This learning resource was developed for Te Taura Whiri i te Reo Māori (New Zealand’s Māori Language Commission) and New Zealand’s Department of Conservation (DOC). The collaboration of Te Taura Whiri and DOC combined environmental messaging with Te Reo Māori (Māori language) phrases to coincide with the back-to-back 2018 Māori Language Week and Conservation Week. These phrasebooks could be picked up at DOC visitor centres throughout New Zealand.

Te Taura Whiri and DOC wanted these resources to stand on their own, and didn’t specify any typefaces as a mandatory. We had used Egyptienne Bold Condensed as the hero typeface in previous pieces of Te Taura Whiri work for its bold retro charm, but wanted to change it up for this co-branded project. Recoleta’s Windsor-meets-Souvenir feel has a similar charming character as Egyptienne, with the added bonus of several weights.

Basic Sans has a nice cheery character that worked perfectly at the small sizes required. As always for any work in Te Reo Māori, macrons are a must and typefaces without them can’t be considered. The monospaced Pitch is used for page numbers.

On the occasion of the Euro 2016, Toulouse’s archives collected photographs from reporter André Cros to make an exhibition in the public space, near the “fan zone”. The selection shows some highlights of the Toulouse soccer team in the mid 20th century.

Vif designed the graphics as a tribute to soccer graphic codes, such as sporty types and fluo colors.

Scenography: Emmanuelle Sapet. Curator: Pierre Gastou.
Type: Parade by Romain Oudin – Lift Type / Separat by Gunmad – Or Type.

Identity for Touch, a post production studio with an emphasis on photography. Founded in 1999, they’ve become renowned as one of the industry's top retouching houses. The small team pride themselves on their attention to detail, creativity and close relationships with clients.

The identity echoes the less-is-more ethos, being as stripped back as possible. Embellished with various chinagraph highlights direct from the hand of the retouchers; offering flexibility where needed. Neue Haas Grotesk is used throughout.

Source: www.kickstarter.com © 2016 Artists Rights Society (ARS), New York / SIAE Rome. License: All Rights Reserved.

Known as the Bolted Book because of its signature binding using two industrial bolts, Depero Futurista was conceived as a showcase and “portable museum” for the work of Italian Futurist artist Fortunato Depero (1892–1960). Written and designed by Depero, it was published in 1927 and dubbed “a typographical racing car” by Futurism’s founder, F.T. Marinetti. Today it’s recognized as the first modern-day artist’s book.

Designers & Books, in collaboration with the Center for Italian Modern Art and Mart, is currently running a crowdfunding campaign to print a facsimile edition. If you’re interested in getting your hands on a replica of this “avant-garde masterpiece” (MoMA), don’t hesitate: There are only a few days left to support the project and secure a copy.

Source: www.boltedbook.com Jason Burch. © 2018 Artists Rights Society (ARS), New York / SIAE, Rome. License: All Rights Reserved.

Page 11 announces the launch of the Futurist art gallery Dinamo-Azari. “Written by publisher Fedele Azari, it describes Depero Futurista as “MECHANICAL: bolted like an engine,” warns it is “DANGEROUS: can be used as a projectile,” and declares it is “UNCLASSIFIABLE: cannot be placed alongside other books in the library.” — from the page by page annotations, which rely heavily on original research done by Gianluca Camillini, and were edited by Russell Fernandez with assistance from Raffaele Bedarida.

In this article, we’ll take a look at the fonts that Depero used. For more information about the artist and the book’s rich content, make sure to visit the dedicated website, boltedbook.com. Depero Futurista has 240 pages, 146 of them with text or images, many of which are purely typographic. I’ve examined ten sample pages which are reproduced below. On these pages, about 20 typefaces from 16 families are used. There are a few other typefaces that were used elsewhere in the book, but the vast majority was typeset in the fonts identified here.

