Eye magazine is a quarterly print magazine on graphic design and visual culture. Each year they dedicate an issue of their magazine to type design. Featuring great names in the type field they interviewed Chantra Malee and Lucas Sharp from Sharp Type, related the journey of Anita Klinz at Mondadori, wrote about the challenges faced by Type Archive, remembered Phil Baines and finally questioned established notions of global type with Toshiya Izumo, TienMin Liao, Borna Izadpanah, and Sam Kim, Siyu Mao and Dokho Shin.

They produced three different covers with the same title set in three different fonts:
1. Sharp Grotesk Black 11, designed by Lucas Sharp of Sharp Type
2. Dash Casual Light, designed by Petra Dočekalová for Typotheque
3. Ceraph, designed by Emma Piercy for Sharp Type

The text inside is set up in Sharp Serif Text, a new text typeface designed by Lucas Sharp and released in spring 2024.

TEDx is an international community that organizes TED-style events anywhere and everywhere – celebrating locally-driven ideas and elevating them to a global stage. TEDx events are produced independently of TED conferences, each event curates speakers on their own, but based on TED’s format and rules.

The main theme of TEDxKatowice 2019 was “Poza zasięgiem,” which translates from Polish as “Beyond Reach.”

The display font used for the event graphics is Misto, a wide all-caps typeface with reversed contrast made in 2019 by Ukrainian designer Kateryna Korolevtseva. Misto is paired with Gopher for text, used with its alternate a. Also released in 2019, Gopher was designed by Adam Ladd, a designer from the United States.

Underlined U set in Uberdank (designed by Alan Cheetham and released through his A Studio) at 825 pt on an Utnefjord background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female typographers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

V set in V1olet (designed by Carmen Nácher and released by C-Type) at 990 pt on a Vertically-Varied Violet and Violet Stripe background

W set in WT Zaft² C2 (designed by Jacob Wise and Céline Hurka and released by WiseType) at 1,090 pt on a Whipstitch-bound Woodland background

XL X set in Xyla (digitized by Iza W and released by Intellecta Design) at 3,128 pt on a XOXO background

Y set in Yokai Medium (designed by Valerio Monopoli and released by Off Type) at 950 pt on a Yolk background with Yardstick-high loops

Z set in ZNVT21 (designed by Zin Nagao and released by FOZNT) at 1,180 pt on a Zinnia background with Zero-margins

The Dinner Ladies needed a recipe for a rebrand that would not only pay respect to their unique origin story but bring their visual and verbal identity up to speed with their growth as Australia’s tastiest frozen meal service. Universal Favourite joined forces to cook them up a fresh look and feel that reflects their homely meals and anti-"mumsy" attitude, extending all the way from their website through to their packaging.

Universal Favourite used the typeface Denim by Displaay Type Foundry to show off The Dinner Ladies' confident personality yet retain practicality. Denim Wide’s used in headings and CTA applications to command attention, while its regular cut counterpart rounds out the system with a friendly, clean and legible option for subheadings and body copy. With its subtle details, the typeface can be an attention-grabbing hero element that showcases the bold tone of voice but also work alongside more expressive moments.

The logo is based on Oddity Script by Resistenza, redrawn and personalised by illustrator Jake Foreman with his iconic texture and gritty stipple.

Retour de Cueillette provides edible flowers and aromatic plants to restaurants in Marseille, France. Created in 2024, the structure promotes sustainable wildcrafting with participatory workshops and nature walks. To design the identity, Odd Forms Studio used the typeface Kaio Krilin by Romain Oudin, Disc by Lucas Descroix, and Chaumont Script by Alexandre Bassi.

On their website, the designers describe the project in the following words (translated from French by the contributor):

The vibrant illustrations and dynamic typography reflect the joy and authenticity of wild harvesting while highlighting the brand's ecological and local values.

