This is a project I developed as part of my DNMADE in Graphic Design at École Estienne, April 2024.

After writing my dissertation, I decided to conduct interviews with professionals working for and within various cultural institutions in order to enrich my thinking within the framework of my degree project. I wanted to interview key players involved in different stages of exhibition creation: a museographer, a graphic designer and a scenographer. Their different points of view, influenced by their roles, missions and objectives, provide complementary perspectives. Comparing and contrasting these often related points of view was therefore essential to understanding the subject.

Each interview is presented in a coloured section, making it easier to read. The layout of the pages and the binding allow for non-linear exploration, where the reader can choose to follow the testimony of a single contributor or navigate freely between the different interviews, much like one might wander through an exhibition. A list of pictograms is also included to highlight certain vocabulary words and summarise certain ideas, thus offering a more visual dimension to the reading experience. These were used to design around twenty diagrams, which appear between the responses to make the reading experience more accessible."

Raccogliere magazine focusses on the Venetian intertidal zone and community through the lens of a more-than-human actor and plant called salicornia. It grows in the fragile salty marshlands known by the locals as the barene. There, the salt-loving plant solidifies the soil beneath with its intricate red roots and thereby creates the conditions for itself and other plants to thrive.

Over the last decades salicornia has become an indicator for the manifold challenges present within the lagoon. Spotted by local farmers on their land, the plant indicates the rising levels of salinisation and thus the loss of agricultural land due to global warming. Recent years saw the plant growing even further up the sweet-water river Po, which is alarming to ecologists and climate scientists alike. Some say that Venice could be regarded as the forefront of global warming today, as flooding and salinisation threaten the ecosystem and livelihoods of many.

Both UNESCO’s protection of the marshlands as well as the MOSE construction have affected the fragile intertidal zone even further. While the former may unwittingly contribute to the loss of marshlands since privately managed sites are kept up better, the latter has been met with scepticism as it failed to protect Venice from flooding meaningfully, whilst having been a rather extensive financial investment in a city that struggles financially (see Alberto Barausse’s interview). The challenge of mass tourism and cruise ships have had further impacts on the local community, leading many to leave the city due to lack of housing.

The list may go on yet bearing this in mind, we wondered on how these different agendas in this fragile ecosystem might be mediated, if at all? What might be actions of regeneration that local Venetians may consider or already practice? We talked to scientists, NGOs, chefs, artists and designers about combating these challenges and their individual long-term efforts and responses in the face of global warming. The magazine features these conversations and their respective projects, all of which promotes resilience and regenerative actions. Not at last they suggest a different vision and understanding of Venice and its crucial ecosystem.

The design of the zine takes visual cues and references from the Venetian lagoon landscape and it is printed on RISOgraph (rice-based inks) with three colours on recycled offset paper. The typography combines Rainer with Lacrima’s Serif and Senza styles. Body copy is set in Lacrima and ABC Whyte. Printed in Germany with Herr & Frau Rio.

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Raccogliere magazine was designed and edited by Sigrid Schmeisser. This originally emerged out of a bigger project (Project Raccogliere) conceived with design duo Daniel Garber and Amalia Magril.

The limited magazine is sold through independent bookshops and by Sigrid Schmeisser. The core of the magazine which is to map and featuring resistance practices and regenerative projects (BluePages) continues online.

Lisa Fischbach’s expressive Edie & Eddy collection with its elegant italics and Moritz Kleinsorge’s versatile Allrounder Grotesk and Mono are the hallmarks of PAGE magazine's new look. From the grid to the use of imagery and typography, everything in the magazine has been rethought to give the layout more lightness, space and freedom.

The new design is used in print and on the website. It uses Edie and Eddy for headlines and highlighting, particularly the expressive italics in large quotations. Allrounder Grotesk provides the perfect grey value for body text. From time to time they swap places, Edie and Eddy becoming the main text face and Allrounder Grotesk showing its qualities in larger sizes for headlines and subheads. Together they make an exciting mix for a fresh look.

Combined with the Mono for the marginalia and some paragraphs, the magazine uses the full range of the two families. From Sans to Mono of Allrounder Grotesk to Slab, Text and Modern of the Edie and Eddy collection, including the italics of all versions. The Edie & Eddy fonts are perfectly used – they stand out where they fit and can simultaneously support the individual layout of articles in future issues of the magazine.