One finding that may or may not come as a surprise is the stylistic diversity. At times, it seems as if Depero used all the fonts that were available at the print shop. There are several different romans and italics, a fat face, grotesks from narrow to wide and in various weights, italic sans serif, and two compressed advertising faces. Depero definitely showed less restraint than his fellow countryman Massimo Vignelli. He rather followed László Moholy-Nagy’s lead, who wrote in “The New Typography” from 1923:

We use all typefaces, type sizes, geometric forms, colors, etc. We want to create a new language of typography whose elasticity, variability, and freshness of typographical composition is exclusively dictated by the inner law of expression and the optical effect.

Some of the faces are relatively nondescript, like the old style Archiv-Antiqua, Depero’s primary choice for small body copy, or the various plain grotesks including Schelter & Giesecke’s Breite magere Grotesk and members of the Neue Moderne Grotesk / Aurora-Grotesk I–IV series (nondescript at least to today’s eyes). Others are stronger flavored, like Lucian Bernhard’s eponymous roman with its handdrawn-looking contours and the jolly, almost cartoonish look, or Sezessions-Grotesk, an austere monolinear Art Nouveau sans by Julius Klinkhardt. A remarkable number of the featured typeface designs originated north of the Alps, at foundries in Leipzig, Frankfurt, Offenbach, or Berlin. This hints at the dominant role that the German type industry, next to the British and French, must have played in the early 20th century, not only in Italy, but in many neighboring countries and beyond.

Source: www.kickstarter.com © 2016 Artists Rights Society (ARS), New York / SIAE Rome. License: All Rights Reserved.

Page 53, featuring lines in all caps, set on various angles, in seven fonts: Modena AKA Sansone (AKA Poppelbaum’s Schmale Block?) in two sizes (“Architetto”, “Arazzi”), Bernhard-Antiqua fett (“Teatro Magico”), Romanisch halbfett (“Glorie Plastiche”), and Schmale Etienne (“Motorumorismo Plastico”. The grotesks used for “Depero” and “pittore” are unidentified. The former might be Schelter & Giesecke’s Schmale fette Steinschrift [edit: and the latter is Etrusco nerissimo stretto, a copy of Mid-Gothic, see comments].

One of the most extensively used faces is a narrow sans with soft corners, similar to Berthold’s Block. It appears on at least 55 pages of the book. This typeface was sold by Fondografica in Turin as Modena and by Reggiani in Milano as Sansone. I’m pretty sure it’s identical to Schmale Block, shown in Seemann’s Handbuch der Schriftarten as an in-house design by the Poppelbaum foundry in Vienna, Austria from 1920. I still need to confirm this assumption, though – thanks to Dan Reynolds who has pointed me to a specimen that might have the answer and which I will consult soon.

The lettering on the cover gives us an idea of what genuinely futurist letterforms look like, according to Depero: elementary, constructed, unconventional, edgy. This attitude is echoed in the typeface choices only to little extent. It was not important to (or feasible for?) Depero to use new, forward-looking typeface designs. Modena AKA Sansone AKA Schmale Block might be the only one from after World War I, released seven years before the book was printed. All the other faces are older – Bernhard-Antiqua fett is from 1911, Aurora-Grotesk from the 1910s, Archiv-Antiqua from 1908, Lukrativ and Mignon from 1906, Sezessions-Grotesk from c. 1905, Schmale Herold from 1904 – or much older: (the precursors of) Normande, Old Gothic Bold Italic, Schelter & Giesecke’s Breite magere Grotesk, and Etienne schmal stem from the 19th century. Romanische Antiqua (or Anker-Romanisch) halbfett was issued by Schelter & Giesecke in 1895 (Grimoldi in Turin later carried the same design as Padova, and Nebiolo as Raffaello). Several of these faces feel downright dated, and must have smelled weird already in 1927. They’re certainly not what one would commonly expect to see in a Futurist publication.