Generaciones is the most consolidated Young Contemporary Art Prize of Spain. Organized by Fundación Montemadrid and held at La Casa Encendida in Madrid, Generaciones have produced, exhibited and promoted the work of young artists since 2000.

In 2019 a sense of theatrical intent was noticed across the awarded projects, thus the editorial design was conceived as a lighter and playful counterpart of the previous year’s publication .

In the cover a puppet mobile theater is depicted as a child construction game in which each piece creates a dull colour palette. This circus look was combined with an inverted-contrast typeface – Opposit by Good Type Foundry – preserving the dense grid system of the previous publication.

MadeByShape undertook a comprehensive branding project for Natterjack to craft a vibrant and distinctive identity that resonates with the target audience. The collaboration focused on developing a fresh logo, typography, a dynamic colour palette, and an engaging website design that captures the spirit of Natterjack’s innovative approach to its market. This creative overhaul not only enhanced Natterjack’s visual and digital presence but also strategically positioned the brand for growth and greater market engagement.

The poster for the 2024 edition the Magic Barbès festival titled “United” was designed by French graphic design studio Image Format, based in Paris and Marseille.

Magic Barbès is a collaborative festival created by FGO Barbara and driven by dedicated individuals who work tirelessly throughout the year to offer a wide range of activities and collective experiences to everyone in the Goutte d’Or community, whether they live there, work there, or simply pass through. This event brings together professionals and volunteers to breathe life into the urban fabric of the area. Expect concerts, tournaments, panel discussions, meetings, workshops, and even a cultural olympiad! It's a celebration of joy, harmony, and well-being where everyone is welcome to join in the fun.

Pociąg do Hollywood (“Train for Hollywood”) is a 1987 Polish comedy film directed by Radosław Piwowarski and starring Katarzyna Figura as the “Polish Marilyn Monroe”.

For the Czechoslovak release in 1988, Zdeněk Ziegler designed a poster that shows the title on a steep angle, with letters from alternating typefaces set on a bouncing baseline. Is this a typographic depiction of a derailing train?

The star of the show is the Y from Astral, here in a four-color rendition. The title starts and ends with Caslon 540 Italic. The H probably is from Comstock Condensed, the L from Stencil, and the O’s from something similar to Thorne Shaded – maybe a version of Figgins Shaded? The small print with the credits is set in what looks like Universal Grotesk.

I just learned that Zdeněk Ziegler passed away a year ago, on April 18, 2023. He was 90. RIP.

The Saisons Culturelles poster

Following the creation of the town of Chaumont’s visual identity, the Baldinger•Vu-Huu studio team started work on the sub-identity for Chaumont’s Cultural Seasons. The city of Chaumont boasts a rich cultural programme. As well as being the city of graphic design, it also wants to showcase the city’s cultural offering. To this end, eight years ago, they launched the “Saisons Culturelles”, supported by a newspaper, a website and posters, which are renewed every year.

It was necessary to create a sub-identity, with a visual link to the main identity in order to clearly identify the sender, but at the same time distinct from it in order to be recognized as something special. To achieve this, the Baldinger•Vu-Huu studio used Dina Chaumont, the typeface family they created for the city of Chaumont, and designed new pictograms, abstract shapes that are freer and more organic. On top of that, they played with a bright and bold color palette.

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles website

Pearl Bailey’s The Raw Pearl was originally published by Harcourt, Brace & World in 1968, see Garrison’s contribution about the first edition with West Behemoth Italic Swash on the book jacket.

Shown here is a 1971 paperback edition by Pocket Books. It features another bold italic with swashes, likewise from the catalog of Photo-Lettering: this time it’s Cooper Nouveau Swash 10 by Dave West.

The quotes on the back cover are set in Century Bold.

Singing to Liberation is about Indian students’ resistance to the wave of nationalism in their country.

Published by Daraja Press, Wakefield, Quebec.

