Poster designed for The Party by Ostbahnhof:

Our red headed stepchild is back! VERS – the sexy new Friday Spinoff where “Anything Goes”. October 11th (and every second Friday of the month) we bring the weird, wild, and wonder of the warehouse to Precinct in Downtown LA. Limited capacity, limitless possibilities. Anything Goes.?

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

“VERS” mixes several styles of Radim Peško’s Lÿno series, namely Ulys, Walt, and Jean. Lÿno Ulys additionally is used for “BTM”, and Walt for “TOP”. In additional roles: Roslindale for “Anything Goes”, Jabin (top) and Digestive (center) for “The Party by Ostbahnhof”, and Ogg Display in caps for the rotated lines at the sides. Neue Helvetica is used for the lineup, and Beatrice Display for the date and venue.

See also the poster for the September edition.

Detail.

Detail.

I wanted to make a post about the excellent craft beer brewer Berliner Berg’s use of Viktor Script by Erik Marinovich for OH no Type Co. I took pictures of their van yesterday and thought, “I’ll go home and take some screenshots of their website! I bet they use Viktor Script there, too.” Well they don’t. Only seems to be on a few of their Instagram graphics, as far as I could tell. So sad! The font is rad AF.

Berliner Berg Brauerei use a custom typeface for their logo and most other purposes. The all-caps grotesk is named Schlossberg and was designed by Aurelia Markwalder in 2015.

Another car from the brewery’s fleet, from February 2019.

Primot was designed specifically with a vintage gelateria in mind. It’s that moment where font specimen and real life usage meet, yet exceed all the expectations of the type designer.

I particularly loved seeing the variety of sizes in which the logotype – a slightly modified version of the out-of-the-box type – was applied, from cupon and embroidery to neon sign and outdoor signage.

It was thought as a ‘logotype-ready’ typeface, and it was a delight to see the care taken in making the slight customizations to make the wordmark stand out. Because it's so specific, it was not our bestseller by a mile. Also because it’s mostly frictionless to add to your type menu, Primot is our most synced typeface at Adobe Fonts, which may be one of the reasons we are starting to see it more and more. Lastly, because it was made to such specific cases, It’s unmistakable when you see it in the wild.

From Halo Creative’s Behance presentation:

The Dudzik family approached us to carry out a brand design project for a place that exists — and thrives — from the 70’s. They wanted us to come up with a name, design a logo and all the other elements of the identity for their ice cream store.

From the very beginning we knew, that creating a new identity for a place that already exists, and is loved by everyone will be quite a challenge. We understood their need to adjust their ice cream store to the modern standards — after many years of operating, the place needed a refurbishment, and the lack of a brand made it hard to function in the new media, which is a crucial tool in communicating with the client nowadays. We also knew that in this particular project the analysis and strategy building should be swapped with emotions and subjective feelings. Also, that the project will be good and serving its purpose only when it’s approved by the whole family.

At first, we decided the place should bear the name of the family. This was a very important element of the message — after all, people have been going to Dobczyce for the Dudzik ice cream for years.

We’ve designed two versions of the logo — a simple one, with just the name; the other reminding about the ice cream store establishment date. We wanted to make sure, that everyone would recognise the ice cream they know and love for years, despite the visual identity change. In the visual identity we used the ice cream colours: pistachio, blueberry, and raspberry; white and dark green. We wanted the colours to match the ice cream — in pastel colours, made from natural ingredients.

All of the projects were printed out on natural, mate paper coloured in mass and cotton, so that the clients enjoy being surrounded by our identity elements.

We designed a logo, business cards, reward cards, 2 materials, out of which aprons and pillow cases for the guests, labels with the ice cream flavours, a stamp, stickers, ice cream cups, neon sign, signboard, and some elements of the interior decor.

Design and production of the bench and wooden structure by Michał Kowalczuk.

This luggage label from the great collection of Tom Schifanella (Art of the Label) is probably from around 1960.

The three-dimensional bold italic Egyptienne was designed by the brothers Lenz, Eugen (1916–2004) and Max (1919–1998), and first cast by the Haas foundry in 1947 as Profil. The script is Roger Excoffon’s Diane. It was issued by Fonderie Olive in 1956—the same year that the Stuttgart TV Tower (depicted on the left) was placed in service.

Hotel Brenner was located close to the Stuttgart Hauptbahnhof (maybe on Friedrichstraße), which can be see in the background. The rotating and illuminated Mercedes-Benz star on top its tower (behind the second N) was mounted already in 1952.

Diane’s caps are so elaborately decorated with swirly strokes that the metal sorts were labeled with plain letters to avoid confusion. They later were amended with a simpler design. A specimen from 1974 shows both sets of caps. Diane has been revived several times; by Jason Walcott as Debonair JF (Jukebox, 2000, simple caps), by Thierry Puyfoulhoux as Diana (Présence Typo, 2004, original caps), and by Mark Simonson as Diane Script (GroupType, 2008, contains both sets of caps).

Profil was digitized by Bitstream as Decorated 035.