Memories Fade. Let go of the negative and hold onto the positive.

Part of a project that deals with the topic of depression. The message conveyed in this specific piece explores my recent revelation of having to let go of the negative / toxic thoughts and memories, in order move forward. The floppy disk resembles events that go back as far as I remember (the first form of a memory holding device I can remember). For the time being, it’s flat artwork, but there are plans to create a physical object from it.

Headline set in Adieu. “2HD / 1.44MB” in Salavaje Display. Design by Tyler Hancocks.

The “Dictionary of Death” by French poet Robert Sabatier (1923–2012) was published by Éditions Albin Michel, Paris in 1967. The book has 540 pages and is enriched with illustrations by Christiane Sabatier.

The jacket design brings together capitals from four different typefaces, three of which were vintage already half a century ago. The names of author and publisher are in Auriol, created by Art Nouveau artist George Auriol around 1903 for Peignot & Fils. The font used for “Dictionnaire” is not of French origin, but has a French name. It’s Lafayette, designed in 1885 by Gustave F. Schroeder for Central Type Foundry. The series later was extended with wider styles named Washington, Jefferson, and Webster. Lafayette is digitally available as Gable Antique Condensed SG.

The shaded and floriated Egyptienne caps used for “Mort” are even older than Lafayette. They go back to a typeface from c. 1820 by the Paris-based foundry of Joseph Gillé. It reappeared in the 20th century at Deberny & Peignot as well as at Haas under the descriptive name Lettres Ornées. In comparison, Verdi was still fresh in 1967. It was first cast ten years earlier by the Bauer foundry. Stylistically, though, it likewise harks back to the 19th century: The open and shaded Fat Face by Konrad F. Bauer and Walter Baum is a reprise of early display faces like Thorne Shaded from 1810.

The seafood restaurant “O Casalinho” in Nazaré, Portugal uses Lydian Cursive on their napkins.

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

This exhibition presents the extraordinary and previously unknown sculptures of acclaimed American artist Jack Whitten (1939–2018). Whitten's sculptures, which he first created in New York and later at his summer home on Crete, consist of carved wood, often in combination with found materials sourced from his local environment, including bone, marble, paper, glass, nails, and fishing line. Inspired by art-historical sources rooted in Africa, the ancient Mediterranean, and the Southern United States, Whitten's sculptures not only address the themes of place, memory, family, and migration, they also give expression to a transnational, cosmopolitan perspective. — Metropolitan Museum

After touring the studio, seeing the sculptures, and hearing the beautiful story of Jack Whitten from the lovely curators, it was crucial to try and tell his story (and journey) through the exhibition graphics. His sculptures have this poetic content but sometimes a visually violent nature because of the objects he collects to incorporate into them.

He treated some of these sculptures almost as religious shrines (adding an object to them daily) which activates them as a deeply personal relic of the late artist and his family.

Using Apoc felt right for this particular exhibition due to the nature of the glyphs mimicking some of the objects he made and the backstory which related more to his upbringing and how he treats a lot of his sculptures as well. The particular lock up of the exhibition actually references covers of old biblical texts to really play up the fact that a lot of these objects, again, are deeply personal and somewhat religious to him.

Everything together worked in harmony as visitors navigate the space to experience Jack Whitten’s personal journey throughout his career and through his artwork. It is a very special exhibition to enjoy and visit that the Met has put together!

Ad for the first edition of Sexual Politics (1970).

The devastating, definitive book of the Women’s Liberation Movement—“as outrageous as truth spoken loud and clear at a politician’s bier.”—Publishers’ Weekly. Selected by The Book-of-the-Month Club and Psychology Today Book Club. Just published, and a new bestseller at booksellers now. $7.95

The font in use is a film version of Clearface Heavy. The Clearface series was originally designed by Morris Fuller Benton with his father, Linn Boyd Benton, as advisor between 1906 and 1911. Photo-Lettering, Inc.’s One Line catalog from 1971 shows an adaptation of Clearface in five weights plus italic, condensed, and semi-condensed styes. In 1978, under license from ATF, the International Typeface Corporation commissioned Vic Caruso to develop ITC Clearface, a family of four weights with corresponding italics.

From Violetta Postnova:

A poster for the concert of the Moscow Contemporary Music Ensemble in Königsberg Cathedral. This is the most significant preserved building of the former city of Königsberg which was largery destroyed in World War II. Today the reconstructed cathedral is also used as a concert venue basically because it has the largest organ in the city.