Hardcover edition.

“Sharon Smith’s Women Who Make Movies is an important and timely reference book, the only one of its kind, and it is indispensable to anyone seriously interested in women in film, or in film itself.” — Molly Haskell, Film Critic

The cover uses a film typeface of unclear origin that closely resembles Dave West’s Behemoth Clarendon Italic Swash (PLINC, c. 1967), but is different in many details. It’s shown as Stymie Black Italic in a 1973 Typeshop catalog alongside a Drop Shadow variant, both with numerous swash, biform, and swash biform alternates (up to nine forms for a letter like M, three of which can be seen here). The same range is shown in a 1976 catalog by Lettergraphics as Stymie Black Flair. There’s no real connection to Stymie beyond the name. Tutti Paffuti NF (Nick’s Fonts, 2007) is a digital interpretation.

Paperback edition.

Glyph set from an undated (ca. 1977) Typeshop Selection catalog.

Radio Raheem is an independent online radio station streaming 24/7 music and visuals from Milan with a cosmic perspective. The radio station, located in the Navigli area of the city, aims to support and elevate a genuine and diverse local scene while keeping an eye to the moon and the galaxies far away. Since April 2019, the website has a new design by Michele Genghi, using Atak (Out of the Dark) for all typography.

Drav is a new craft brewery in Québec, Canada. Their brand identity was designed by creative studio Wedge from Montréal. Drav's logo uses Windsor, paired with Suisse Int’l (the first version from 2011 known as Suisse BP Int’l). Photography: Alex Blouin.

1974 wrapper

Marathon was a candy bar sold by M&M / Mars. On his blog CollectingCandy.com, Jason Liebig recounts how the Marathon wrappers sparked his interest in collecting candy ephemera:

Introduced in 1973, it was last seen on shelves in 1981 or 1982. So this bar was a part of my candy life from kindergarten into Junior High, years when candy typically makes a big impression. […] Marathon’s striking red-orange wrapper and wave-filled logo remained a powerful memory, long into adulthood.

For those that don’t know or are too young to remember, the Marathon was a flat braid of chocolate-covered caramel. It was delicious, and the wrapper was a thing of beauty and disputable subtext. On the back of the wrapper was an 8-inch ruler – a fact I will move past without comment.

Jason followed up with a three-part series about the Marathon wrappers, the commercials, and the discovery of original 1970s TV prop Marathon bars, making him the No. 1 authority on the subject. All that’s left to add is the name of the typeface: It’s Eightball, an uncredited design that was released sometime before VGC’s 1972 catalog.

1976 wrapper

Newspaper ad, December 16, 1973.

As every year since 2009, perfumers of International Flavors & Fragrances (IFF), journalists and influencers met in early December last year to discuss the art of exceptional perfumery at the Grand Perfume Museum.

True artists, IFF's perfumers love creative challenges and always lend themselves to the ‘game‘ of daring encounters that is Speed ​​Smelling. As a pure creative exercise, this event allows them to exercise their artistic talents freely without any commercial constraint or cost limitation and to communicate directly to the general public through the Speed ​​Smelling box.

This new collection uses the irony inherent in the “post-modern” movement: to break codes and rebuild them better. 14 perfumers from IFF present 14 unique creations – reflections of their history, their inspirations of the moment and their interpretations. An olfactory journey at the heart of their universes.

The packaging of the box was designed by Rimasùu. They used two typefaces by Swiss Typefaces. SangBleu Serif is used for the embossed typography on the box, and for all headlines on the explanatory notes. In 2017, this typeface has been replaced by the brand new collection of SangBleu and is not distributed anymore. Suisse Int’l, part of the Suisse collection, is used for body text.

The perfumers’ names on the flasks are set in all caps, rotated Futura.

Original theatrical poster

One Dark Night is a supernatural horror film directed by Tom McLoughlin and starring Meg Tilly, Melissa Newman, and Adam West.

The film follows three teenage women sent to a mausoleum for the night as part of a high school initiation rite. A dead, telekinetic occultist returns from the dead and haunts them, forcing the three to survive the night inside the crypt.

The movie poster features Colin Brignall’s Revue (Letraset, 1968). Used in all caps, the Art Nouveau sans serif evokes a strange, uncanny mood. This is particularly due to its unusual bending A and the concentration of letters that reach below the baseline.