Our friends at Letterform Archive will hold their next Rare Book Sale on December 9, 2023. Typophiles eager to get their hands on some delightful duplicates can drop by on-site in San Francisco or online at the website. Hint, hint: members get early access to the sale.

We’re clearing out a treasure trove of rare duplicates from the collection, from 19th–20th-century type specimens and hard-to-find design books and periodicals, to ephemera and other design collectibles. This is the perfect place to discover something special for your own collection or to snag a few unique holiday gifts, whether you attend the local sale or browse our special online selection from wherever you are.

Elise Carlton’s design for the announcement indulges in a 19th-century aesthetic, and specifically references chromatic wood type like that shown by William H. Page in 1874. The star of the show is HWT Etta. Designed by Lynne Yun and Maxime Gau, it consists of two styles, East and West, and was released in 2021 with the Hamilton Wood Type Foundry. Established in 2012, that’s a joint venture between P22 Type Foundry and the Hamilton Wood Type & Printing Museum.

The word “AND” on the right is a so-called catchword. Such decorative whole-word sorts were common in American wood type and are also known as logotypes, or logograms. This specific glyph is included in Miranda Roth’s HWT Catchwords. Other digital fonts with similar vintage catchwords include Brothers, Adobe Wood Type Ornaments, and Catch Words JNL.

The festive setting is crowned by Crayonette DJR, David Jonathan Ross’s digital revival of an italic design with horizontal contrast that was originally dreamt up by Henry Brehmer in 1889.

Addendum: I learned that for the 2023 announcement, Carlton reused her design from the previous year, with new colors.

Source: archive.org Internet Archive. License: All Rights Reserved.

Crayonette in use for a Happy Time Record named after the 1968 musical motion picture and designed and illustrated by Frank Daniel, vice president of creative services for Pickwick International.

Children’s classics in story and song like ‘Peter Pan’, ‘Pinocchio’, ‘Snow White & The 7 Dwarfs’ are beautifully created with all the charm and fantasy children love, and parents and educators approve. From the children’s cinema there is the joyous ‘Born Free’, the animal hi-jinks of the beloved Dr. Dolittle, the freshness of ‘The Sound Of Music’. All the Mother Goose favorites, the animal stories, and of course the legendary Puff! Mary Poppins too! A delightful combination of enjoyment and learning awaits the young listener in these happiest of records.

The claim on the back cover reads “Happiness is a Happy Time Record”. Accompanied by a little couple (Peter Pan & Wendy Darling?), it might look like a nod to Kim Casali’s “Love Is …” comic strip, which used Crayonette since day one. There is a catch, though: the comic strip was first published on January 5, 1970. Discogs and the Internet Archive date this album to 1969 – and Happy Time Records were launched years earlier. So … is it the other way around? Or just coincidence?

“Happy Time” is in another script typeface with horizontal contrast: Gonzales Jeanette.

[More info on Discogs]

Source: www.ebay.ca coolcollectablestuff123. License: All Rights Reserved.

Source: www.ebay.ca coolcollectablestuff123. License: All Rights Reserved.

Detail

Source: www.ebay.ca coolcollectablestuff123. License: All Rights Reserved.

Detail

For the 11th edition of Bien Urbain in Besançon, France, the association Juste ici called on us to carry out the communication of the festival. We have produced a series of posters and media that question public displays and their place in the urban landscape. These invitations to appropriate the public space multiplied in the city during the festival. We have also designed a program plan that allows you to see the past and ongoing works present in the city. But also to learn more about the artists and see the many events.

A breakthrough product needs a breakthrough brand identity. We focused on building a visual and verbal identity that cut through the noise with differentiation and delight. An identity system that captures and translates the surprise moment of the product throughout the entire brand experience. With our key audiences leading the narrative, we constructed a visual system that wreaked with nostalgia. Like a song that immediately transports you back in time to your childhood roller rink or bowling alley. We arrived at the perfect intersection of retro nostalgia with a modern twist.

