Typesetting the estate classified section in the Austrian newspaper Der Standard isn’t my favorite job — but it becomes a lot nicer when one encounters a very suitable use of Typejockeys’ Henriette, like this ad promoting an auction of Viennese apartement buildings.

Hiking book for guests of the Hotel Restaurant Rössli in Bad Ragaz, Switzerland

Tightly spaced Riccione and colorful patterns unify the cover designs for the Antennae series of art theory and criticism books. The ongoing series – designed by Metahaven and published by Valiz – was selected among the “Best Dutch Book Designs” for 2009.

A book based on a bundle of letters written to the sailor Cornelis Schilpenoord, from 1934 to 1946. The book tells a story about this enigmatic person, telling about his love life, ties to religion and his family in Schiedam. Next to this, it gives an interesting view of the world before the introduction of fast communication and traveling.

The book was printed using only black and an Iris-print of various shades of blue, making each copy different. Each book is wrapped in linen and hand-stamped with the title. Since this was such a Dutch project, we also created our own I-J ligature for the typeface used in the book, the Odile.

Made in a printing run of 400.

Data on the drinking habits of Americans aged 21–34. The ultra heavy figures from Mostra Nuova Black are probably not the best choice for quickly digesting the numbers, but there are some fun moments in this highly stylized infographic.

Tangent Café is an East Vancouver café and bar serving craft beer and hosting local music events.

The curvaceous ’70s face ITC Grouch is the anchor of the identity. Prestige Elite and Avenir are used for the text in printed materials. For the website these are substituted with the system font family Courier New and freebie webfont Raleway. It’s kind of a shame (as Prestige and Avenir are available as webfonts), but the downgrade is not very noticeable on a simple, single-page site like this one.

From swallace99’s Flickr stream

For Pista Malmø’s spring classic race, the 2013 site builds upon earlier years’ graphic profiles. With Neutraface as a starting point we needed a fitting text face and webfont stand-in for titling. Proxima Nova, albeit a tad ubiquitous at this point, was a good match. Mark Simonson’s Art Deco influences are toned-down, but still evident in the minuscule ‘a’, among other glyphs.

The titling stand-in proved to be difficult a task: Brandon Grotesque’s corners were too soft, Le Havre used a faux-bold and had other inconsistencies, and Relay had apertures that were far too open. The answer was in front of my nose – Norwegian foundry Monokrom’s recent release Telefon was a perfect match. With one exception – the ‘R’s leg connected near the stem, rather than right out on the bowl. Luckily, Monokrom was kind enough to sponsor with an alternate ‘R’, making for a special little event.

Photo © Gustaf Emanuelsson 2013

Inventing the Modern World, by J Busch and C Futter, a catalog for an exhibition of artifacts from World's Fairs. The light version of Stag isn't seen as often as bolder weights.

Images below are from MGMT.

The light weight of ITC American Typewriter, with its warm curves, soft brackets, and ball terminals have always been well suited to quaint, feminine subject matter. Designer Celeste Provost expanded on these qualities for a Brooklyn florist and candy store.

ITC American Typewriter’s standard and alternate ampersands.

Starting with the font’s alternate, swash ampersand, Provost gave it a more conventional loop at the top and ended up with a very attractive monogram. Provost also made another adjustment to Typewriter, creating a new weight between the hairline Light and fairly beefy Medium to make the logotype work at a variety of sizes.