Album cover for the soundtrack by Ernest Gold, composer of Exodus [More info on Discogs]

Judgment at Nuremberg depicts a fictionalized version of the Judges’ Trial of 1947, one of the twelve Nuremberg Military Tribunals conducted under the auspices of the U.S. military in the aftermath of World War II. Stanley Kramer’s 1961 film about the trial of 16 Nazi jurists and lawyers is based on a courtroom drama written by Abby Mann. It featured some of the best actors working in Hollywood at the time, including Spencer Tracy, Burt Lancaster, Richard Widmark, Werner Klemperer, Marlene Dietrich, Judy Garland, William Shatner, Montgomery Clift, and an Oscar winning performance by Maximilian Schell. The film won three Academy Awards in total and was nominated in nine more categories.

Both the theatrical release posters and the cover of Ernest Gold’s soundtrack feature the compressed Inserat-Grotesk as the primary typeface.

One Sheet (27″×41″) poster

Six Sheet (79″×80″) poster

On the occasion of her exhibition Total at Lafayette Anticipations, this catalog traces the practice of artist Martine Syms (b. 1988). Between intimate references, historical archives, cultural representations of blackness, feminist history, and invocations of spirituality, Total is a survey of the artist’s creative production and artistic sensivity since her career start in 2002.

Text by Guillaume Houzé, Rebecca Lamarche-Vadel, Claudia Rankine, Hannah Black, and Martine Syms. Edited by Antonine Scali Ringwald, and Martine Syms.

Visual identity including flyers, posters and digital images for From Here To There, a series of events at VROOM in Brussels. The drawings and design were created by Maya Strobbe.

a joint effort is a space for artists to connect with the goal of more local music and collaboration. There’s so much incredible music being made in bedrooms in our city that would benefit from being part of a scene whether an artist is looking for people to remix their track, a vocalist for a hook, one more verse on their track, or even just a beat to go with lyrics that haven’t even been recorded. a joint effort is brought to you by Astral Projections.

For years I have been typing in all caps (mostly due to MF DOOM) and thought I would try something in lowercase letters for a change.

Letterpress printed poster, 64×97.6cm, on mirror coat paper

Letterpress printed poster for Typographic Printing Program 2024. Printed from hand carved linoleum (squares and larger type) and freshly cast Ludlow hot metal slugs (tiny 6pt type).

All lines on this poster are dead-straight. The morphing of the straight lines happens by the strategic placement of the positive and negative letterforms. It is crucial to have one letterform in mostly every corner of the grid. So I needed a total 34 words with between 9 and 13 letters each. That’s one example why it is impossible to design a good poster with content that is not fitting the visual concept—and vice versa. They go hand in hand.

Format: 64×97.6cm
Paper: Heavymetal, 170g/m²
Edition: 300 letterpress printed posters

Process of cutting the linoleum for printing. Though all the lines of the checkerboard are straight, they already appear bent.

Printing process of the hand-cut linoleum on a letterpress proof press

Kunstverein Jena (Jena Art Association) was founded in 1903. In some of its early years, the organization held exhibitions at the Bauhaus in nearby Weimar, and later they were shown in Jena at the Prinzessinnenschlösschen (also known as the Griesbachsches Gartenhaus). This series of 10.5 × 14.9 cm handbills, designed by exhibition director Walter Dexel, is a fine example of the “new typography” promoted by László Moholy-Nagy at the Bauhaus in 1923. Paraphrasing Dexel from his contribution to Bodo Rasch's 1930 Der gefesselte Blick (The Shackled View):

"We no longer seek the so-called ‘beauty’, but clarity. The man of today has the right to demand that the information he needs be presented to him in a concise and clear manner."

The fliers use a variety of the grotesks favored by Bauhaus artists, as described by Indra Kupferschmid in one of the first articles on Fonts In Use. These include Venus, Akzidenz-Grotesk, and not Breite halbfette Grotesk but the similar Blockschrift, along with other unidentified sans serifs.

Further reading: Jena und das Bauhaus [PDF] by Volker Wahl, 1979.

One-color version of the previous design with the program for fall 1925, feat. Johannes Auerbach, August Macke, and Georg Kötschau. “HERBST 1925” is set in the breit weight of Koralle.

1924: Oskar Schlemmer

Membership card for 1925. The annual fee was 6 Mark.

1925: Wassily Kandinsky

1926: Adolf Meyer. Schmale Etienne along the side.

1926: Karl Hofer. Coming up: Heinrich Zille, Arthur Segal, Man Ray

1926. “NEUE SACHLICHKEIT” is likely Fette Egyptienne or Schelter & Giesecke’s Schmale fette Egyptienne, later issued by Amsterdam as Egyptienne Bold Condensed. The exhibition showed works from Otto Dix, George Grosz and many other artists of the New Objectivity.

1926: Lovis Corinth

1927.

1927: Lyonel Feininger

This 1928 photography exhibition featured works by Hugo Erfurth, Lotte (and Richard?) Errell, Lucia Moholy and her husband László Moholy-Nagy, Walter Peterhans, Albert Renger-Patzsch, Umbo (Otto Umbehr) and others. 14.8 ✕ 21 cm.