The Social Sleeve design system uses a a variety of components, allowing for fluid, unique, and eye-catching executions. The primary logo – based on West Cooper Nouveau Swash – is unconventional, teetering functionality with flair. Its soft and flowy construction is sure to turn some heads. Our brand mark might bust through your living room wall when you least expect it. Surprise!

The Social Sleeve typographic system doesn’t hesitate. Leading the charge is Okay! Serif from Gradient. This display gem makes you want to write your name, frame it, and put on your wall. Sliding in for support copy is Obviously – the groovy workhorse by OH no Type Co.. Our type system has attitude and confidence, while bringing comfort and warmth. The pairings compliment one another with curved serifs / stress.

This swim cap design for the Brooklyn-based team Bedford Bombers was inspired by bodega and food stand signage of the surrounding neighborhood. It combines Pump (with a modified F) and Kalligraphia (with a custom er ligature). “BK’s Best” is added in italic caps from Avenir.

Cover photography by Magali Polverino (001), Magali Polverino (002), Sebastian Lopez Brach (003); design by Max Wilson

Launched in Argentina at the beginning of 2021, Anchoa started first as an annual print magazine, of which there have been three issues so far, and now includes a digital platform for exclusive members' content as well as a podcast. Anchoa explores gastronomy through ecology, food production systems, history and culture.

The mainstays of the project are Ribes Black and Objektiv. Issue one used Acme Gothic, but that was dropped for issue two in favour of more Objektiv. Since launching the podcast and membership platform Gopher was added to support and complement Ribes. The variety of weights available with Gopher makes it more flexible across the brand. The logo uses Ribes Black, which is from Collletttivo and designed by Luigi Gorlero.

The idea with Anchoa was to have something that looks familiar in the market of independent magazines but not too samey, not too trendy. We wanted the magazine to stand out in the international market, where there are a hundred other independent food magazines, but also not look too out of place in Argentina, where there are relatively very few independent magazines.

We didn't want to do that thing where it looks like you took something from one market and cloned it for another – but at the same time, we didn't want to go off and accidentally make something too difficult to decode for the Argentine and wider Latin American market.

It’s common to see reverse contrast lettering on storefronts for small businesses around Buenos Aires, anything from a classic neighbourhood lavandería to a new opening coffee shop – likely the Italian influence on the city. Ribes Black feels at home in Argentina. Gopher is a nice reserve-stress companion to Ribes, it carries a similar style but is a little easier on the eye for some of the small text settings and it’s nice to have the option of different weights to use around the brand. Objektiv is the workhorse of the brand. We liked the 1930s feel to Objektiv, reminiscent of a golden era in Argentina, a really exciting time in the life of the city. Objektiv was created by Brazilian type designer Bruno Mello, a final South American detail behind the choices.

Another big consideration was the economy. The specifics of the market, the situation with the Argentine currency and inflation. Buying a typeface from, say, a Canadian company, would incur an extra tax of around 50%. These problems are everywhere when you start working with software and services all charging in dollars or euros. A web platform like Squarespace plus a couple of premium fonts can total more than a decent month’s salary. Thankfully, Adobe has found a way to charge a fairer local rate than a straight conversion of their US price.

With the membership platform continuing to grow and the podcast continuing to develop, we’ll see, but hopefully the latest round of changes to the brand typography will be the last for a while. Did we hit the brief? Let’s admit for a second there wasn’t really a brief, just a few guiding thoughts. There isn’t a huge market for indie mags in Argentina, compared to, say, the US, where there are hundreds of examples. There was some tension between wanting the magazine to look new and exciting, cool, or even edgy in its presentation and design, but also for it to present as a serious, quality product to a broad audience. We found a balance, eventually.

“He may not look like he knows what he’s doing but this layout system was put together by somebody who does” – this was feedback received on the design of issue one, from a legend of the print industry in Argentina, a man with a great sense of humour, some seventy-plus years experience in the publishing industry and numerous magazines to his name. Issue three is dedicated to Alberto Fontevecchia.

