Perimeter Books is a bookstore based in Melbourne, Australia. They recently overhauled their visual identity and opted for a minimalist look, using a single weight of TWK Lausanne throughout.

Proto Grotesk is the main typeface used in the visual identity of Важные Истории (“Important Stories”). From our interview with Alexander Gladkikh, cofounder and art director of Charmer Studio:

Important Stories (aka IStories, or Важные Истории) is a small independent media that specializes in investigative journalism. The guys wanted something beautiful and distinctive, and gave us full freedom — that is, no clear criteria. A number of references that we were still provided with were foreign media, different both in terms of their topics and visually. It was mostly newspaper layouts, with no explicit references to investigative journalism.

And then we thought — why not put a slight emphasis on detective aesthetics, the atmosphere of a classified archive. We looked through plenty of spy movies posters and covers of spy novels of the 1960s, 1970s — we wanted to make the Web have this analogue feeling, faded colours, nearly tangible textures. So, we needed a monospaced font for small details, referring to a typewriter, a reading-friendly typeface — and something eye-catching, display, not over-exposed in the Russian market.

And that’s how we run into Proto Grotesk.

It has a strong personality. It’s not as if it’s incorrect — though it has eye-catching details that create something unusual. It seemed reminiscent of old newspapers, with slurred letter edges — very disciplined, but giving this feeling of having been printed a long time ago. It fit perfectly well our headlines, cards, and in general supplemented our design wonderfully. Proto could really be used to set the title of an old spy movie — slightly wear it out, making it look old, and it would be exactly as if it was made back then.

The role of the “reading-friendly” typeface, “referring to a typewriter” is handed to IBM Plex Serif and its companion IBM Plex Mono. Read the entire article on the type.today website.

Inito is a tropical Asian rice take out restaurant in Bogotá, Colombia. It changes the way we eat Asian food, with new and fresh flavors, combinations and textures.

The visual identity was built thinking about rice, with typographic compositions that mimic the movement of its grains as they are prepared. This, accompanied by a fresh color palette and short phrases, represent how fun and easy it is to eat rice.

ABC Maxi Round Mono is used throughout the identity in two weights.

Vinyl cover designed by Hardziej Studio (Patryk Hardziej) for the third album record of Bass Astral × Igo.

The main typeface in use is Solenizant (Laïc: Type), small texts are set in Favorit (Dinamo).
The title of the album is a combination of Solenizant and lettering by Patryk Hardziej.

[More info on Discogs]

On your mark, get set, action! Shatter in use for the cover of an album by the Blackbyrds. From record collector oopswhoops:

Smooth Jazz-Funk album, not the most emblematic by The Blackbyrds but a personal favorite. Contains the much sampled “Mysterious Vibes” track.
1977 U.S. pressing on Fantasy label.

The flurry of Vic Carless’s design is further increased by coloring the letterform slices in red and yellow. An added drop shadow ensures a minimum of readability. The narrow script used for the article is probably custom.

The cover is an early design by Lance Anderson (with photography by Gerald Panopoulos and art direction from Phil Carroll). Anderson later became known for his logo design for the Indiana Jones films (with a similar color palette) and the THX digital sound system, among other work.

[More info on Discogs]

Detail

Poster and titles designed by Mauricio Garza for the short film Solazo, directed by Kevin Vásquez and produced by Poema de Amor.

Solazo is set in a future where solar radiation has become harmful. Humanity has managed to adapt. However, Lucas is torn between the attraction and repulsion that the sun causes him, while he takes care of a plant.

The title is set in Nostra Stream by Lucas Descroix. Nostra Stream is used for the credits as well, combined with Roboto Mono by Christian Robertson and Gascogne by Brendel / Typeshop.

Fun away is the title of Hoff’s collection for fall/winter 2021. Javier Cortés made a film that introduces the fashion items, Naranjo-Etxeberria provided the graphic design. The titles are shown in caps from Amy Hood’s Lone Pine (Hoodzpah, 2020), a wide slab with horizontal contrast and some sweeping swash alternates. The hairlines were beefed up to prevent them from breaking away. Lone Pine is paired with Hoff’s standard Akzidenz-Grotesk.

Concept and design for the Father’s Day campaign by Triumph & Disaster, where a bottle opener is the gift with purchase (GWP).

I was commissioned to create the campaign main graphic and different print and digital materials to promote sales and the GWP. The design choices are based in the T&D brand and ’60s and ’70s advertising graphics.

Collaborators: Copywriting by Eliseo Leal & T&D Team.