What makes Depero’s book so seminal are not the fonts, but the imaginative arrangements. He skillfully plays with contrasting sizes and weights, column shapes, white space, orientation, and text as image. His dynamic layouts are all the more awe-inspiring when one brings to mind that this was done over 90 years ago, long before type was liberated from physical constraints, first by photographic and later digital means. Each of the pages had to be manually composed from hundreds of little pieces of metal type, and firmly locked up in a forme before it could go to print. This was already a laborious process for standard layouts, but truly challenging when diagonal, circular, or otherwise non-rectangular settings were involved. The revolution is not in the typefaces, but in the typography.

Source: www.kickstarter.com © 2016 Artists Rights Society (ARS), New York / SIAE Rome. License: All Rights Reserved.

Page 57 is the first in a series of typographic compositions Depero refers to as manifesti murali, or wall manifestos. [Camillini et al.] The arrow-shaped text is set in three sizes of Bernhard-Antiqua fett. The clumsy grotesk for “necessità di auto-rèclame” (“the need for self-promotion”) is unidentified. [edit: it’s again Etrusco nerissimo stretto, this time in lowercase, see comments].

Source: www.kickstarter.com © 2016 Artists Rights Society (ARS), New York / SIAE Rome. License: All Rights Reserved.

Page 61. “Designed to be read by rotating the page, this wall manifesto describes the Futurist approach to sculpture and the other plastic arts. Depero also celebrates Futurism as the culmination of the previous two movements, Impressionism and Cubism.” [Camillini et al.] Headlines in uppercase Bernhard-Antiqua fett, text in Archiv-Antiqua mager and halbfett (1908). All lines in the “Futurist quarter” are underlined. Note the nonchalant way of filling up the remaining space by repeating “ecc.” (etc.) 17 times.

Source: www.kickstarter.com © 2016 Artists Rights Society (ARS), New York / SIAE Rome. License: All Rights Reserved.

Page 65, “Il Futurismo immortale” (The Immortal Futurism). Romanisch halbfett is paired with Bernhard-Antiqua fett. The bold wide grotesk for “Marinetti” is unidentified (see also page 89) [edit: it’s likely Etrusco intestazione normale, see comments].

Source: www.boltedbook.com Jason Burch. © 2018 Artists Rights Society (ARS), New York / SIAE, Rome. License: All Rights Reserved.

Page 67, “racconto grafico” (graphical tale). “This wall manifesto is an open letter to the Italian Minister of Education about the importance of visual literacy and of encouraging children to express themselves visually in all spontaneity and freedom.” [Camillini et al.] Deporo wasn’t shy of setting a whole page in italics. This decision here might have been made because it’s a letter, as a (distant) reference to handwriting. The big lowercase letters are from a late 19th-century fat italic that today is probably best known as Old Gothic Bold Italic. It went by numerous names incl. Fette Kursiv-Grotesk and Doric Italic. The Italian foundries Nebiolo and FTC had a version named Etrusco corsivo nerissimo which is shown in mid-20th century specimens with an r that is different from the one used here (with diagonal terminal). The text face matches Mignon (1906), except for the S. Maybe it’s an alternate, maybe it’s a modification made in the version that was available from Società Augusta as Fulgens (before 1914). [Update: Fulgens is shown in the January/February 1905 issue of Archivo Typographico with an S that matches the one in Mignon.] The German origin is still visible in the ch ligatures. Two sizes of Bernhard-Kursiv fett are used for emphasis.

Source: www.boltedbook.com Jason Burch. © 2018 Artists Rights Society (ARS), New York / SIAE, Rome. License: All Rights Reserved.

Page 75, “il nuovo fantastico” (the fantastic new), in (not so new) Schmale Herold (1904). The compressed advertising face was sold by Fondografica as Lodi and by Reggiani as Licia. This page also features the similarly compressed Lukrativ (c. 1906) for “meccanici” as well as Schmale Block in at least five sizes.

Source: www.boltedbook.com Jason Burch. © 2018 Artists Rights Society (ARS), New York / SIAE, Rome. License: All Rights Reserved.

