Only one typeface, Grotesque 6, in 3 weights, in use for this monograph about Alix Héaume and Adrien Robain of rh+ architecture. The bilingual book (French/English) was designed by French graphic designer Mahaut Clément and published by Éditions Archibooks. Format: 22×29 cm, 288 pages.

Moscow-based agency BlogoSphere specializes on uniting bloggers and clients.
With bold neon colours on dark background, their website promotes bloggers and some of their work. In tune with the fresh design is the extended style of Halvar Breitschrift which is used for headlines and texts.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

AKQA was responsible for the launch of Beck’s beer in Brazil. The campaign is an all type motion galore, with type interacting with the can and the bottle, taking a leading role.

Stretching, roling, expanding, multiplying, the campaign is used in many situations throughout social media as well as in-store ad activations such as LED displays and the such.

Vinila is neutral enough for use in a wide gamut of formats, yet its inktraps make it easily recognizable and unique. Flora de Carvalho’s Vinila started out for a small label in a music packaging project. Her intention was to create a legible neo-grotesque in text sizes that could bring a lot of texture/personality when used large.

Eduarda Nieto, a Miami Ad School graduate and D&AD pencil award winner, art directed the project. Motion design was done by Polar (formerly known as Estudio Arco), with 3D by Lucas Mayer. The studio has been tackling kinectic typography like few others.

As the engineer that helped bring Vinila to the market (it was released through Plau), it was a joy to see the use of our very first variable font in the context for which it was designed for. See more animations on Nieto’s website.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

Bilingual catalogue for an exhibition at the Pushkin Museum of Art, showing a selection of the painting collection of the Fondation Louis Vuitton:

Fondation Louis Vuitton is presenting for the first time, a significant selection of works from its Collection at The Pushkin State Museum of Fine Arts, Moscow. This exhibition, which represents the Fondation’s commitment of showcasing works by some of the world’s greatest modern and contemporary artists, is one of its most important “off-site” presentations since it opened in October 2014. The exhibition features a variety of artworks in a range of media, demonstrating the breadth of the Collection and bringing it to the widest audience.

Designer Daniel Bondarenko designed the bilingual catalogue with two contrasting styles of typography. Two weights of Ida by Maria Kharlamova (Paratype), set in one size, are used for all information in the book interior allowing the artworks to take the stage. For chapter openings and biographies, Karloff Negative (Typotheque) offers striking headlines: Cyrillics on the left for Russian text; its Latin counterpart used for English on right hand pages. Karloff Negative is the “ugly” part of Typotheque’s Karloff collection, Biľak’s take on the possibility of a conceptual typeface. Karloff Negative was designed by Peter Biľak and Pieter van Rosmalen; Cyrillic was added by Maria Doreuli in 2017.

Shown here are Nicola Peter’s cover designs for Temple Solaire’s Ceremony tapes, which are a series of seven playlists on Spotify, curated by the seven members of the band.

The grotesque that is exclusively used for the covers is Ambiant Sans, designed by Laura Csocsán.

Homepage

WhatFontis is an online font finding service. Users can upload an image with some letterforms. After verifying the recognized characters, the tool matches the sample against the 550,000+ fonts in the database and tries to identify the right one, or suggest close matches.

Developed by Alex Cuibari and first launched in 2010, the site recently got a major redesign. For the new interface, WhatFontIs commissioned a custom typeface from Amsterdam-based designer Diana Oveza (Acute Studio).

“Besides a fresh look, the font also had to be interesting and beautiful enough for a website that only deals with fonts everyday. It had to be the inception of all fonts”, Cuibari jokes. The font was ready in March 2019 and was named Gresa. “Gresa is an expressive sans serif typeface, which tries to differentiate itself from the plethora of sterile grotesque designs. The flared stroke endings, thin connections, and square dots give this typeface a modern edginess”, Oveza describes it.

Gresa comes in a single style. All text on the standard pages is rendered in Gresa, sometimes reverting to slanted and faux-bold styles. The WhatFontIs logo continues to use Nexa Slab Heavy Italic. Gresa is made freely available to premium users of WhatFontIs. It can also be licensed separately, via Fontspring.

Submission examples

Forum

Timeline of the project

List of newly added fonts

Logo

Ustajte prezrene na svijetu: Tri eseja o Rosi Luxembourg (“Rise up, despised of the world. Three Essays on Rosa Luxemburg”) is a monograph of Rosa Luxemburg, written by Ankica Čakardić and published by the Rosa Luxemburg Stiftung Southeast Europe.

The monograph “Rise up, despised of the world” already announces with its combative and engaging title the tone and baseline that will flow through the chapters: the contemporary actuality of all that Luxembourg has struggled with in its life and activities. — Vox Feminae (translated via Google)

Designer Sven Sorić chose CoFo Sans for the typography, as it offered “just what we were looking for — a great grotesk done by a female type designer with Eastern European and Cyrillic characters.”

The publication is available as a free download (in Croatian).

Art catalogue for the exhibition Calder. Un inventeur radical / Radical Inventor, the first major Canadian retrospective of Alexander Calder (1898–1976) which was on display at the Montreal Museum of Fine Arts from 21 September 2018 to 24 February 2019.

The book – an award winner at Applied Arts magazine — was designed by Compagnie et cie using Kinetic and Mercury. Published by 5 Continents Editions in two language editions, French and English.