The trailer uses ITC Korinna for the title, with enlarged and lowered caps (see EndcapS). Like Revue, Korinna is a typeface with Art Nouveau DNA. They share some details like the top-heavy G and the high join in N.

This alternative poster shows Revue with a perspective effect, amplifying the eeriness. The yellow type appears to be Impact.

The VHS packaging replaces Revue and Helvetica with Enric Crous-Vidal’s Flash (FTF) and Franklin Gothic. With the reversed colors, the pattern in Flash looks less like wood and more like zombie flesh—compare to the skinned hands in the image above.

This Blu-ray Disc packaging returns to the original type choices from the movie poster.

A fun old in-store promotional sign — this one is cardboard and would have been stood up on the counter. Featuring Shamrock Shake Leprechauns, of course. — Jason Liebig

Alias Harbour is used for the Christmas 2018 window display for Jimmy Fairly, the French eyewear designer.

A series of type-only posters for the Russian Beat Film Festival 2018, a “documentary festival on new culture”. The heroes of this edition are highlighted through text, using GT Sectra from Grilli Type and Aperçu Mono from Colophon.

To celebrate Corinthians’ Heptacampeonato (7th national title), a newspaper was created with photos that portray the unwavering faith of their fans. The newspaper did not feature the traditional binding, allowing fans to transform each loose page into a poster.

AG: Wieden+Kennedy São Paulo
CW: Adriano Sato
AD: Bruno Oppido, Alexandre Ruda
CD: Bruno Oppido, Caio Mattoso, Rodrigo Mendes
ECD: Edu Lima, Renato Simões
Sponsored by Nike.

Cover art (and several interior illustrations) by Jack Gaughan. The typeface is Angular Black, designed by Georg Salden in 1973 and distributed by VGC from 1975 on. If you feel there’s something fishy about the overly wide Y, that’s because it’s not by Salden. The original glyph in Angular is asymmetrical and descending (see The Star Wars Portfolio by Ralph McQuarrie, 1977). This was apparently too unconventional for the anonymous cover typographer, so it got replaced by a homemade glyph. Angular is available in digital form as Carree, a revised and expanded version sold by TypeManufactur—including the descending Y.

From the back cover:

The world of Zacar was wracked with storms and life there was hard. Yet two races shared it with no love between them. The Raski were the first people, the Yuth the late-comers.
This is the story of Elossa, the Yurth girl who followed the Call that every Yurth sensitive must follow when the time came. And this is the story of Stans, the Raski, who had to achieve manhood by blood rite against the hated Yurth.
This is a novel of a world where ancient injustices had been done and never righted, where brooding evil and age-old vengeance awaited peace-makers - and of two who brought this terror down upon their own heads.
It’s a new novel, written directly for DAW Books, other-planetary, wonder-filled, and in Andre Norton’s grandest tradition.

Cadwalader Ringgold, otherwise an admirer of Andre Norton’s science fiction, thinks the cover is the best thing about this book:

I cannot honestly recommend Yurth Burden (1978). It was a disagreeable chore to read. The characters were uninspiring and the motivation for their quest was muddled and ambiguous. One senses that Ms Norton wrote only to a point where so could justify terminate the story. The author seamed to lose interest the narrative. Multiple plot point were left unanswered but, thankfully, there was no sequel.

Posted on the suggestion of @soundclamp.

Forever Immigrant (Tattoo) is a reactivation of the work Forever Immigrant as a tattoo at VT Artsalon in Taipei.

The Forever Immigrant tattoo made by YQ Tattoo was on Betty Apple. It was also tattooed onto the skin of six other people during a 3-hours performance. Each participant received a certificate of the work.

For his art performance Forever Immigrant (Tatto), Marco Godinho uses Perec (designed by Alejandro Lo Celso, PampaType, 2010).

Change, Coordinates + Someone Else – an exhibition and a book by Mobius Design Studio using our Greta Text Arabic family documenting Arab designers, artists and other initiatives that are instigating change in the region.

1971 Design Space presents Design House 2017: Change, Coordinates + Someone Else, an exhibition, curated by Mobius Design Studio, questioning about the city of Sharjah and its residents, provoking reactions by opening channels of feedback to the exhibited proposals. The audience is invited to reflect and share their thoughts and opinions about the validity of the problems/solutions with the designers who continue to develop their research over the duration of the exhibition.