Photography (in the feature, 'Caá-mate') by Toya Sarno Jordan.

Illustration (in the screen) by Milagros Pico.

2022 rebrand by Gretel NY. The logomark is custom, derived from WiseType’s WT Zaft. As a customizable data analytics and business intelligence (BI) platform, Mode’s rebrand played off of its ability to build charts and reports based on your data by implementing a flexible, adaptable grid system that reacts to content in unique and different ways. Put another way, Mode exists to “fill in the gaps” around customers’ data and connect them together in compelling ways. The serif typefaces allow more versatility in stretching, squashing, and manipulating type in various configurations while still retaining recognizable letterform shapes. The green color scheme and “retro” serifs also evoke images of retro computing and a “close-to-the-metal” look and feel. The brand typefaces are Grenette by Colophon and Graphik by Commercial Type.

Homepage detail

Megascope interspersed with Ed’s Market Bold Script

Studio Yukiko has created a playful, energetic, and—dare I say—delicious design for Door Dash’s Secret Menu magazine about local food culture. From Studio Yukiko:

This issue dives deep into Miami’s almighty hustle - A food scene boasting one of the wildest most diverse restaurant cultures in America. It follows stories of taco stands morphing into Michelin starred Italian spots, Black-owned vegan restaurants, reinvented Jewish delis, Cuban and Caribbean stalwarts, and so much more…

“Wild” and “diverse” could also be used to describe the issue’s design and typography. The fonts and layouts are playful, colorful, fun, and varied, with each article spread getting its own special typographic treatment. There is no shortage of sunset-like linear gradients, text effects like outlines and glows, and mixing of typefaces on the same line.

The eclectic design is united by a core palette of typefaces: Megascope is used across the issue for headlines, a callout to Miami’s connection to Art Deco. Random letters are replaced by Ed’s Market (both Script and Slant styles), bringing some movement and dynamism into the static, geometric typeface. Text is set in Surt and ITC Bookman, with Mrs Sheppards appearing in supporting text such as bylines. Jackpot Italic and Middleton Brush are featured on the cover, and Goudy Two Shoes, Compagnon (& Compagnon Bold), Promenades, Pipo, Generation September and Marlfield make special appearances in individual spreads. One of my favorite details is how the page numbers—mostly set in Megascope—become such a dominant part of the layout. A few tiny appearances of other guest typefaces (for photo credits, or a single word here and there) are not mentioned here.

The design team for this project included Sebastien Millot, Michelle Phillips, and Kir Nazarov, with production by Mike Teevee. David Amsden and Erin Ruffin are the editors-in-chief of the magazine. According to Phillips, “for the Miami Issue for Secret Menu, we wanted to bring the instantly recognisable world of Iconic Miami’s Mimo and Art Deco style together with its lax small-town scrappiness by combining a geometric sans (Megascope), with a brush script (Ed’s Market) to really bring out Miami’s almighty food culture scene.”

Cover ft. Jackpot and Middleton Brush for the title

Table of contents with Megascope for page numbers and headlines and Goudy Two Shoes for “Issue 02”. “Buzzworthy” is set in Compagnon Bold.

Text in ITC Bookman and Surt

Megascope with stacked glyphs and integrated into an image. The bold serif used for “Greater Miami” is Marlfield from Eliott Grunewald.

Megascope plus Ed’s Market with added stripes, compare Gadget. (The font used for “El Palacio de los jugos” is Balloon.)

Compagnon Bold with glossy effect

Megascope combined with Pipo Medium (“Flame”)

Megascope with staircase glyphs and Compagnon for captions

Megascope mixed with Ed’s Market Narrow Slant (“MM”) and Slant (“57”)

“The Great” and “Little Havana” are in Promenades.

Megascope with glow effect plus Generation September set on angle

Credits in Mrs Sheppards, text in Surt