Source: rodrigocorral.com License: All Rights Reserved.

Design: Elena Giavaldi, Rodrigo Corral Studio. Art direction: Rodrigo Corral. Art direction at Farrar, Straus and Giroux: Susan Mitchell.

Source: www.amazon.com License: All Rights Reserved.

The interior of the paperback edition (Picador, 2012) was designed by Jonathan D. Lippincott. It also uses Lydian, for the title page, chapter openings, running titles, page numbers, and initials.

Source: www.amazon.com License: All Rights Reserved.

Source: www.amazon.com License: All Rights Reserved.

Source: www.amazon.com License: All Rights Reserved.

Source: www.amazon.com License: All Rights Reserved.

Goldfsch is a fishmongers and fish-based restaurant in Vienna.

Alias Harbour is used for the logotype. See more images in the case study by Dvorak trifft Schwab.

Shortly after their astounding LP Nothing Feels Natural, D.C. punks Priests released a collection of Early Recordings for Record Store Day 2017. The wax comes in a sliced treatment of Lydian. Set against a pink/purple background with geometric patterns, it manages to capture the energetic sound of the band’s modern protest music.

Translated from the German (Die morawische Nacht) by Krishna Winston, and published by Farrar, Straus and Giroux. Macmillan:

Powerfully alive, honest, and at times deliciously satirical, The Moravian Night explores the mind and memory of an aging writer, tracking the anxieties, angers, fears, and pleasures of a life inseparable from the recent history of Central Europe.

The main typeface is Gareth Hague’s Text Stencil (Alias, 1995), combined with the ever-popular Lydian (ATF, 1938).

Via the highly recommended “Notable Book Covers of 2016”, compiled by Dan Wagstaff for his blog The Casual Optimist.

Jacket design credited to Kelly Blair. Separate editions from Pantheon Books and Verso Books have slightly different covers, with the former spelling out “essays” above the title.

Is it an olive branch for peace, or a roman emperor’s crown of laurels? A world map transforms into more than a description of borders. The professor asked that I have specific country names that were covered in his course revealed in the visible map leaves. I have always enjoyed the sinous curves of the ribbon-like Lydian and find it successful at incorporating a calligraphic touch into a very structured face without tipping over into floweriness. It has an authority that reminds me of banners and wall hangings at my grandfather’s Lutheran church. The open forms and taught curves of Lucida paired well with Lydian for the text/webfont.

The cover art is a detail from Pyramid of Fire (1929), a watercolor by the American artist Charles E. Burchfield (1893–1967).

Two-Thousand Twelve in Review is a compendium of writing on old films seen for the first time in 2012. The mini-site is lain out according to a strict baseline grid with only three levels of typographic hierarchy. Lydian is meant to evoke an aspect of antiquity, as many of the films featured herein date back multiple decades.

Coöp:

Exhibition design and photographic series for 175 Years of Design in Victoria produced by the State of Design Festival and curated by Ian Wong. Part exhibition, part open forum, the 20-metre long installation reflected on Victoria’s design history and encouraged visitors to share their stories. The exhibition combined photographs, archival materials, graphics and sketches to retell tales of design in our daily life from 1835 to present day.

The cap ‘I’ of Lydian appears to be customized with horizontal bars.

Peter Troy was the Victorian surf champion in 1963, when he took his surfboard and headed off on an extraordinary journey around the world. This book chronicles the next few years, through the letters and postcards he wrote (with incredible regularity) to his parents, who ran the general store in Torquay. He was also an accountant, so his records of the details of that journey are notably fastidious.

Peter's travels are legend in the surfing world, and the maps he kept, friends he made, and stories he came back with are deservedly revered. Edited and compiled by Brendan McAloon, who we designed Deep Water for, this was a project of small gestures, and letting the material speak for itself.

Chase & Galley

An in-store concept for Akzo Nobel Decorative Coatings, a paint maker. These are postcard-sized color chips/swatches for their Flexa Creations brand.