Page 87, “Plastic Glories”. In addition to Sezessions-Grotesk (bottom two lines) and Neue Moderne Grotesk / Aurora-Grotesk I–IV VII (“Gloria Plastica”, see p.89), there are two more grotesks in use. Most of the text is set in Breite magere Grotesk. This face by Schelter & Giesecke was avaiable from the local foundry Reggiani as Eia. The big compressed sans is unidentified, and probably wood type.

Source: www.kickstarter.com © 2016 Artists Rights Society (ARS), New York / SIAE Rome. License: All Rights Reserved.

Page 89 opens a ten-page section devoted to Depero’s architectural work. [Camillini et al.] The text face again is Archiv-Antiqua (with halbfett for emphasis). The lines that form the A’s crossbar are set in Schmale Block and Normande (or a similar fat face). “Martellatori-Macchina” looks like the wide sans that was sold by Weber as Aurora breithalbfett (and by L. Wagner as Edel-Grotesk, etc.). “Glorie plastiche e villaggio futurista” is in Aurora-Grotesk II halbfett (1912), see Neue Moderne Grotesk / Aurora-Grotesk I–IV. Nebiolo had the latter under the name Cairoli tonda neretta, but it’s not clear whether their version was released before 1928.

The big stacked caps (“architettura publicitaria”) are only similar to this series. They are heavier than Aurora’s VII cut and lighter than the V (in Italy available as Etruria from FTC), and are distinguished by a very small aperture in C and a short middle arm in E [edit: it’s Etrusco intestazione normale, see comments].

Source: www.boltedbook.com Jason Burch. © 2018 Artists Rights Society (ARS), New York / SIAE, Rome. License: All Rights Reserved.

Page 101 has quotations by Futurist painter and sculptor Umberto Boccioni (1882–1916) and Depero himself, printed in orange. The fonts in use are Schmale Block and three sizes of Sezessions-Grotesk, with several descending alternates for c and e. The latter was also available from Italian foundries Società Augusta (as Melpomene, before 1914) and Fondografica (as Como).

Source: www.boltedbook.com Jason Burch. © 2018 Artists Rights Society (ARS), New York / SIAE, Rome. License: All Rights Reserved.

Page 113 repeats the dedication to Marinetti that already appeared on page 13. “‘I set off this futurist creation as a sign of celebration for F. T. Marinetti.’ The letter W in the center of the composition is an Italian abbreviation of the words ‘long live’ as in ‘Long live Marinetti.’ It appears on numerous pages throughout Depero Futurista.” [Camillini et al.] The fonts used on this page include four sizes of Schmale Block, Lukrativ (“temporale-patriottico”), and Schmale Etienne (“cuore-bombarda”).

An editorial project focusing on the noise we feel within, among and beyond us. The book is divided into three sections addressing those three realms. A selection of poems is interspersed between section divisions serving as transition text.

The Canela family is used in varying weights and styles for titles and pull quotes, Caxton is used as body text while Vulf Mono is used for captions. The chosen typographic system conveys noise through a varying treatment towards each typeface, just like the subtle rise and fall of the sound spectrum.

All photography used within the book belongs to Salva López, Mitch Epstein and NASA.

NOR Specialities supports the development of plantation farmers and helps sustain local communities across Colombia, Guatemala, Nicaragua and Bolivia by way of its range of chocolate, cocoa nibs, roasted coffee beans and cold brew coffee products. NOR trades directly with family farms and producers of its raw ingredients, working with them to develop transparent and sustainable practices.

Danish design studio Re-public worked with NOR to launch the brand into the highly competitive Western market, delivering creative direction and visual identity. This included packaging for coffee beans, chocolate bars and cold brew coffee cans. These are linked by a visual language based around the typographic simplicity, communicative immediacy and character of Agipo’s Bold Condensed weight, typeset in all caps in different sizes and paired with a material language drawn from the vessels and sacks of export.

Read more about this project and other Danish design on BP&O.