Літопис Українського Дизайну, or The Chronicle of Ukrainian Design, is a new periodical print publication about the history and development of Ukrainian design, initiated by the design bureau Spiilka. The magazine aims to observe and demonstrate how Ukrainian design identity was born and has evolved.

From the times of Kyivan Rus to present-day large-scale international partnerships, Ukrainian creative professionals describe how design in Ukraine is functional, attentive to tradition, and at the same time innovative.

Topics of the first issue include: Vasyl Krychevsky, the emblem of the Ukrainian People’s Republic, the e-Ukraine typeface, the “State in a Smartphone” initiative, Volodymyr Pobedin, the Eney bicycle, and more.

Typography, graphic design, industrial and product design, digital design—The Chronicle of Ukrainian Design covers these areas and tells about the projects and designers that have influenced Ukraine and Ukrainians and have gained recognition worldwide.

The first issue was created by the Spiilka team in collaboration and partnership with the school of popular culture SKVOT. It is also supported by the Ukrainian IT company MacPaw, the EdTech company Headway, and the leading law firm Vasyl Kisil & Partners.

See the website of IST Publishing for detailed credits.

The sixth issue of Forward Magazine published by Forward Festival is dedicated to artificial intelligence. It was designed by Austrian design studio Zwupp with Jonas Grießler, using Bugrino (old version) by Muhittin Güneş on the cover and as main display typeface. Other fonts used in the magazine are Scto Grotesk A by Schick Toikka, Catalog by Binnenland, and Source Code by Adobe.

The magazine takes a deep dive into AI and its unknown future of technological evolution. Including interviews with Refik Anadol, Mike Meire, Baugasm, Barbara Kruger, Ines Alpha, Claudia Rafael, Sucuk & Bratwurst, Snask, Christina Worner.

The cover picture is by Claudia Rafael. AI portraits by Florentine Schäfermeier.

Sarah Vanuxem is a French academic and law teacher-researcher at the Université Côte d’Azur. In 2023, she did a research project at the French Academy in Rome–Villa Médicis, entitled Du droit de déambuler. Réécrire les fictions juridiques à l'âge de l'antropocène (“On the right to wander. Rewriting legal fictions in the Antropocene age”). It’s based on the study of the right to wander in response to ecological upheavals.

We have designed a series of six newspaper issues and the installation Ius deambulandi for the final exhibition Una linea storta tesa. They are composed in Self Modern designed by Lucas Le Bihan, Bretagne foundry, and in Cosmica by Labor and Wait.

Photo: Christoffer Leka. License: All Rights Reserved.

Back in the spring of 2016 Kaisa and I had a brilliant idea.

Well, actually we had two brilliant ideas. They were 1. To ride our bikes across North America, from East to West, and 2. To raise money for the trip by making and selling a punk zine about bike travel.

”But why a punk zine of all things? There can’t be much money in that”, you might exclaim. And you would be absolutely right. But doing things that are rational has rarely been a guiding principle for the two of us. So yes, a punk zine it was to be.

Photo: Christoffer Leka. License: All Rights Reserved.

At this point I had also grown somewhat tired of the meticulous perfectionism that came with desktop publishing. There was a small part of the otherwise so very pedantic me that viewed such an ability to fully control the visual environment as both sterile and impersonal. And while I know this isn’t a very original observation to make I still longed for the more tactile ways of designing.

This project offered me the ideal opportunity to make use of all the old type catalogues and printed ephemera I had amassed during decades of unorganized and mostly stochastic collecting and turn them into something new. In the process I also ended up spending a hundred euros on an old Xerox machine our school was going to ditch anyway, and to the dismay of my brother placing it in his garage.

Photo: Christoffer Leka. License: All Rights Reserved.

I began by whipping out my old Letraset catalogue and starting to blow up the typefaces I thought I could use in the project. Turns out this included almost all of the typefaces presented. As for the Letraset catalogue, this was the very book that incidentally ignited my love for typography when I first came across it in 1986. I simply couldn’t believe that so many wonderful letterforms existed in this world. An insight I still cling onto some three decades later.

