesting to watch the shift in covers from highly individualized to a more standardized and branded “KTG” format over time. Topically, it’s also fascinating what recreational activities merited coverage in which era; angling in 1953 vs. tabletop role-playing in 1976.

Archery, 1971 reprint of a 1960 edition, ft. letterspaced caps from Grotesque No. 9, with Monotype Grotesque Light 126 for the series title, as well as Gill Sans Condensed and Italic, and Univers

Angling, 1964, ft. lettering and Gill Sans in two weights

Badminton, 1965, ft. Monotype Grotesque Bold 216 (and Folio Light?). See Tânia Raposo’s post for pics of the interior.

Map Reading, 1965, with more Monotype Grotesque and Gill Sans

Life Saving, 1967, ft. Monotype Grotesque. The KTG logo appears to pair Condensed Sans Serif No. 6 and a lighter weight of Monotype Grotesque.

Modelmaking, 1967, from the spinoff series Know the Craft, ft. Monotype Grotesque

Sailing, 1973, ft. Helvetica. The KTG logo in Condensed Sans Serif No. 6 is now accompanied by a lighter weight of Helvetica.

Netball, 1976, with Helvetica

A later edition of Map Reading (probably late 1970s), now with Helvetica.

Wargaming, 1978, ft. Helvetica

Darts, 1978, ft. Goudy Heavyface. The KTG logo now seems to use the slightly wider Grotesque No. 9. Monotype Grotesque is back for “know the game”.

Men’s Hockey, 1984, ft. Dempsey

Squash Rackets, 1985, ft. Folio and Helvetica

Weight Lifting, 1986, ft. Frankfurter Medium and Univers

Weight Training, 1987, ft. Herkules and Univers

The Learning@Aalto Gala is a yearly celebration of innovative teaching at Aalto University, and features talks, workshops, a demo floors and an altogether inspiring atmosphere for anyone interested in educational development.

The 2018 installment of the event uses Neurial Grotesk Bold by Indian Type Foundry as the main font for all visual materials – from posters to name tags. Neurial’s clean but humane forms pair well with the bold color scheme and playful illustrations to create an overall friendly and modern aesthetic.

A site-specific mural ad for The Politician on a building in Götgatan, Stockholm, Sweden.

For the new political satire, streaming now on Netflix, uber-producer Ryan Murphy (Glee, American Horror Story) captures the tribulations of a group of precocious Generation Z high schoolers. And it’s hard to watch it without drawing parallels to present realities.

Payton (Ben Platt) has known he’ll be president of the United States since he was 7. And the path to the White House is clear to him: Become student body president at Saint Sebastian High School. Go to Harvard. Make history. But of course, things get complicated. — cnet.com

For their worldwide campaign, Netflix uses a diverse set of colors, artwork and typography, allowing for target group-specific ads and posters – and site specific outdoor advertisements. Above, an all-blue combo is used on a façade in Sweden: the protagonist is looking at the sky, framed by lettering. Below, a candyfloss-pink billboard connects the show with an actual recent scandal.

The show logo uses Roslindale (DJR). The design is rooted in 19th century type, an era in type design that was re-appreciated in the 1970s. Maybe Roslindale was picked to evoke the 1970s, as a reference to a golden age for movies about politics, journalism and political scandals. The nested “the” in the logo lends the logo the authority of a newspaper masthead.

Playfair Display is used for headlines. Depending on context it is used plain or playful with alternating word sizes. Alternate Gothic is used in all caps for Payton’s campaign pinback buttons.

“Netflix appears to be trolling the University of Southern California over its role in the college admissions scandal with billboards for a new show that were placed near the school, according to a report Thursday.” — New York Post