Elaine Lustig Cohen, exhibition catalog for Picasso: Five Master Works, Kootz Gallery, New York, 1958.

In addition to designing for book covers, Elaine Lustig Cohen was involved in the art world. This catalog for a Picasso exhibition at the Kootz Gallery in 1958 uses Clarendon, decorated with stencil-like lettering.

Emil Ruder designed all the covers of the 1961 run of Typographische Monatsblätter with some variant of Univers, repeating this pattern by increasing and decreasing point sizes. This issue features Univers 48, the light (= 4) condensed italic (= 8) member of the numbered system. Letterform Archive has a nearly complete run of the Swiss typography journal in its periodical collection.

Mondo Grosso logo

Mondo Grosso, an alias for Shinichi Osawa, is a Japanese producer/musician/DJ and has been one of Japan’s greatest electronic producers and DJs of recent. He was part of an acid jazz band started in 1991 and named Mondo Grosso, an Italian word meaning “big world.” In 1995, the band disseminated and Shinichi Osawa took on the alias of Mondo Grosso. In 1997 he produced the album Closer and until the mid 2000s he has produced many albums as Mondo Grosso, but also helped to produce for many influential R&B and Jazz musicians such as Bird and Monday Michiru, Paula Lima, and Amel Larrieux.

From the late 2000s he focused his production and music in the electronic dance, house, electro, and big house scene, and is now regarded as one of the most popular DJs in Japan. He has collaborated with other famous Japanese producers such as Tomoyuki Tanaka (AKA Fantastic Plastic Machine) and Taku Takahashi (one half of M-Flo) to create Ravex, under the Japanese music label Avex Trax.

These sets of album art covers feature his late 1990s/early 2000s phase, which is mostly comprised of jazz, latin jazz, R&B, downtempo, and even 2-step and UK Garage. These are some of the album art covers of his singles, such as Life and Now You Know Better.

Life (Real Eyes/Epic, 2000). Design and Art Direction by Alias. Photography by Jonathan de Villiers

Life back cover

Now You Know Better (Real Eyes/Epic, 2000). Design and Art Direction by Alias. Photography by Jonathan de Villiers

Now You Know Better back cover

Butterfly (Real Eyes/Epic, 2000). Design and Art Direction by Alias. Photography by Jonathan de Villiers

Butterfly back cover

MG4 album (Real Eyes/Epic, 2000/2001). Design and Art Direction by Alias

MG4 back cover (original design)

MG4 back cover – adaptation as used for the UK vinyl release, with Bauer Bodoni

MG4 inner sleeve

Don’t Let Go (Real Eyes/Sony, 2001). Designer unknown

Travel guide for the island of Capri, Italy, set in various styles of Linotype Didot including small caps, italics, and the distinguished Headline cut. Available from Imago edizioni.

This flyer from JazzFest Berlin '94 captures the zeitgeist with FF Blur, some funky geometric lettering and the deep blue/mud brown color plalette.

In this special issue of Stadtaspekte magazine Jakob Kornelli masterfully explores the four different optical sizes of Robert Slimbach’s masterpiece Minion. The composition alternates between huge headlines and page-stuffing long form, arranged on a stage of color and photography, grabbing every opportunity to show off this modern classic.

BIS Publishers:

In 1922, the Cooper Black typeface entered the world and turned a word into a gesture just by its looks: the undeniable poker face of all typefaces.
Cooper Black is a survivor; it outlived World War II, the first step on the moon, the Cold War, hurricanes, Chinese massage salons, cheap sleazy magazines and storefronts.
This book is a celebration of this famous typeface. It tells its history, but first and foremost it shows how Cooper Black has been used the world over by designers of all sorts.
A very funny gift book for Cooper Black lovers and graphic designers in general.

Editors / Graphic Design: Karin ter Laak and Charlotte Aal
Executive Editor / Art Director: Ward Nicolaas
Copy: Ellen Ter Beek

Disco Inferno, a band as criminally underrated as they are seminal. Their sample heavy, Acid influenced rock was simply too good for a mid-90s UK obsessed with Britpop. I always loved the use of VAG Rounded, playing very nicely with the rounded band logo type.

Cover of "The 5 EPs" compilation, 2011.

Collect is an international art fair that this year took place between the 2–6 of February at London’s Saatchi Gallery. Presented by the Crafts Council, Collect gave visitors the chance to see and buy museum-quality and contemporary ceramics, glass, jewellery, wood, metal and textiles created by established and emerging artists and makers represented by over thirty of the world’s best galleries.

Collect’s brand identity, designed by Spin, draws character, play and visual interest from an economical use of Brauer Neue, and a black and white colour palette, and went on to include a variety of print communications including leaflets and catalogue, art direction, animation, advertising, signage and environmental graphics.

Read more about this project on BP&O.

“Zie ik je snel?” (See you soon?) and “Jij ziet er goed uit” (You look good).

