Visual identity and website for FLOR, a youth movement that promotes nature and biodiversity. The objective? To build a platform for Danmarks Naturfredningsforening (Danish Society for Nature Conservation) that supports local initiatives and youth communities fighting the biodiversity crisis in the middle of which we find ourselves.

From planting trees and scattering seeds, to spearheading national campaigns, FLOR connects youth with the environment, ultimately paving the way towards a flourishing and biodiverse future.

The New Antiquarians is a publication by Phaidon, which

features twenty-two young connoisseurs whose spirited interiors exemplify unorthodox approaches to living with history. (...) The book is an exuberant entry point into the world of antiques, highlighting one-of-a-kind collections and the single-minded collectors whose stories suggest compelling new ways of living with the past.

I worked with the writer, art historian and curator Michael Diaz-Griffith, and the team at Monacelli and Phaidon to craft the full visual world for the book, with special attention paid towards creating an object that felt appropriately historic – without leaning too far into pastiche. The book design had to be thematically consistent enough to link together such a disparate set of interior styles, while still leaving room for each subject’s unique perspective to hold appropriate space.

The result was an eclectic typographic and compositional system that spoke to 19th-century book design, balanced out by an approach to color and illustration that varied from chapter to chapter; each collector in the book was paired with a carefully curated archival spot illustration, border, and palette that reflected their particular visual idiosyncrasies and interests.

The book uses an eclectic mix of type that nods to myriad eras and art movements. Body text is set in Henry, 205TF's take on Garamond, which brings a delicate formality to long blocks of copy (especially when italic), while the chapter headlines, title page, and jacket spine use Albertus in all caps – a nod to the classicism of Roman square capitals. Chapter numbers are set in the Art Deco-inspired Top Tune JNL from Jeff Levine, contributor names in Canada Type’s swashy Monte Cristo, and captions and subheads in the utilitarian Styrene A (Commercial Type).

The book jacket and case further riff on the border motif established for chapter headings, with the former utilizing a reworked public domain illustration from the 19th century to create a cover scene that evokes a stage or a window – supported by a title set in Daylight Fonts’ Ivy DF, with custom ligatures – while the latter takes the frame concept to its logical, slightly absurdist, extreme for the interior embossed hardcover.

Hardcover, 292×241 mm (11.5×9.5 in), 272 pages
Book photography by Brian W. Ferry

Neo Gods & Hyper Myths is a book by Ira Lombardía, published by Meteoro Editions.

The works by the artist encompassed in the books analyze the construction of female archetypes through time. The artworks confront their conceptual density, existence as products of hypervisibility, and sign saturation. Statues, women without heads, winged figures, mirrors, tablets, pedestals, mobiles, limbs, and gestures, accumulate their meanings by playing with iconography while seeking linguistic connections. Thus, offering flexible and polysemic meanings to demonstrate the commodification of the symbolic.

With this idea of evolution and reinterpretation, three iterations of Garamond-esque typefaces were chosen. The total book pages were divided into three parts, and each part was assigned one of the typefaces used (in chronological order of their creation), so the typeface changes from one page to the other, but it is barely noticeable to the reader.

The typography on the left using Century Gothic is a work by Ira Lombardía.

All Eternity is an expressive typographic calendar designed by our studio and distributed as client and collaborator gift to kick off the year. Conceptually, the calendar focuses on the subject of time, with each month typographically depicting a saying or famous quotation about the value and importance of time.

The Daily Atelier is a brand consultancy and design studio in Vancouver, British Columbia, founded by Alicia Koo. Romie regular and italic (by Margot Lévêque) are used for a promotional newsprint brochure produced for The Daily Atelier’s own branding.

From (90)antiope:

(90)antiope is an asteroid located between Mars and Jupiter. Its singularity is to be dyadic, in other words constituted by two intertwined bodies that revolve around a common center of gravity. This concept of duality is at the origin of the bi-annual magazine named after the asteroid, which we are proud to present to you, and which aims to generate unforeseen encounters.

Creative direction by Lara Abdessalem and Elsa Kostic. Graphic design and artistic direction by Romain Fritiau, Bonjour Garçon Studio. The logo is set in Romie (by Margot Lévêque).

The first issue, series 1—19, came out in March 2022. In the interior, ABC Oracle incl. Oracle Triple is paired with an unidentified serif.

Website

Fallen Grape works with generational farmers and winemakers to bring excellent, low-intervention wine straight from the central coast of California. From their organically farmed grapes all the way down to local bottling and packaging, they do as much of the work by hand as they can to ensure sustainability and preservation of the wine’s natural beauty.

The creative director and advisor of the brand, Sarah Bachman, designed the wine labels, packaging materials and company website. The branding project as well as the logotype is set in Romie (by Margot Lévêque) and supported by Arial Narrow (by Patricia Saunders and Robin Nicholas).

The book Un siècle de photographie en Alsace, 1839–1939 (“A century of photography in Alsace”) by Philippe Lutz and Christian Kempf was published by Mediapop. Brokism (Hugues François) used the typefaces Louize and Louize Display by Matthieu Cortat and Maax Mono by Damien Gautier, all distributed by 205TF.

Vacation, launched in 2021, is a sunscreen created by the music streaming service Poolsuite. The brand is inspired by Miami leisure and the hyper-optimism of 1980s corporate culture, and leans into many different visual tropes from retro editorial design, including the condensed serifs ITC Garamond and Benton Modern as well as decorative italics, image borders, and paper textures that imply text on the other side of the page.

