Poster designed for The Party community by Ostbahnhof.

Why be one thing, when you can be everything darling! The Party by Ostbahnhof introduces: VERS, the sexy new spinoff where “Anything Goes”.

The Party by Ostbahnhof is an international event series that bridges the gap between queer: music, art, and political communities.

Album launch poster. Illustration by Keith Rankin.

Mogollon Studio designed the complete music packaging and promotion for the amazing musician and artist Sui Zhen. The new album is called Losing, Linda. We created the wordmark “SUI ZHEN” and all the graphic alphabet.

We used a combination of Dinamo’s Favorit and Blaze Type’s Apoc for the whole package which includes a vinyl LP and some promotional posters.

Abum packaging.

Inner sleeve design.

Vinyl packaging poster insert.

Poster insert back.

Album back cover.

Sezóna is a “traditionally crafted beer, proudly crafted in SE1 London in collaboration with Marián Verbenik”. The beer was a Best of Show winner at LAB Open 2019 in London.

Avory, designed by Sláva Jevčinová and available from Rosetta is used throughout.

Shura (real name Aleksandra Denton) spent the three years between her first and second records falling in love. The relationship that inspired forevher is a long-distance one, played out between New York and London via Skype and iMessage, and so the album tells a very modern story of intimacy (switching off Airplane Mode as soon as you land to see what your lover sent you while you were flying; being preoccupied with thoughts of the latest nude they sent you). — Pitchfork

Alias Harbour Bold is used for the album and merchandise. The album title features a lowered f. The accompanying geometric sans is Brandon Grotesque. Design by Miles Johnson, with photography by Hollie Fernando.

Shura performing in Glastonbury, 2019

Forevher necklace

Poster for a course about psychoanalysis, literature, and philosophy, offered by Inventio, who describe themselves as:

an initiative of young researchers in philosophy at UFMG that aims to bring the theory of society closer, taking it from the closed circle of the University, opening it to anyone in a thought-provoking, up-to-date and, above all, meaningful way.

Fictional poster for the soundtrack to Night on the Galactic Railroad (銀河鉄道の夜), a 1985 anime film adaptation of the classic Japanese fantasy novel by Kenji Miyazawa written around 1927. The film score was composed by YMO member Haruomi Hosono. The album was released as Ñokto de la Galaksia Fervojo, which is the Esperanto translation of the title.

Language shapes our communication, our perception and our being. Language is much more than the structured articulation of words. It embodies our sufferings, joys, fears and hopes, through it we explain the world to ourselves and form our reality.

The masterthesis for Communication Design, submitted at University of Applied Sciences FH Joanneum, called Languages of the World – World of Languages is divided into three segments, which are also haptically differentiable through a variation of uncoated and coated paper. The theoretical parts are accompanied by a photographical series, visualizing languages as fluently changing objects.

Every day we toss around words, but at the same time their semantics? How can language be defined? What gives language its diversity? Where are its limits? The core of the thesis is formed by the practical part which is dedicated to distinguishing untranslatable words and their meanings. Those words are reflecting concepts from all over the world and cannot be translated by using just one single term, instead these untranslatable words need descriptions in order to be comprehensible in other languages.

A catalogue and a map have been created based on the untranslatable words and their languages, showing a new perspective on the world. The catalogue is arranged by the coordinates from the map and categorized by the meanings of the untranslatable words.

The intention is to explain the role of language in the creation of visions and ideas and to draw attention to the limits it can simultaneously impose on us. Through language it becomes possible to grasp constructs of thought and to encourage lateral thinking in a way that would otherwise remain hidden.

The main typefaces in the book are GT Sectra and Moderat. In the catalogue of untranslatable words additional typefaces are used for non-Latin characters. Cyrillic and Greek are set with FF DIN. PingFang HK is used for different styles of Chinese and Japanese. Lucida Grande is used for Hebrew and Thai. Jaldi is used for Hindi, and Kefa for Amharic. Tahoma was used for Arabic Character. Inuktitut scripts are set in Euphemia.

Magazine title set in SangBleu Empire, number in SangBleu Courtesan, subtitle in TheW Clan ODB and fine print in Suisse Int’l.

