We decided to create this book because society judges our bodies and those of others. Society tells us that our body is either too big, too small, too light, too dark, too hairy, etc. But let’s remember that the body is above all a tool, at the service of our intellect, something malleable, in constant evolution, a marvelous and intricate object of biology.

Yes, it shouldn’t define us, but we should understand it.What if for once we looked at this body for what it is ? Let’s rediscover it in its BARE state.

We chose theses to combine GT America and Ogg Display to create a contrast between the very scientific part of the book, and its very personal, organic aspect.

Kapitalistinis realizmas: Nėra jokios alternatyvos? (“Capitalist Realism: Is There No Alternative?”) by Mark Fisher, published by publishing house Hubris and designed by Vilmantas Žumbys. This publication was set using Suisse Int’l and Suisse Works by Ian Party. The pixel lettering is custom.

Description from the publisher’s website:

Capitalist realism is considered to be the most popular idea from Mark Fisher. It is based on Slavoj Žižek's idea that "it is easier to imagine the end of the world than the end of capitalism". Fisher’s aim in this book is to review the conditions that make the current system seem inevitable. His conclusions are shocking: while Capitalist Realism recognizes that capitalism is not an ideal system, it persuasively leads us to believe that a different system is simply impossible. The result is a society with atrophied imaginations, a whole bunch of psychological disabilities and general apathy.

Apostasis is not a publisher, but rather a collective of passionate young readers, critical of the publishing industry. Their anonymous members are “in love with books as a political and aesthetic object”, and devoted themselves to publishing texts that are no longer in print, in unique, carefully crafted formats.

Their first publication from 2014 was a reissue of Marcel Duchamp ou le grand fictif by Jean Clair (b. 1940). Originally published in 1975 by Galilée, the book that deals with Duchamp’s intellectual inspirations and his quest for the fourth dimension had been out of print for more than thirty years. Apostasis felt it deserved to be available again, in an aesthetic form that matches its content.

Building Paris was commissioned with the design. The bootleg edition shouldn’t be tainted by profanities like an ISBN barcode or a price tag, nor should it specify the names of the involved personnel like editors and printers. It was printed with two different covers, black and white, each in 500 hand-numbered copies. Building Paris made early use of Kreuz, an industrial display typeface designed by Emmanuel Besse (Large) around an octogonal theme. It’s used in all three of its widths, from Condensed to Extended. Since 2018, the Kreuz Collection is available from Production Type. The text typeface is Suisse BP Serif (2011), the precursor of Suisse Works (2015) by Swiss Typefaces.

Hardcover edition by Schocken Books, 1981.

Six lines of stacked and staggered Perpetua, combined with Basilea for the author’s name, on the book jacket of the first edition of Harold Kushner’s When Bad Things Happen to Good People, published by Schocken in 1981.

Kushner addresses in the book one of the principal problems of theodicy, the conundrum of why, if the universe was created and is governed by a God who is of a good and loving nature, there is nonetheless so much suffering and pain in it – essentially, the evidential problem of evil.

The tightly spaced Perpetua is some bold phototype variant, and narrower than the digitally available version. The interior (not pictured here) is set in Janson Text and was designed by Nancy Dale Mundoon. It’s not clear if she takes credit for the jacket design as well. The same design was used with different colors for the paperback edition by Random House.

See also the paperback edition by Avon and others, featuring ITC Benguiat.

Ppaperback edition by Random House, 1981.

Medium 0 is an internal printed publication, self-initiated by Medium’s design team with assistance from the editorial and marketing teams. It comprised a handful of the best pieces published on Medium in 2018, representing the broad spectrum of stories that appear on Medium from writers of all types.

This project came together in just over a week. The two designers worked together to establish a basic grid and typestyles, and then mostly separately to translate the articles from their digital form. In most cases, this meant creating a bespoke feature treatment from scratch as the original articles didn’t have accompanying artwork or display type.

Lars and an unreleased serif by Kris Sowersby are used for body text throughout. The front and back cover consist of a modified M from Maelstrom, creating an abstract front cover that reveals itself upon opening.

44pp, oversized newsprint. Design by Noah Baker and Dora Godfrey. Art direction by Ryan Hubbard. Special thanks to Bethany Heck and Renald Louissaint.

Further documentation by Bethany on heckhouse.com.

The narrow type in the black ovals is Cardinal Fruit, available from Production Type.

The X on the left hand page is taken from Breite Fette Antiqua by Forgotten Shapes.

Lonely City, with caption-like snippets set in WiseType’s Monarch.

Justified Compacta Black is paired with Klim’s unreleased serif for a powerful opening page.

All-caps Lars is contrasted with Klim’s upcoming Fournier-inspired serif.

At the 2016 Oscars, The New York Times aired its first-ever television commercial. The typographic spot features nothing but black text on a white background, sentences that start with "The truth is...". It references the state of politics in mass media, a battlefield where US President Donald Trump has lunched multiple attacks specifically aimed at the Times.

Source: www.youtube.com © 2017 The New York Times. License: All Rights Reserved.

Source: www.youtube.com License: All Rights Reserved.

NYT Franklin stands straight on the empty background, a symbol of a broken and battered American dream. Almost spindly in appearance, it takes the strong character of NYT Karnak to save us from an impending populist doom.

Source: adage.com License: All Rights Reserved.

The campaign includes this accompanying print ad appearing in the Times. It is the newspaper’s first brand campaign in a decade. More info on Ad Age.