The company advertises a Diner’s Club special, consumers can make their own faux Vacation business cards with job titles like “Cocktail Umbrella Designer,” and captions on Vacation’s social posts spin tales of imaginary corporate retreats and snorkeling employees. Their unwavering use of the registered trademark symbol on every occurrence of the word Vacation is also a nice, detail-oriented touch that helps sell through the holistic, immersive world they’ve recreated.

The October/November issue of the American Esquire magazine introduced the use of Flecha by R-Typography (cover and headlines), alongside Publico by Commercial Type (body text), TWK Lausanne by Weltkern and Glanz by Hubert Jocham Type.

«Tu verras, quand tu seras grand!» is a children’s book written by Tiphanie Blanc and published by Edition L’Amazone. It was designed by Roxanne Maillet together with Tiphanie Blanc in 2021. The title page is sets in the upright version of my Gaya. Other fonts in use include DINdong (Clara Sambot), Zarathustra (Lorène Picard), and Cormorant (Christian Thalmann). The inner flaps additionally feature Bonbon (Ksenia Yerulevich) and Casa Sans (Peter Wiegel), with pictorial drop caps from Critter (Craig Frazier). [See the comments for more font IDs.]

From the publisher’s website (translated):

“You’ll see when you grow up!”, the first children’s book from Edition L’Amazone, explains the globalized capitalist economy through four chapters on money, the banking system, the police, and revolution. It was based on books cited by author Marie L’or Kaeppelin-Billaudot in Il sera une fois... Essai sur le contenu des livres pour enfants (Espaces féminins, La pensée sauvage, 1978). «Tu verras quand tu seras grand!» (“You'll see when you grow up!”) is based on the observation that few children’s books deal openly with the economic question, even though it is omnipresent in their daily lives. The detour of these books, more than forty years after their publication, allows us to rethink our relationship to these founding myths, in the same way that a tale plays a role in the construction of a common history.

Louis Hoell and the making of the Eckmannschrift by Dan Reynolds

Louis Hoell cut the punches for the only published typeface Otto Eckmann ever designed. The story of the Eckmannschrift’s creation has often been told. In retrospect, it was the release that made Karl Klingspor’s reputation as a typefoundry director of note. Yet instead of looking at the Eckmannschrift from Klingspor or Eckmann’s point of view, Dan Reynolds’s essay directs its focus to what Hoell’s design contributions to the project might have been. With rare and unpublished material from the Klingspor archives in Offenbach am Main. Edited by Alice Savoie & Jérôme Knebusch as fourth in the Poem Pamphlet series.

Typeset in Instant and an unreleased italic version of Almost Roman. More info at poem-editions.com and the author's website.

Cover design and chapter opening pages for Yogurtista, a book with recipes by Virginia Repetto (who shot the photos in the book), entirely devoted to yoghurt as main ingredient. Published in Italian by Nomos Edizioni.

Photos by Andrea Del Cotto.

Source: www.besserewelt.at License: All Rights Reserved.

Zwischen Spartakus und Sozialdemokratie [tr: Between Spartacus and Social Democracy] by Paul Levi, 1969

Paperback series with political texts jointly published by Europäische Verlagsanstalt Frankfurt (Germany) and Europa Verlag Wien (Austria) in the late 1960s. The covers were designed by August Bachmeier, exclusively using Stempel Garamond. The text is positioned in an oblong framed by a fine line, with the series title aligned to the top, and the volume’s title to the bottom. The author’s name appears on top of the latter, in the same size, but in italics. The publishers’ names is shown at the very bottom, outside the rectangle, at a smaller point size. Stempel Garamond is used with its ligatures for ch (non-touching) and ft (see Feuerbach, Luxemburg).

Source: www.abebooks.co.uk License: All Rights Reserved.

Das Recht auf Faulheit by Paul Lafargue, 1966

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

Marxismus und Philosophie by Karl Korsch, 1966

Source: www.booklooker.de Licus Media. License: All Rights Reserved.

Anthropologischer Materialismus. Ausgewählte Schriften I by Ludwig Feuerbach, 1967

Source: www.amazon.de License: All Rights Reserved.

Karl Marx by Karl Korsch, 1967

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

Politische Schriften I–III by Rosa Luxemburg, 1966–1968

Daniel Spoerri: Anekdoten zu einer Topographie des Zufalls, Neuwied und Berlin: Luchterhand (Edition Otto F. Walter), 1969.

Design by Wolfgang Stehle. Painting by Dieter Roth.

The Mother Journal is an independent publication on the personal experiences of women in motherhood.

A quarterly publication that celebrates the beauty, the complicated and the surprising aspects of being a mother. It goes beyond their role as parents, recedes from the didactic and paternal tone, and approaches the literary and personal life of women.

Each magazine edition covers three subjects which are interpreted by the union between a writer and an artist. It also features articles, essays, stories, trips, recipes, interviews and anecdotes that focus on the role of these women while avoiding parenting advice, education and children in general, therefore becoming a completely unique magazine. The size of the magazine is designed so that it is easy to carry in a handbag. The publication contains three features and two inserts in the centerfold: a poster for children and a short novel for the mother.

With The Mother Journal Lorena Manhães elegantly navigates history, combining a distinctly classical typographical pathos with a modern, vivid layout. Sabon pulls most of the weight, giving everything from titling to body text a proud, warm tone. We also see Gill Sans at its prime, often set widely tracked in generous captions.

Apple wasn’t the only company setting centered headlines in tight and condensed ITC Garamond. This first ad is probably a wink at Apple, but you could find this design motif all over advertising in the ’80s–’90s.

“Predators and Prey” — the Lod mosaic that was accidentally discovered in 1996 in Israel is currently on display at Altes Museum, Berlin.

Poster by allstars design. See also Polyform’s work for the Museumsinsel.

Detail from the flyer