Amongst collectors, Determined Productions and their founder, Connie Boucher, are probably best known for their work with Charles Schulz and Peanuts. Connie, a former window-dresser, worked closely with Schulz over many years to produce a barrage of Peanuts merchandise, including Schulz's first book in 1962, the international best seller Happiness is a Warm Puppy.

The spreads here are from a series of international and topical cookbooks written by Connie’s sister (and de facto D.P. editor in chief) June Dutton; the series grew out of June’s love of cooking as well as her many years spent living abroad with her children, and features recipes across a wide range of regions, holidays, and themes.

The design and illustration of the cookbooks are by frequent collaborators John Astrop, Eric Hill, and Ann & Bruce Butte. Their collective work is exemplary of the postmodernist pop aesthetic established by artists like John Alcorn, Milton Glaser, and Peter Max, as well as of the psychedelic undercurrent inculcating San Francisco design at the time.

Creative studio Decade from New York City worked with luggage brand Paravel to create their first campaign. The posters use a range of display typefaces, all paired with Paravel’s brand typeface Post Grotesk.

From first to last image, these are Canopée used for “Montauk”; Salvaje Display is used for “Flushing”; “Chinatown” is set in Zangezi Sans; an unidentified fraktur is used for “Sheep’s Meadow”; House Script for “Everywhere’s a trip!” and “Luggage for explorers”; University Roman (or Mecanorma’s version named Celtic) is used for “The Catskills”.

The campaign was New York City-focused, with subway ads and a station takeover of Broadway/Lafayette, as well as placements in MetroNorth and Grand Central, and was brought to life in various print and digital formats. From the Decade website:

Travel is more than a few trips a year to faraway places—looking at the world through the eyes of a traveler means finding adventure everywhere, everyday. To tell this story, the campaign featured local spots made to feel like exotic destinations. With cinematic images, graphic treatments inspired by vintage travel postcards, and tongue-in-cheek reminders that “everywhere’s a trip,” we communicated the sense of humor and imagination at the heart of Paravel’s approach to travel.

An adaptation of Jussi Parikka’s essay, “Malware as Operational Art: On the If/Then of Geopolitics and Tricksters” from Het Nieuwe Instituut’s 2019 exhibition, Malware: Symptoms of Viral Infection.

The structure of this book references the skeletal 
syntax of the web and the layered, nested anatomy of HTML. Smaller moves—the unravelling typography 
and cut paper revealing a computer-generated texture on the inner folds—seek to reinforce this theme 
of perceived danger, offering an uneasy, anti-reader friendly experience.

The use of San Francisco (Apple) references the visual language of Apple products, whereas Apple Chancery by Kris Holmes embodies the sprawl of weeds and hints at contagion. A condensed Authentic Sans (by Christina Janus and Desmond Wong) ties this all together, both highlighting important questions and inviting the reader to reconsider what a book can be—as seen in the front cover, which seeks to act as a billboard.

Since 2016 JAF Bernini Sans has been HBKsaar’s (Saar College of Fine Arts) identity. Graphic designer Daniela Spinelli designed the invite and the brochure for the summer exhibition in 2018, which nicely combine the psychedelic Digestive from Future Fonts with the very sober JAF Bernino Sans.

From the designer’s website:

Every year the University of art and design in Saarbrücken, Germany »HBKsaar« releases a yearbook with the students best work of the last year. From all the different disciplines like product design, communication design, art, media art and design. It’s been published for the annual exhibition to represent the University, especially for potential students. Colour plays a vital role in the HBKsaar’s colourful identity. Every year there is a prevailing colour theme. This time reflex blue and fluorescent orange.

Starting point for this years theme was to create a design that involves you. The HBKsaar has a force of attraction like a vortex. It absorbs you in a dark hole like Alice in the rabbit hole. But at the inside, after removing the book jacket, it reveals a brighter future. With two different circle die-cuts as finishing process.

The content is split in three sections with different papers, a rough uncoated paper and a sustainable recycling paper. Introducing a review from the last annual exhibition, the students project descriptions and an appendix. The display typeface takes up perfectly the visual style of the brochure and contrasts nicely to the corporate font.

A groovy typeface choice for postage stamps, pairing Herkules with quirky cat photos for this 1978 series from Equatorial Guinea. As seen at Forgotten Graphics.

Poster for an experimental music concert with percussions in Nantes. The typography pairs Alte Haas Grotesk and Heretica, two freebie interpretations of Helvetica.