Typ-ound is designed entirely with free fonts from dafont.com. The poster is a living manifesto through its composition: it suggests that the usage and typesetting of fonts results in an interesting aesthetic, regardless of a font's imperfect or rough finishing. The Typ-ound manifesto includes the following:

1. Praise to be ready-made!
2. Ugly is no sin.
3. Remember your childhood.
4. At the same time, look around the present.
5. Purchased typefaces are not acceptable.
6. Follow grid and destroy it.
7. No texture is a sin.
8. Copy & Paste.
9. Do not lose contemporary aesthetics.
10. Must remind the audience of some specific eras or places.

El palíndromo y la cábala (“The palindrome and the cabal”), by Eduardo Orenstein. This edition is added to the series of previous publications as the small ephemeral Poemas Palindrómicos, both by the same author. On this occasion, Eduardo Orenstein makes a treatise on the task of the palindromist, his relations and differences with the art of the cabal (Kaballah).

100 copies of Palíndromo y la cábala were made for the Teatrito Rioplatense de Entidades. The booklet consists of 12 pages printed on 90 g/m² Fox River and measures 13×20 cm. It was composed by Gustavo Ibarra and Ral Veroni in the Cira HT types by Andrés Torresi and includes a small vignette on the cover by Ral Veroni.

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El palíndromo y la cábala, de Eduardo Orenstein. Esta edición se agrega a la serie de publicaciones anteriores como la pequeña efímera Poemas Palindrómicos ambos del mismo autor. En esta ocasión, Eduardo Orenstein, realiza un breve tratado sobre la tarea del palindromista, sus relaciones y diferencias con el arte de la cábala.

De El palíndromo y la cábala se realizaron para el Teatrito Rioplatense de Entidades 100 ejemplares en papel Fox River de 90 g/m². Está compuesto en tipos Cira HT por Gustavo Ibarra e incluye una pequeña viñeta Ral Veroni en la tapa. El ejemplar mide 13 × 20 cms y consta de 12 páginas.

Program and poster proposal designed to promote A natural history of power (Una història natural del poder), a cycle of selected screenings of films by Adam Curtis, a British documentary maker and writer focused on social issues and politics. Shown in November and December 2018 at Xcèntric, the cinema of the CCCB.

A poster for WHAP! Fall 2016: the West Hollywood Aesthetics and Politics lecture and event series featuring political debates, film screenings, performances, as well as conversations about art, architecture, and philosophy. The series is co-hosted by the City of West Hollywood and the CalArts MA Aesthetics and Politics program.

The classic Parker Brothers Ouija board is only one of hundreds of “talking boards” produced since the late 1800s, but it is the version most familiar to today’s Americans. The board uses lettering (not type), referencing the handtooled Antique Tuscan styles from some of William Fuld’s original boards of the 1930s and ’40s.

So there is no example of a font in use on this iconic board, but the packaging of these games often used type, and went through many variations over the years. This 1972 edition captures the otherworldly (or “exotic”) spirit of Dante (Lettergraphics), with its slab top and flared bottom.

In the phototype era, film font makers went bonkers with “flair” variations, appending swashes and hyper-extended glyphs to classic typefaces without discretion. Do these mutant growths work better with a scripty ball-terminaled display face like Allegro? I’ll let you be the judge, but it sure makes me want to grow some pineapple plants!

Allegro Flair from Lettergraphics: The Complete Library, Collectors Edition, 1976.

Doris is a Dutch film based on a popular TV series.

On the eve of her forty-fifth birthday Doris Doorenbos (Tjitske Reidinga) ended up like a divorced woman with two children at a dead end. — IMDb

Director: Albert Jan van Rees. Script: Roos Ouwehand. Cast: Tjitske Reidinga, Guy Clemens, Bracha van Doesburgh, Roos Ouwehand.

The film’s typographic identity was conceived by Donald Roos (Bureau Donald/Planet X). Logo, poster, and titles all use Kurversbrug (Retype), Ramiro Espinoza’s digital interpretation of the letterforms used for the Amsterdam bridge nameplates. The original alphabet was probably designed by Anton Kurvers in the 1930s.

Titles from the trailer