In making the zine I set up a couple of rules for myself: 1. All type (with the exception of the body copy) would be set by hand, meaning it would be cut and pasted, and 2. The tools used would be analogue (with the exception of a concession I made enabling me to use digital cameras when needed), 3. No rulers or other measuring devices would be allowed, everything had to be eyeballed, 4. Fonts would be used to one’s heart’s content and combined without too much thought or prejudice, and finally 5. Everything would be in black and white, because, well, punk is black and white!

Photo: Christoffer Leka. License: All Rights Reserved.

With these simple guidelines I sat down and began designing, allowing the process and the mistakes I made along the way guide me towards some form of an end result. The fun part was that for once I had no clear picture in my mind of what was to happen. Working in this way was intuitive and liberating, but even more importantly helped me realize how much of the transparency we associate with computer-generated design is illusory. The tool always controls its user whether they are aware of it or not. And if that’s not a punk rock insight then I don’t know what would be!

Photo: Christoffer Leka. License: All Rights Reserved.

While working on the zine we realized that the project wasn’t as difficult or time-consuming as we had thought, so we decided to up our game: There would be a tape to go along with the zine! The problem was neither of us played any instruments or sang. (You’d be hard pressed to find a more musically challenged person than myself!)

So we wrote a ton of letters to bands that we thought would be cool to work with, and to our great joy almost all of them responded with enthusiasm and a promise to participate. This was turning out to be way easier than we would have anticipated!

The full tape can still be listened to over on the otherwise slightly less well-functioning project site, should you feel the need to hear some phenomenal Finnish punk and hardcore.

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

Next question to sort out was who on Earth would still produce tapes in 2016? Well, through some obscure connections we got in touch with a lay Christian preacher who had a small tape production facility set up in his basement in the suburbs of East Helsinki. He would mainly record his own sermons, but he also occasionally sold his services to outsiders. And we were definitely as outsiders as it gets!

And while we’re coming up with new stuff, why not include a poster? And some envelopes to keep all the things together! And some stationery, should we want to write someone. Once again our initially somewhat reasonable project began, somewhat unsurprisingly, to snowball.

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

But all of a sudden it was all done! We printed up some 300 copies of both the zine and the tape, and I don’t think we’ve ever sold out anything we produced as quickly. Yay! Unfortunately our goal to collect funds for our trip was a a non-starter as the production costs far exceeded what we had hoped for.

So realistically we probably ended up losing more money than we made on this venture. But even this is not certain, as we really didn’t keep track of our finances. Still, the whole project should still be considered a grand success, because we had a ton of fun doing it!

Photo: Christoffer Leka. License: All Rights Reserved.

Photo: Christoffer Leka. License: All Rights Reserved.

Feldman Architecture is an award-winning design practice recognized for creating warm, light-filled spaces that are site-sensitive and carefully crafted.

It stands as a distinguished residential architecture firm, renowned worldwide for its expertise in crafting ethically built and environmentally conscious homes, catering to discerning clientele.

For the identity Parker Studio used Waldenburg Halbfett Halbschmal alongside Rhymes Text. For the logo they created a customized a with a belly that goes horizontally towards the stem.

The typeface in Elophe Poirson’s label appears to be a version of (Alte) Schwabacher, used with a long s in “Poirſon”. It’s thinner than most digitizations and has a different letter E.

Elophe Poirson (1840–1918) was a violin maker in Lyon. According to René Vannes, his production, which spans from 1876 to 1918, is estimated at around 300 instruments. [Viaduct Violins]

Волхонка. Неторопливая прогулка (English: Volkhonka. The Unhurried Walk) is a book about the history and architecture of Volkhonka, one of the oldest streets in Moscow situated near the Kremlin. Written by architectural historian Federica Rossi, the book is something more than an ordinary guidebook. A big historical and archival research preceded the writing of the book. Written in an easy manner the book opens new pages of thrilling history of the district. It is richly illustrated with both modern and historical materials, many of which are published for the first time.

The book was designed by and for White City Project Foundation, with art direction by Ivan Aleksandrov and graphic design by Ekaterina Yumasheva and Elena Byalaya. The typography uses Geometria (Brownfox) and Gauge (Alexander Tarbeev). It won several awards, including Red Dot (“Best of the best” nomination, Winner 2020), European Design Awards (Silver, 2020), and Zharkniga (Grand prix, 2020).

For more info and images, see Behance.