El Enemigo (“The Enemy”) is a YouTube channel that reviews and documents emerging Colombian music, becoming today one of the most relevant figures on the national scene. The new identity sought to reach all the diversity of its audience by transmitting its critical and objective position, and to communicate that music must be an act of interaction between cultural diversity.

The logo is based on Eckmannpsych. The font’s lowercase glyphs have been combined with scaled-down uppercase forms for E and L for a biform/unicase look. Some characters – such as N, I, M – were customized to achieve better readability when used in reduction.

Each of the various categories is represented by an icon in the form of an E. Some of them use digital fonts, some are based on showings found in an old type catalog, and some are custom drawn.

Emergente: Baby Teeth, customized / Enemigo: Eckmannpsych / Internacional: Pilat
Escuchar: inspired by a Zigzag g, but altered to look like an ear and an E / Rock: Ohno Blazeface Italic / Electronica: Quartz, customized / Rap: Pilat, customized / Metal: Cloister Black
Emitir: Lamina Don / Vlogs: Motter Ombra / Noticias: Ohno Blazeface / Entrevistas: Putty Bold

From Modern Meadow:

Modern Meadow is a dedicated team of individuals guided by a collective belief: biofabrication unlocks the power of nature to offer new design possibilities. Everything we do is rooted in human ingenuity’s ability to make tomorrow better than today. A pioneer of biofabrication, we believe that multidisciplinary collaboration between design, biology and material science can lead to smarter ways to make evolved materials. We partner with thought-leading brands to transform the material world and design for a healthier planet.

Logo set in Sharp Grotesk; headlines use Osmose and Calibre is used for body text.

Monster Kitchen and Bar is located at Hotel Hotel in Canberra. The 200 seat restaurant meanders through the hotel lobby and ground floor, and is preoccupied with local and seasonal produce prepared for sharing.

U-P designed the identity for Monster applying it to menus, signage and other ephemera. As part of the identity, U-P designed and developed the Monster Kitchen website. U-P uses ZIGZAG designed by Benoît Bodhuin and Courier for the identity.

Medium 0 is an internal printed publication, self-initiated by Medium’s design team with assistance from the editorial and marketing teams. It comprised a handful of the best pieces published on Medium in 2018, representing the broad spectrum of stories that appear on Medium from writers of all types.

This project came together in just over a week. The two designers worked together to establish a basic grid and typestyles, and then mostly separately to translate the articles from their digital form. In most cases, this meant creating a bespoke feature treatment from scratch as the original articles didn’t have accompanying artwork or display type.

Lars and an unreleased serif by Kris Sowersby are used for body text throughout. The front and back cover consist of a modified M from Maelstrom, creating an abstract front cover that reveals itself upon opening.

44pp, oversized newsprint. Design by Noah Baker and Dora Godfrey. Art direction by Ryan Hubbard. Special thanks to Bethany Heck and Renald Louissaint.

Further documentation by Bethany on heckhouse.com.

The narrow type in the black ovals is Cardinal Fruit, available from Production Type.

The X on the left hand page is taken from Breite Fette Antiqua by Forgotten Shapes.

Lonely City, with caption-like snippets set in WiseType’s Monarch.

Justified Compacta Black is paired with Klim’s unreleased serif for a powerful opening page.

All-caps Lars is contrasted with Klim’s upcoming Fournier-inspired serif.

The Moon and Stars Can Be Yours is a freewheeling, far-roaming investigation into the contemporary world of spiritualism that began with Duzant’s obsessive collection of psychic fliers on the New York City subway system combined with ephemera from the NYPL Pictures Collection. In an age of increasing uncertainty, the wave of modern mysticism is always present, eagerly waiting to fill the void created by our digital lives. Duzant weaves together research-based writing with anecdotal stories, inviting the reader along for a ritualistic search for meaning, following the path of the Spiritualist and New Age movements.

Magali Duzant’s The Moon and Stars Can Be Yours is playfully designed with holographic foil and neon paper stocks inspired by the fliers found on the subway. Millionaire (Script, Roman and Italic) set together with a grotesk like Neue Helvetica is a beautiful combination: the contrast between both creates a bold, original and contemporary typographic language.

Designed by Elana Schlenker and published by Conveyor Editions. Images by Whatnot Studio.

Visual identity for a series of lectures about vaccination by Guillaume Besson and Benoît Timothée Ebener, two graphic designers based in Switzerland.

The poster was Riso-printed in black, teal and flash orange, at Le Bureau Culturel, Lausanne.

This poster represents the first use of Besson’s Kepler, a new grotesk that finds its roots in the first researches for Univers by Adrian Frutiger. It is paired with Altiplano’s Millionaire.