In the third issue of Type Life, Swiss Typefaces take a look beyond their own work and celebrate contemporary type made by others. The Swiss design studio compiled a selection of their favorite typefaces, licensed the fonts and used them to design a magazine. The resulting specimen of “Non-Swiss Typefaces We Like 1569–2018” comes with a text by Florian Hardwig (Fonts In Use) and is visually enriched with works by lettering artist Julien Priez (boogypaper).

Type Life 3 showcases 19 fonts from 19 international foundries: 29Letters, Adobe Type, Commercial Type, CSTM Fonts, Dinamo Typefaces, DSType, Extrabrut.Shop, Future Fonts, Hoefler & Co., Letters From Sweden, Linotype, Milieu Grotesque, Or Type, Production Type, Sharp Type, Sportsfonts.com, The Enschedé Font Foundry, Typotheque, and Velvetyne Typefoundry. The selection is a representative sample for the diversity in type design and gives an illuminating overview of the current scene. While the majority of the fonts was released in the past few years, many draw inspiration from all kinds of sources from previous eras. There is blackletter, script, slab serif, sans serif, and more. This – a stress on newness, historical references, and a vast stylistic plurality – reflects three major trends in today’s typography, as Florian Hardwig points out in his introduction. Other recurring themes that he identifies as being symptomatic for 2018 include highly conceptual projects and a quest for extreme aesthetics. At the same time there are functional fonts designed to solve specific problems. Just like the fonts, the type designers who created them have diverse backgrounds, in terms of geography, or how they entered the field. The represented distribution models range from traditional licensing to subscriptions, free and open-sourced fonts, as well as experimental or even unfinished releases.

Each issue of Type Life features a guest contributor. This time it’s the up-and-coming French lettering artist Julien Priez. A graduate of École Estienne, Paris, he’s a member of the international collective High on Type, best known for organizing the annual festival All Eyes on Type. Priez gives workshops at various schools and is an instructor at the prestigious TypeParis program. His work oscillates between the analog and the digital. Alphabets are first calligraphed, then cut in wood, and eventually digitized. Priez is just as comfortable painting meter-high letters with a triple brush on a wood fence as he is animating ornate pixel letters with kaleidoscopic patterns. Type Life #3 shows a range of his repertoire, starting with a still from his animated Nightmare Alphabet and two of his in-progress fonts Boogyroma and Boogylink on the cover. Mandinor Gothic is used to render the word “KING” on top of a kinetic gesture. The next page answers with “KONG”, in letterforms that pay homage to Jean Midolle’s Alphabet Lapidaire Monstre from 1835. With such historical references and the stunning stylistic versatility, Priez’ work is a perfect fit for the content of this issue.

At a whopping 40 pages, Type Life 3 is the most substantial issue so far. It’s printed in three Pantone spot colors plus silver and black, on two different paper stocks including transparent paper.

“Dream” set in Boogyroma and “Chasers” set in Boogylink, two in-progress typefaces by Julien Priez. Foundry names set in TheW Clan GZA by Swiss Typefaces. The caption that mentions the typefaces is set in Suisse Int’l Condensed.

Essay, set in SangBleu Republic (body text) and Suisse Int’l Mono (streamers, side notes). The green type on the left and at the very top of the right page is KOPYME As Uzual.

Galapagos (Felix Salut, Dinamo) and Xprmntal 01 (CSTM Fonts) visiting each other’s page. Typeface names (top) are in KRSNA. In the margins left and right, the foundry names are set in stacked letters from KOPYME (Swiss Typefaces).

Winner (Sportsfonts.com) × Quarto (Hoefler & Co.)

A pattern of Patron (Milieu Grotesque) with a guest appearance by Vincent (Letraset) is juxtaposed with a collage featuring elements from a Caslon Old Face specimen by H.W. Caslon & Co. from 1924.

On the left, a page from the book Il perfetto Scrittore Di M. Gio. Francesco Cresci, Italy, 16th century. On the right, (raster) pattern tiles are mixed with Frank Adebiaye’s Montchauve (Velvetyne).

Perfil (DSType) and Cardinal (Production Type). Cameo: Magnificat.

Julien Priez’ Mandinor Gothic in combination with his lettering.