The cover star is Dropje van Fulpen (photo taken in Tuitjenhorn, Noord-Holland)

Filmotype Mason in use for the masthead of De Poezenkrant (“The cat newspaper”). Number 25 of this Dutch periodical directed by Piet Schreuders was issued in May 1979, titled “The Cat Next Door”. Mason, which was copied by VGC under the alias M-16, here is used without any interlocking letter combinations, but a bouncing baseline, two biform alternates, and a tightly spaced NT pair. On top of that, the first N is adorned with a cat’s head and followed by a tail-shaped hyphen.

The article “De” as well as the claim “Katten Smaken naar Vos” (“Cats taste of fox”) are added in a sans with flared stems that has a very similar name: it’s Filmotype Madison (a.k.a. VGC’s G-57). Note the alternate in the double t. Other typefaces featured on the cover include Century Expanded Italic and American Gothic, Vladimir Andrich’s take on Copperplate Gothic, which has an added lowercase and is distinguished by a long middle bar in E, among other things.

The combination of Mason and Madison is also featured on the contents page.

Visual identity for The Stow Brothers, an independent estate agency based in East London. Studio.Build designed a custom typeface in two weights, Stow Light and Regular. Typographic furniture from Heneczek was used as signposts throughout the brand refresh. For the supporting typography, Studio.Build chose Styrene B and Ballinger Mono. From the case study:

The core DNA of the branding was first identified and preserved. It was unanimously agreed that the original Stow Stencil typeface was a vital element, but should be updated and refined — resulting in Stow Light. Building on these foundations, a new suite of visual assets, custom type and supporting typefaces was combined with a refined colour palette. […] Work with The Stow Brothers is ongoing, with a printed ‘Culture Book’ completed as a leave-behind for new vendor enquiries, and for new staff.

Heneczek's arrows next to custom designed typeface, Stow Light and Stow Regular.

Why call a magazine “No Go Zone”? In 2015, American TV Channel Fox News decided to call the suburbs of Paris “no go zones” which they deemed too dangerous to visit. This magazine aims to appropriate this designation and give the alternative point of view – written by people who actually live in these “no go zones” – of a new neighbourhood for each issue. It gathers photographic, artistic, journalistic, and poetic cotributions.

This second issue was designed with black markups as layout and very visibly edited photography, aiming to put the reader at a critical distance from the content.

The magazine is distributed locally in a small network of libraries in Seine-Seint-Denis, France, as well as in protests.

Sharp Grotesk by Sharp Type in its Black 11 style was chosen for the titles and the markups, and DIN Condensed by Paratype for the subheads. Swear by OH no Type Co. in its Text Medium style is used for the main text.
20×30 cm, 76 pages

German design studio Cerno Design has used Lektorat (Florian Fecher’s first design and the recipient of the 2019 Gerard Unger Scholarship) to create an engaging website for Ara Kara, the pratice of Munich-based therapist Nan Mellinger. The website combines Lektorat Condensed for titles and large texts, with Lektorat Text for paragraphs.

This month, Montezuma Café, a listening bar in Paris, turned three years old. Studio Jimbo designed a poster for the occasion, using various styles of Nuances, a serif typeface family released with Blaze Type just a few weeks earlier.

Typography and book design of the catalog for the exhibition series Freundschaftsanfrage at the Von der Heydt Museum Wuppertal.

No.1 is dedicated to the exhibition of Hans-Christian Schink, whose photographic works are presented in dialogue with a selection of 19th-century landscape painting from the museum's collection of precursors of modernism, such as Caspar David Friedrich, Ferdinand Hodler, Alfred Sisley, Paul Cézanne, and Vincent van Gogh.

48 pages, thread stitching. Swiss brochure with a cover made of Surbalin pearl effect – on the video you can see the shimmer and the gloss quite well). Printed by Druckerei Kettler.

Front cover

AA Bronson’s House of Shame brings together AA Bronson’s work from recent years, emphasizing the social dimension of his collaborative artistic practice. Edited by Vincent Simon, it was published by Edition Patrick Frey. Berlin-based designer Fritz Grögel provided the book design. He kindly lets us in on his concept and typeface choices.