Taking its cues from mid century references books, vintage field guides and contemporary still life photography, the guide was designed to be unlike any of its predecessors. Art directed and minimalist food photography combined with custom designed fonts brought a unique aesthetic to the book. A major design challenge was treating 100 portrait images supplied by producers that were of various styles and quality. A coloured screen was used to unify the images and bring consistency to each producer profile.—Australian Book Designers Association

The Field Guide to Australian Produce, like its predecessor The Field Guide to Tasmanian Produce (2015), was designed by Matthew Angel. Both guides use Alias Noah for headlines, mixing its three versions – Upper Lower, Text and Unicase. The typographic palette is completed with Nimbus Sans, Adobe Caslon and Pitch.

Paris Avant-Première —

brings together a community of young galleries and independent spaces in Paris which, for 3 days, open their doors and highlight the new Parisian and international art scene.
Before the effervescence of the FIAC and Paris Internationale, this new annual rendez-vous establishes a further course dedicated to emerging artists.

The visual identity, realised by graphic designer Jeanne Triboul, focuses mainly on the combination of two fonts: Keops Sans Display for the titles to give presence and character to the logo and identity, and Sainte Colombe for the running texts, to counteract Keops’ strength and to bring delicacy to the whole.

The RIAS Kammerchor chamber choir was founded in 1948 and is one of Berlin’s most prestigious musical institutions. The choir has been the first to perform a number of pieces, and its repertory includes work by Arvo Pärt, György Ligeti, and Max Reger. RIAS has received numerous international honors and awards for musical excellence. Fons Hickmann M23 designed a brand-new corporate identity for all of the choir’s media in honor of its 70th anniversary. See also the posters, booklets and other items designed for the previous season.

Identity and icons designed for a new Milan bistro. The logo is custom drawn. The Gotham typeface family is the one chosen for the whole communication.

Silky Way is a magazine which allows the reader to understand the vibe of the place and encourage to experience it, rather than just see it.

The 2nd issue discusses and explores Europe's youngest capital; Cardiff, the capital of Wales, UK. It explores Cardiff from a local's point of view and utilises a number of script and bold typefaces to represent the scruffy nature of the city. It has been released in April 2018, following the 2017 release of the 1st issue, ‘Tokyo Experience Guide’.

Magiel is being used as the main font, present in the logo and also used as title type. Avenir Next in both Regular and Bold is used as a main body type. Olympic is used for subtitles.

Lombard and Quentin are used for Welsh, while Good Foot is used for the English translations.

Summer Hearts and Cyklop (as well as Pops, not pictured) are also occasionally used across the issue to emphasise the names and phrases specific to Cardiff.

A passport-like program magazine for the 2018 edition of the holiday fair and festivities in the village of Socovos. See also the posts about the La imagen del tiempo and the magazine from 2014 for more publications about Socovos by Rubio & del Amo.

Socovos is a municipality in Albacete, Castile-La Mancha, Spain. It has a population of 1,986. — Wikipedia

Capitale: The third and final edition of the Innovationsberichte (“innovation reports”) – a series of publications developed by Capitale. As with the two previous publications, this report gathers findings and measures from the think tank of the academy of the ÖVP (Austrian conservative party). This issue focusses on which factors contribute to a sustainable and successful location policy in a post-industrial state. It also combines a typographically concise layout with detailed infographics.

The typography uses an early grotesk – Akzidenz Grotesk – for text, paired with two recent designs that refer to early grotesks: Dia (Schick Toikka) and Druk Condensed XX Super (Berton Hasebe, Commercial Type).

Alximia is a new natural ancient cosmetics brand from Tulúm, Q. Roo, México. It is inspired by the moon, divine occultism, magic and alchemy; using materials of national origin, their mixes pay tribute to the wealth of the lunar phases and seeks to reconnect women with her personality.

They reached the office with the opportunity to develop the visual identity as well as packaging for their products. Since the brand is directed to women, we selected feminine tones to be incoportated across the identity … all with a good use of black. The identity was created under the premises of darkness, nature and minimal aesthetics.

Visit the Format–standard website to navigate on a zoomable user interface.