Pattern by Julien Priez, printed in fluorescent and metallic ink.

Separat (Gunmad, OR Type) on the left, and Azal (Pascal Zoghbi, 29 Letters) as well as a tag lettering on the right hand.

Times Europa (Linotype) vs. Line (Letters from Sweden), with interventions by Good Vibrations and Block Up (Letraset).

Type that looks like it cannot be moved, and type that looks like it couldn’t sit still for a second: Berton Hasebe’s Styrene (Commercial Type) and Jérémy Landes’ Digestive (Triple Studio).

Thesaurus Display (Typotheque) × Respira Black (Sharp Type)

Feature page with Benoît Brun’s Shakotan (work in progress), printed in neon spot color.

On the left, a selection of A monograms (mostly dating back to the 15th and 16th century) shine through their overlying page with a big silver A set in Bram de Does’ Lexicon No. 2 (The Enschedé Font Foundry).

Pull quote in SangBleu Sunrise, printed in silver metallic ink.

Back cover with a sneak preview of the upcoming KOPYME and SuisseU.

Pages for a coloring book produced by the Google Creative Lab, designed by Tori Hinn with ZIGZAG Not Rounded.

The infographic represents the number of residents of Matera (in Southern Italy) with the same surname. The number of people with matching surnames is illustrated by the size of the text and the value printed in red. The larger the font size, the higher the number of people sharing the same surname.
 
The poster can be viewed in two ways:
Observation from afar, whereby only the larger and most common surnames
will be legible.
Close observation — immerging oneself in the literature only to discover a few surprises, such as the coexistence of foreign names alongside the more traditional.
 
The infographic was designed using the Open Data of the City of Matera. Dataset updated 31/12/2013.
Poster 70×100cm, offset printing on glossy coated paper (150g Burgo).

The 2014 holiday gift guide from New York magazine is basically a 164-page love letter to Windsor, with virtually all headlines and display type set in it.

The Nov 17–23 2014 issue of New York magazine is a classic example of how that publication manages to employ a wide variety of typefaces and employ very large/bold type but maintain a close attention to detail in the body type. Throughout the entire issue, the type palette varies hugely from serious workhorse types like Miller to fun retro types like Windsor and New York’s signature Egyptienne — all handled with care and consideration.

The extremes of the type spectrum represented within the issue include a giant full-page single glyph on one hand, but also well-spaced and well-printed body type on the other hand — some of it even knocked out of rich 4-color black backgrounds with surprisingly clear and readable results.

This issue is of note for those interested in typography because the cover story about emoji is composed with emoji symbols inline with the normal body type. Those who missed the original newstand offering can order back issues directly from New York magazine.

The Wire magazine cover, issue 346, December 2012

The Wire magazine cover, issue 345, November 2012

The Wire magazine cover, issue 348, February 2013

The Wire magazine, January 2013 spread

The Wire magazine, January 2013 spread

The Wire magazine, January 2013 single page

The New York Times Magazine came out with its annual Food & Drink issue this past April. Art director Arem Duplessis put most — if not all — of Euclid BP’s alternates to work throughout the cover and interior. 

The New York Times Magazine did something new with the online edition of their 2013 Innovations Issue, building a dedicated section of their site for the 48 short essays, with color schemes and type to match the print edition designed by Arem Duplessis.

The typefaces are LL Circular, a new release from Lineto which even gets a mention up front, A2 Beckett for headlines, Georgia for text, and just a dash of the NYT’s custom bold condensed Stymie on the front page. The format isn’t complex, but it feels like a pretty special edition of the magazine due to the unique packaging, navigation, colors, and especially the type. The design also responds quite well to narrow window sizes

I have only two complaints. Some of the color backgrounds are a little too strong for reading, especially when they also include a halftone image like the “Sleep-Away Camp” article below. To counteract this, the designers added a tiny white drop shadow to the text (an increasingly popular practice on the web), but I think this does more harm than good — though the effect is sharper and more distracting in some of these screenshots (shown at reduced size) than as I experienced it in the browser.

The other beef is minor: the right margin is slightly cropped for me (see the comments link at top of all pages), probably because they only tested on a Mac which had the default hidden OS X scrollbars that only appear when scrolling. Oops.