Since a decade Munich-based Bernhard Maier Design is shaping the visual identity of Janua Möbel. In a recent renewal, Harrison Serif is used for branding the high-class crafted furniture manufactory.

In Janua’s booklets, Harrison Serif is mostly used in its Medium weight for large, at times full page headlines, paired with geometric sans Avenir. The classical elegance of Harrison and Avenir match Janua, a brand that does not follow trends but rather crafts timeless workpieces above the mediocre.

Choreografia: polityczność deals with choreography and its political aspects. It is co-published by five cultural institutions in a design by a design collective: kilku.com.

The typography uses various weights of the Adelle Sans typeface family for text and headlines. Graphic designer Idalia Smyczyńska describes the project: “The book is about political aspects of choreography. It consists of a set of critical texts — art manifestos in which choreography is treated as a tool for formulating and expressing thoughts — a space for critical actions and resistance practices.”

Co-publishers: Art Stations Foundation by Grazyna Kulczyk, Institute of Music and Dance, Instytut Teatralny im. Z. Raszewskiego, East European Performing Arts Platform.

The term “School of London” – adopted by R. B. Kitaj in 1976 to refer to the many outstanding artists based in London who drew and painted the human figure – has often been applied to a small group of six painters: Frank Auerbach, Francis Bacon, R. B. Kitaj, Leon Kossoff, Lucian Freud, and Michael Andrews. — Pushkin Museum of Art

Formular in use in the catalogue that accompanies Francis Bacon, Lucian Freud, and the School of London, an exhibition in the Pushkin Museum of Art organised in collaboration with Tate Modern. The design of the catalogue is quite straightforward, but ABC Design found opportunities to play with type. Note the colored footnote markers and the rotated captions.

L’École de Design Nantes Atlantique (Design School Nantes) asked me to make the poster for their open day 2019. I had a total freedom in this project to use any font I wanted even if Montserrat is the only typeface used in the identity of the school.

As I spent five years in this school, I knew the best thing to do was to fit to the identity, and keep Montserrat as an important part of the poster design. My goal was to keep as close as possible to their usual medias, but also to give a structure to the composition, as it was composed with many elements. In this case, Montserrat perfectly reflects the functional design taught at L’École de Design.

The aim of the research is to pay homage to two artists, such as the Italian photographer Luigi Ghirri and the French illustrator Jean Giraud, aka Moebius, a master of science fiction. Considering that the two artists examined may seem apparently not very similar, both in terms of poetics and in terms of the final results of their work, this essay seeks to demonstrate the existence of a common thread that links two worlds, two experiences, two different interpretations of art, two careful looks to scrutinize what is, to imagine what is not there.

A type-only pocket-sized paperback book made from a Wikipedia article and designed by articulating ideas of heaviness and voidness.

A series of typographic devices were used to keep the body of text as heavy as possible while maintaining a degree of readability. Quotations inside the text were treated like fading memories and the introduction to each of the chapters fall into the gutter in order to create a slight feel of discomfort.

4¼ × 6.88″, 136 pages printed and perfect bound at Lulu.com

Front cover with plastic wrap

An Interview with Cu Rua, released by ismellpainter and the Society for a Sonic Enrichment of the Air in 2015, is the documentation of artist Peter Strickmann’s travel to Vietnam and his recorded interviews with Cụ Rùa, the ancient and popular, well-loved turtle of lake Hoàn Kiếm in Hanoi. Read more on Peter’s blog.

Very sadly, Cụ Rùa was found dead on January 10th, 2016. From that day on, all records were outfitted with an obituary notice. An Interview with Cu Rua may very well be the last vocal statement of a very fine and legendary creature.

The album art uses Brezel Grotesk by Stefanie Preis and Milieu Grotesque. Both sleeve and cover were printed locally and assembled by hand by the artist.

Back cover

Inside cover, obituary notice, LP sleeve

Inside

Inside, LP out

Inside, Asia-centered world map

Kiösk (Elsa Aupetit & Martin Plagnol) is a Paris-based graphic design studio. They design a wide variety of projects including identities, websites, posters, books and took care of the most recent issue of Graphisme en France, made around a clever fold that isolates the text from the images.

In 2016, they were in artistic residency at Mains d’Œuvres, a place “for artistic and civil imagination”. During their stay, Kiösk used the David typeface family for the visual identity of this place.

Magfest is an annual international magazine festival and conference happening in mid-September in Glasgow and organised by the Scottish professional publishers association, PPA Scotland. Tablet Gothic has been used on their website, from headlines to menus and paragraphs — a perfect use since it was made for editorials.

“<100 is a traveling pop-up shop for gender wage equality.” — lessthan100.org

The project’s producers are Elana Schlenker and Tammy Mercure.
Front-end development: Ashley Englisch-Spinney
Illustration: Grace Danico
The typefaces in use are Matrix by Zuzanna Licko and the yet unreleased Lomo by Katharina Köhler [released in June 2016 as Lelo].

Lucia Mlynčeková chose Sirba, designed by Nicolien van der Keur, to typeset a personal book. Z neviditeľných partitúr hrám is a collection of poems written by her grandmother, Tatiana Blichová.

The book, beautifully set, is printed in one colour only but takes advantage of pale yellow paper to accentuate the intimate nature of the book as an object.

It was designed as part of Lucia Mlynčeková’s student work for Tomasz Bierkowski's atelier at the Academy of Fine Arts in Katowice, Poland.