From Pentagram’s website:

Fashion imagery took centre stage during London Fashion Week, where a collage-aesthetic was used to convey the diversity of the participating designers. Various animations were created from a layering technique, with repeated images panning and overlapping across a 3D perspective. The images interacted and collided with the overlaid typographic grid-system, this time built using the classic serif Louize Display typeface.

The layered, collage effect was recreated throughout the event space by printing large-scale imagery on translucent fabric. Large-scale collages were also printed on vinyl, along with large typographic directional signage.

To close the season, London Fashion Week Festival’s identity ties in the same graphic language and typography as the womenswear showcase, which injects a contemporary couture aesthetic to the consumer-facing festival. A suite of behind-the-scenes imagery was integrated into the festival’s visuals, to provide the identity with both an aspirational and inclusive feel.

Pentagram designed collateral such as bespoke invites, event passes and information guides. These where in line with the British Fashion Council’s #PositiveFashion initiative, which placed an emphasis on digital production.

Design for Etilen Zine, Ele Geçirip Saptırma İçin Kullanıcı Kılavuzu (“A User's Guide to Deflexion”) by Guy Debord & Gil J. Wolman, 1956.

Poster by Daniel Martins (Aaltar System) for Bela Mandil, a short film directed by Helena Estrela and produced by Areosa, that will premiere at the Viennale 2018.

Through saline paths, hand in hand, two lovers wander. Whoever sees them feels afraid
of the echoes from the past. A fervent summer atmosphere rises. A song from the tides faints and invades the beach.

The composition and typefaces used — 12:51 by Colin Doerffler and Apoc Revelations by Blaze Type — capture the sober atmosphere with which the story evolves, together with the classical/medieval aesthetic, while not disregarding its contemporaneity.

Ilisarniq, designed by Montréal-based type foundry Coppers and Brasses and a selection of fonts by The Pyte Foundry in use for the 9th edition of Pica magazine, which is centered around the theme of risque / risk.

Pica is a student-run project that celebrates the vitality of UQAM’s multidisciplinary artistic community and encourages hybrid collaboration. Its aim is to promote the development
of local talent and connect with an international audience with educative talks, workshops and an annual publication. Pica is a playground where errors are encouraged and boundaries pushed.

Images from the Kickstarter crowdfunding campaign for issue 09 of Pica magazine, using a number of Pyte Foundry typefaces to present the pledges. The logo of Pica magazine seems to use Alto by Thomas Thiemich.

Risk brings us back to the very sources of creation. To create is necessarily to put ourselves in danger, to take a chance. Creatives fail, and the really good ones fail often, writes Neville Brody. Indeed, taking a step towards the unknown allows you to see new perspectives, to leave your comfort zone and to explore new avenues. In the margin, there is a world of possibilities often forgotten, reduced to self-censorship. But to dare is also to risk losing. The risk is ambiguous, since it is always hypothetical, its product results partly from chance. The line is sometimes very fine between failure and success. –– Pica Mag

Gza and Aperçu in use for a three-day rap festival in Reykjavík, Iceland. Design by Bobby Breiðholt in 2016.

Empty your calendar for this three-day rap fest. Attendance mandatory for hip-hop enthusiasts and those interested in the crème de la crème of Reykjavík’s hip-hop music scene. (...) Put on your kicks, practice your dab and sashay your way to Húrra, we assure you you’ll fit right in with the city’s freshest crowd.

Soil 2017 is a book published by Slow Money, a non-profit dedicated to catalyzing the flow of capital to local food systems. This book serves as a wide-ranging, often irreverent reference on the topic of nurture capital, from global economics to microbes in local soil. We worked closely with author and Slow Money founder Woody Tasch, to create a book that reflects its sustainability-focused contents.

The optical sizes available in GT Sectra (Text, Display and Fine) were all used extensively in this book. Robinson was used for sidenotes and captions.

Soil 2017 uses various weights of Neenah Conservation, a beautiful line of paper that’s 100% postconsumer recycled. Conservation is also exceptionally economical, making it a great choice for projects with limited budgets. We were thrilled that the book’s writing, editing, design, print production, and binding all took place within a five mile radius. Not only is this hyper-local approach analogous to the book’s core proposition, it results in a markedly reduced environmental impact since, typically, a significant portion of a book’s carbon footprint comes from transportation emissions.

Weltenburger Kloster – Anno 1050

The Art Nouveau typeface Romic is put to good use on the labels of the entire product range of Weltenburger Kloster brewery. Both the brewery's wordmark and the beer style are set in the typeface designed by Colin Brignall for Letraset in 1979.

Weltenburger Kloster – Asam Bock

Weltenburger Kloster – Barock Hell

Weltenburger Kloster – Hefe-Weißbier Hell

Wine label design for Debts & Lessons at wine subscription service Winc. Debts & Lessons is a German-inspired Riesling made in Monterey County, with a name that is a derivative of Marcus Aurelius' writings. Keith Davis Young

Alias Harbour is used for title type.

Short Dark is a series of stouts by brewery Other Half, New York City. The labes are designed by Small Stuff with Underware’s Fakir Black in all caps.

Farmlife book follows the path from farm to table: whether handmade goat cheese, hearty meatballs, or fresh honey, there is a culinary connection between a plot of land and your plate of food.

There is also a German version titled Raus aufs Land.

Di Beppe is a casual Italian caffé and ristorante, located in Vancouver’s Gastown neighbourhood, “inspired by the Italian immigrant’s desire to share a piece of home while living abroad”. Di Beppe is said to honour the sense of deep pride and self-assured nature associated within Italian culture through a classic and authentic Italian dining experience and in the design of its graphic identity, created by Canadian studio Glasfurd & Walker. Drawing on the typographic and iconic character of Italian cinema of the past, Di Beppe’s graphic identity has a confident and immediate visual voice, expressed through multiple weights of Belwe. This links a variety of assets. These include menus, bottle labels, posters, gift cards and postcards, as well as signage and website.

See more of this project on BP&O.

Feast for the Eyes by Susan Bright is a book about food photography across the century, published by Aperture.

Atelier Dyakova from London, in charge of the design, used the kitsch and the retro as inspiration, looking for modern revivals of Victorian typefaces. They stumbled upon Ellmer Stefan’s imprint The Pyte Foundry and used no more than 3 typefaces from its catalog for the book: Prhyme for the cover, Kink B for the back cover and title page, and Houdini for titles in the book interior. The rest of the text is set with the versatile Lyon Text from Commercial Type.

Read more about the design process on It’s Nice That, or hear from commissioning editor Denise Wolff on the book in this video.

On Corpulence: Feeding the Body and Feeding the Mind was jointly published by Pushkin Press and The London Library in their “Found on the Shelves” series.

The illustration referencing the children’s game known as Mixies (or mélimélo in French), a sort of ready-made exquisite corps, was provided by Joe McLaren.

As with The Right to Fly, designer David Pearson has found a good use for one of the “gidital typefaces” by The Pyte Foundry. “During the course of the year 2016 Ellmer Stefan will release a new Fount of Display Type on this website every consecutive Monday.” This one is No. 07, named Lyrics. It is paired with Berton Hasebe’s Druk Wide (Commercial Type, 2014).