Weaponized Innocence is a newsprint publication made as student project at the ArtCenter College of Design. It explores the exploitation of children in warfare, combining striking visuals, impactful storytelling, and a thoughtful design. It transitions from the harsh realities of child soldiering to messages of hope and recovery, emphasizing UNICEF’s vital role in protecting and rehabilitating affected children.

Permanent Headline was chosen for headers due to its bold intensity and resemblance to war headlines. In the first half of the editorial, the tightly tracked, blurred, and posterized letters convey the chaos and brutality of war. In contrast, the second half transitions to loosely and evenly tracked letters, symbolizing the hope and freedom UNICEF brings to children.

Pitch was selected for body text, offering a contemporary take on monospaced typewriter fonts that lend a governmental and matter-of-fact tone. Quotes are highlighted in red in the first half and blue in the second, with larger, all-caps type emphasizing key points at the end of each paragraph.

A short announcement used by (a) movie theater(s) to advertise a Thanksgiving show, sometime in the 1950s. Digitized by FT Depot. The typography uses Condensed styles of Franklin Gothic and Memphis, plus Mandate and a yet unidentified sans serif, possibly (lettering based on) Vogue using its straight sided M.

After its comeback in March 2024, Gonzaï finally publishes its second issue. On its green cover, the famous producer and artist Mirwais breaks his silence in a surprising interview. Also in this issue: the story of an engineer who became an internet star; the comeback of Suzi Ronson (David Bowie’s former hairdresser); the must-have book, album, show of the summer and much more to discover inside. All guaranteed free of adverts — except the fake ones.

The French tabloid periodical designed by Quentin Hourie is set in News No. 2 and Etrusco Now and printed in two colors.

The Gonzaï logo is based on Futura. Secondary typefaces used in issue Nº2 include FT88 and Brush Script.

Less than two years after the first Lettera compendium was published in Zürich, Schmalfette Grotesk had already reached New York, as evidenced by its appearance on this LP cover designed by Milton Glaser. It is used here for the title and the conductor’s name (though the latter misses an umlaut on the O), while all secondary information is in News Gothic Condensed.

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Cover for a recording of the musical Rose-Marie, featuring Julie Andrews, Giorgio Tozzi, and the New Symphony Orchestra Of London conducted by Lehman Engel. The design combines Baskerville Old Face in two stacked and justified lines of all caps with illustration by Al Parker (1906–1985).

Annonce a.k.a. Aurora-Grotesk V in use for Georges Bizet’s Carmen, recorded by Andre Kostelanetz and His Orchestra and issued by Columbia Masterworks in 1954.

A year later, in 1955 – and four decades after the typeface’s original release – the Amsterdam Type Foundry re-issued this wide and heavy design as Vette Annonce.

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The fett weight of Volta, Konrad F. Bauer’s and Walter Baum’s wide Clarendon, in use on a typographic cover design by Charles E. Murphy a few years after it was first cast by Bauer in 1956.

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Combined edition of Le Musée noir (1946) and Soleil des loups (1951) by French surrealist writer André Pieyre de Mandiargues (1909–1991), published by Jean-Jacques Pauvert, Paris, in 1957. Cover design by Jacques Darche (1920–1965).

The ornamented caps are from an alphabet by Jean Midolle shown in his lettering sampler Spécimen des écritures modernes (1834–1835) as Romaine (genre arabesque). It later was reproduced in Lettera 2 (1961), without the shading. In c. 1971, Mecanorma issued a version for dry-transfer lettering named “82C Lettres Ornees”, or Lettres Ornées C.