Props for hanging the quote!

I don’t want to read this. That background image is just too intrusive.

The New York Doughnut Map, published by All-You-Can-Eat Press, “includes a brief history of doughnuts, and features 35 favorite New York doughnut shops”.

I was unable to identify a few on the many typefaces that were used on the map. If you recognize any of please feel free to share in the comments.

Transit Maps:

These two maps show exactly the same thing - bus services out of Jerusalem and into Palestine. The route lines are identical on each map. The first map presents the services from an Israeli perspective, while the second map presents them from a Palestinian point of view. The differences are striking.

Fortune, May 23, 2011 cover featuring an illustration by Carl DeTorres.

Two-time National Magazine Award winner John Korpics has a lengthy editorial design resume that includes Premiere, GQ, Entertainment Weekly, Esquire, InStyle, Fortune, and now ESPN The Magazine where he just joined as Creative Director. One of his final acts at Fortune was the annual “500” issue. It’s always a hefty production, but this year’s is a particularly typographic feast.

Infographics using MVB Solano Gothic and Geogrotesque.

Click to enlarge.

The core of Fortune’s typography is MVB Solano Gothic. The typeface was originally made by Mark van Bronkhorst for the Bay Area city of Albany, designed to work alongside the community’s early 1900s architecture. With its sturdy, utilitarian geometry derived from sign lettering of the era, Solano can feel slightly vintage, but the standard variant is more sober than the Retro and Round members of the family.

I was surprised to open Fortune and find what could be considered a character actor playing such a central role. But Korpics proves with Solano that some “display” typefaces can be more versatile than we assume. Besides setting headlines and teasers, Solano performs admirably in infographics and even the “500” issue’s essential lists and tables.

A table set in MVB Solano Gothic with italics in Geogrotesque.

Alice Alves found this font for me after I asked her to do some research on strong, condensed, somewhat geometric sans serifs. Most any magazine will need a condensed sans for something and I thought this one fit my idea of the brand. The more I played with it the more I saw that it would hold up well in a lot of different places, which is why you see so much of it. — John Korpics

Despite this unexpected flexibility, there’s only so much a typeface can do if it has just one condensed width and no italics. In these cases the wider Geogrotesque by Eduardo Manso fills in nicely. Its straight sides and lack of frills make it appear almost of the same family — a close cousin at least.

Fortune’s section heads, using a modified and shaded MVB Solano Gothic, were created by Tal Leming.

MVB Solano Gothic, Vitesse, Miller, and Geogrotesque make up this article intro.

Three contrasting faces — Vitesse, MVB Solano Gothic, and Brunel — play off each other for the headline. Miller for text.

Vitesse opens a sidebar paragraph of MIller.

Miller, Brunel, and Vitesse round out the house typefaces of the magazine. Miller is a solid, conservative choice for text, grounding what is otherwise a fairly progressive palette — which is important if you want to keep those buttoned-down business types reading. Korpics added Vitesse later. He says “all my designers were begging to add a slab”. It serves well for small heads, eyebrows, and even short texts.

When Fortune competitor Condé Nast Portfolio folded in 2009, they left behind a beautiful asset: Brunel. This “English Modern” was designed by Paul Barnes and Christian Schwartz for Portfolio who used it until their closure. Korpics swooped in and snagged it for Fortune.

Brunel, MVB Solano Gothic, and Vitesse.

Brunel for initial caps. Miller for text.

That’s some pretty clumsy, unreadable spacing in this headline. I blame ill-advised use of Optical spacing. Click to enlarge.

Fortune’s current art director, Michael Myers, played a major role in the design of this issue. He also created the interior illustrations for the “500” feature. These follow a host of similarly styled typographic pieces he’s contributed to the magazine over the year. The “500” found on the feature’s contents page is loosely based on the condensed geometry of Solano:

Each character in this illustration was based of a square grid of 8×17. Part of the concept, as with many of the more subtle communications in the magazine, is to pick up on the idea of data/information graphics. The colored bars within the letterforms are a wink to that. — Michael Myers

 

Illustrations by Michael Myers along with text set in Brunel, Geogrotesque, MVB Solano, and Miller.