VAG: plumped, notched, and extruded at Den Haag Centraal (The Hague Central Station). The font actually takes the faux bolding pretty well, but it’s a little rough in the turn of the ‘J’ and the blobby question mark. Still, this treatment manages to get a new look out of an old familiar face.

I believe this is simply a hip “under construction” campaign, but I’m not certain. Please let me know if I’m wrong, and also if you know the designers responsible. Thanks!

Update: More images added. See comments below for more info on the campaign.

Website for Konstfrämjandet, a Swedish art organization that “produces and provides art throughout Sweden, eg through traveling exhibitions, the production of new works of art, the sale of graphic art and courses as well as other in-depth projects”.

The new editorially driven website, designed and produced by Konst & Teknik & Martin, was designed with the starting point to make long reads as diverse and interesting as possible, while still being easy to write and edit by its numorus editors around Sweden, and with a great emphasis on details. Konstfrämjandets’ different districs around the country — currently eight — all have their own color in order to make them differ from the main site, and many small visual tricks and treats have been implemented on the site (scrollbars! multiply! rounded images!).

www.konstframjandet.se

Long reads are made typographically diverse, using for example drop caps, and quotes and images seperated into the right column.

Each distric has its own color, in order to give them their own identity while still maintaining a connection to the main site.

Konstfrämjandets’ projects are visually made as diverse as possible, with different options for layout adjustments for the sites’ editors.

A web/video announcement for a lecture by renowned dancer-choreographer Yvonne Rainer at the Yale School of Art. Featuring ITC Ronda Bold and Prestige Elite over Rainer’s Hand Movie from 1966. (video source: UbuWeb)

This is a poster series for a contemporary music ensemble called “ensemble proton bern”. 
It is a laboratory for “new music”. They feature new composers and therefore have many first releases.

In this sense I put the proton as a main object into each poster followed by a very strong typeface which is knit together with the protons. Yet the typeface with its very hard edges confront the protons and lead to a playful interaction between round- and edginess.

Apple Keyboard (A1242), introduced with the iMac revision in 2009.

“Apple's keyboards were long labeled with Univers 57 (Condensed Oblique), a design choice by Apple's industrial design partner, Frog Design. This began in 1984 with the Apple IIc, which had tilted front-panel buttons to match the inclination of the lettering. Univers was eventually replaced on Apple's keyboards by VAG Rounded, which has been used on all iBook models, PowerBooks introduced after 2003, MacBooks, MacBooks Pro, MacBooks Air, and Apple Keyboards since August 2007.” — Wikipedia

In March 2015, Apple marked its first departure from VAG Rounded as a standard for its keyboards by using its own San Francisco typeface on their new MacBook models.

 14” iBook G4, launched in 2003.

Apple Keyboard (A1243), introduced in 2007.

MacBook Air, 2014 edition.

The common face of the Brighton Festival since the Johnson Banks rebranding in 2013.

TEDx Talks:

Sarah shares with us a story of type and invites us to consider our emotional response to the printed word. Each font/typeface has a personality that influences our interpretation of the words we read by evoking our emotions and setting the scene. We all understand this instinctively but it happens on a subconscious level. Sarah shows us that conscious awareness of the emotional life of fonts can be entertaining and ultimately give us more control over the decisions we make.

Designer Sarah Hyndman explores typography as we experience it in our every day lives under the banner of Type Tasting. Since the launch in 2013 she’s curated an exhibition at the V&A for the London Design Festival, been interviewed on Radio 4’s Today, taken Type Tasting to South by Southwest in Austin, Texas and has been commissioned to write a book.

Klute was used to demonstrate Sarah’s proposition that font choice can determine or effect experience. 100 people were given the same flavour jellybeans to eat while looking at a round typeface, then Klute. They rated the jellybean while looking at Klute as 11% more sour.

To illustrate ‘fonts turn words into stories’, Klute was also shown to represent Darth Vader, against a rounded serif typeface repersenting Luke Skywalker as part of ‘a story in 15 fonts’.

Brand identity for Great Eastern Energy, an energy service company, designed by Natasha Jen, (partner-in-charge and designer), with Belinda Chen, (designer) of Pentagram. The brand's wordmark and primary typography are set in ITC Lubalin Graph.

On the Creative Review blog, in-house designer at Vintage Books, James Jones, explains his typographic approach to designing six covers for paperback editions of Jeanette Winterson books:

"[…] I couldn't find any images that were bold enough to carry Jeanette's world," he says. "This quickly progressed to purely typographic covers before I began introducing some hand-drawn illustrations. […]

"I knew the images I wanted to create would be fairly vibrant and somewhat surreal in their finished outcome, so a much cleaner sans serif typeface was needed to compliment them," he says.

"Any hand-written type would have detracted too much from the images. The illustrations began life as simple line drawings, but they lacked the flair and imagination that Jeanette brings to her writing."

Robert Priest and Grace Lee play off the ecclesiastical nature of their names for their Priest + Grace studio logo. One wise modification was made to Fette Fraktur’s ‘G’, giving it a beard so it would be more easily recognized by an audience unaccustomed to the ornamental Blackletter style.