The BNP Paribas annual event took place at the Courtauld Gallery, London.

In 2012, the theme was “An evening of art and celebration”. The design, a humorous take on the art on display, was used as invitation designs and HTML email communications to entice some of the industry’s most elite investors at a time of year saturated by corporate events.

This booklet was printed at the occasion of Sem Hartz’ 80th birthday in 1992. It comprises six essays by Hartz, collected by Mathieu Lommen, plus two samples of typefaces of his hand, Juliana and Spectrum Semibold (latter made as an expansion to Jan van Krimpen’s design).

Designed and printed by Bram de Does. The book is set in two other typefaces by Hartz, Emergo for text with the Molé Foliate capitals for initials and the reversed alphabet on the cover. Emergo was finished at 12p size, but never released. It was only used in Hartz’ own printing press, the Tuinwijkpers. The book cover is printed on rag paper from 1942.

Art Director: Roseanne Serra

This cover for a sequel is appropriately done by the same designer as the first novel, using the same versatile typeface, with a little redrawing on a swash or two.

(Could we have fixed the kerning on ‘York’ at top right, though?)

Emboss and spot varnish on the four big lines …

“Each Cold Classics release features a remastered version of a traditional beer style, paired with an homage to pulp science fiction. Each label in the series will feature a glimpse of a larger storyline, featuring the brewery's primary brand character, Eve, and her accomplices. Eve represents Bottle Logic's can-do attitude, rebellious spirit, and thirst for knowledge (and great beer).” — Emrich Office

Festival poster with triline caps that became Parade Three.

The Design Parade is an annual festival in Hyères, France, featuring exhibitions, meetings and an international competition dedicated to young designers.

The first three styles of the Parade typeface were designed as part of the Design Parade 8 festival in 2013. This led to the creation of the foundry Lift Type. Subsequently, Parade has grown into a family of 11 variations that are/were available free of charge for a limited time, or to a limited number of users.

Invitation flyer for Design Parade 8, printed in two colors, combining all three initial styles (Parade Two, Three and Four).

Cartographie artisanale — Villa Noailles. These posters were distributed during conversations on craft trades in the Var. Printed with two spot colors.

Parenthesis is a journal publication that conveys bookbinding, typography, collecting, publishing and related areas. It is published twice a year, with a Fall and a Spring issue and supplied to members of the Fine Press Book Associations. Each issue is unique in its design and produced alternatively between North America and Europe. This issue was designed and typeset by Andrew Steeves in Neacademia by Sergei Egorov and printed at Gaspereau Press, Kentville, Nova Scotia. Current and past issues can be directly ordered from FPBA website.

A book designed by Auckland-based agency InHouse, using Grist for its headline typography.

Modern: New Zealand Homes from 1938 to 1977 won the Gerard Reid Award for Best Book at the PANZ Book Awards. It also won the Random House New Zealand Award for Best Illustrated Book, the Mary Egan Publishing Award for Best Typography and was a finalist for Best Cover.

Counterform uses Streamline, one of the mid-century scripts designed by Leslie Cabarga for Font Bureau.

Personal publishing platform Cargo offers a few dozen design templates. Several of them have placeholder header images with quite interesting type choices. Four examples are shown here. Some others feature lettering. The logo for the Amsterdam template uses custom type originally designed by René Knip for the Afrika Museum.

The header image for the Cassini theme is set amply spaced lowercase letters from the Sketch style of Andreas Seidel’s Vtg Stencil Germany No.1. This font contains several alternates for each character which, combined with an intelligent OpenType flipper feature, can emulate a handmade look. Here, these alternates have not been used.

The template named after the famous U.S. president comes in one of the wider and heavier styles of Knockout, a quintessentially American typeface series.

The Warhol theme references Andy Warhol’s signature stamp in Coronet Bold, as seen on the cover of The Velvet Underground & Nico.

Futura based poster concept for The Limits Of Control by Jim Jarmusch

365typo is an annual book published by étapes: éditions in collaboration with ATypI. It features 365 key issues, events, behind-the-scenes storytelling and themes covered by some of the best writers in the field of typography, type, graphic design and visual communication. Edited by Linda Kudrnovská. Visit www.365typo.com to discover more.

Details of fonts in use

Punch Drunk Love — a book about Bukowski, drinks, women & stuff. Personal, non-commercial project. 340 pages.

Free Your Funk strikes again by inviting the fresh scene of future bass music: Lido (who is now producing for big artists like Kanye West), Point Point, Canblaster and DJ Slow.

The poster follows the graphics code developped in the previous collaborations between Free Your Funk and République, using a different typeface for every new artwork.

Site for Mast designed and developed by Extended Play.

British synthpop band Years and Years has been topping the charts in Europe and their Escheresque visual language is perfectly complimented by Bold Monday’s Macula. It appears as though the main album art is based on the forms of letters from the typeface.

Macula is used on the cover of the Communion album from 2015, as well as on a series of other releases, including the singles “Desire” (2014), “KIng” and “Shine” (2015) as well as the Y & Y EP (2015).

Working with John Morgan Studio, Monokrom created a new typeface – a variation of the Vinter family – for the visual identity of Royal Drawing School. The new styles will be included in an upcoming expansion of the Vinter family.

Gerard Marin:

Press Dossier for Circo Interior Bruto. A Jules Verne Circus (Amiens) initiative to publicize the Spanish contemporary circus projects developed within and outside the national territory.

Great use of Alias Glue for logotype and headlines, A2 Regular provides utility with an edge for text.

The release of the 2014 film adaptation of the detective novel Inherent Vice was met with enthusiasm by fans of filmmaker Paul Thomas Anderson and author Thomas Pynchon. Modified to resemble a neon sign, Drescher Grotesk is used for the titles of the film's promotional art. Whispery Rolling Pen is used for supporting text. Paintings by veteran poster artist Steven Chorney supplied psychedelic imagery with a comedic flair, a perfect match for the film.

Artwork by Dustin Stanton, a frequent collaborator of Paul Thomas Anderson.

Based around a painting by Steven Chorney. Art direction and titles by BLT Communications.

Screencaps from the trailer.

A month or so into the promotional process for Inherent Vice, two new typefaces started to make an appearance. Poster artist/type designer Corey Holms's Ne10 (seen here in all-caps) and Ryoichi Tsunekawa's Sneaker Script both work for ready-out-of-the-box neon-inspired type. ITC Serif Gothic is also in place for the quotes near the top.

Drescher Grotesk is based on Super Grotesk by Arno Drescher from 1930.

Tumblr/Instagram-friendly square images are now very much part of the movie promotional process. An outlined Drescher Grotesk is used here. Rolling Pen for the hashtag.

Original motion picture soundtrack by Jonny Greenwood. This particular cover is for the vinyl release.

The choice of a modified neon-influenced Drescher Grotesk was inspired by Tal Goretzky and Darren Haggar's jacket design for the 2009 release of Thomas Pynchon's novel. The artwork is based around a painting by Darshan Zenith.

Egelnick and Webb:

The Triton Building is the second luxury residential development on the British Land Regent’s Place estate and brings the best of British contemporary architecture to a prime West End location.

We created the brand identity and all marketing communications which included brochures, website, 42″ touch screens, mobile tablets and marketing suites in the UK and Far East.

Stephen Marshall Architects wanted the tower to look like fabric. We used a typeface that had a resonance with the woven forms of the building’s windows as well as a feeling of grandeur to reflect the Johnson Naylor interiors.