AA Bronson’s queer and spiritual art is rarely pleasing and sometimes provocative. It touches on social taboos such as homosexuality, age and death, and deals with supernatural and irrational aspects of life that are not in vogue in our secular, rational modern age. For some viewers, it may seem like a freak show at first glance. For Fritz, this was precisely the starting point for the book design: to present the “House of Shame” in the style of 19th century fairs, where people who did not conform to the norm were put on display.

He built this concept around various display typefaces by Andreas Seidel of astype: the Block-like Wood Heinz No.2 and No.4, the slab-serif Wood Poster Eight, and the narrow siblings Wood Bonnet Grotesque No.4 and Antique No.7 are all excellent digital interpretations of old wood type fonts. Most of them come with “worn” alternates that help emulate an authentic printed look. These wood type revivals were used to structure the large sections of the book.

For the few longform texts, Christoph Dunst’s Novel (Atlas Font Foundry) is used, described by the designer as “a warm oldstyle roman that offers all the bells and whistles for fine, bibliophile typographic work”. Captions are set in Albert-Jan Pool’s FF DIN, for Fritz “the classic choice of typographic restraint”. Especially when combined with some of the “wild” images, it establishes a clear distance. In the appendix, Novel and DIN are used together, in a differentiating manner.

The format and layout of AA Bronson’s House of Shame aim to be unpretentious yet of high quality. Instead of doing a coffee table book, Fritz opted for a medium format that can be viewed on the train. Glossy finishing and lamination were deliberately avoided; the flattering haptics of the predominantly open papers should speak for itself. The outcome is an arresting publication that makes me want to learn more about AA Bronson and his work.

Half-title page

Title page with a combination of Wood Bonnet Grotesque No.4, Wood Heinz No.4, and Wood Poster Eight, all in caps. The superscript and underlined “OF” was made using the Wood Heinz Deco Caps, referencing catchwords as they were common in the Victorian era. The superscript o in “№” is part of the numero glyph as included in Wood Heinz.

Extended title page with a list of contributors, set stacked and justified in various wood type styles.

Opening spread of Vincent Simon’s foreword, with the author’s name set in Wood Heinz Deco Caps

Wood Heinz No.2 for the heading is contrasted with the calm Novel for body copy, featuring its compact and only slightly inclined italics.

Table of contents

Chapter opening featuring Wood Poster Eight with a stray O from Wood Bonnet Grotesque No.4.

Unlike the foreword, Paul Clinton’s essay is set justified, with indents to mark paragraph beginnings.

The running title is added on left pages, set in a rotated line of all-caps FF DIN.

The text is sandwiched by two halves of an exhibition view of We Are the Revolution (2011).

Chapter opening featuring Wood Bonnet Grotesque No.4

“Clean” versions of the wood type fonts are used for chapter headings, bridging the gap to the content.

Fritz notes that a major challenge lay in the visuals, which came from many different sources and ranged in quality from perfect gallery shots to blurry cell phone images.

It was important to the artist to focus more on those images that show the artists and visitors interacting during the performances. The image formats in the book are hence diverse. The crucial thing was to always pursue a kind of visual storytelling that would allow the reader to immerse in the exhibition spaces while sitting on the sofa.

This chapter opening switches around the typefaces previously seen for “Asshole”.

In the interview conducted by Frédéric Bonnet, questions are highlighted by Novel’s Bold Italic.

A smaller size of Novel is used for footnotes.

Caps from Wood Bonnet Antique No.7 with lowercase letters from Wood Bonnet Grotesque No.4

In the second, choral part, friends bear witness in a kind of logbook, reflecting on the five-year history of the artist community. These text contributions (here the one by Bradford Kessler) are set ragged right.

The appendices are introduced by a typographic block that echoes the title page.

Each line is set in another of Andreas Seidel’s wood type revivals.

Appendix: artists & contributors

Appendix: illustrations

Novel and DIN are used in various styles to differentiate the various text elements.

Colophon

Back cover

Pilote Paris designed RN13BIS’s new visual identity. The design concept is based on a pair of contrasted fonts: Söhne by Klim Type Foundry and Panama by Temporary State.

RN13BIS is a regional network which brings together 23 structures and places of contemporary art in the Normandy region in France. RN13BIS also band together artists, authors, curators working to promote, support, disseminate, produce and publish research and artistic creation. We also designed a new website and the first issue of their new annual magazine called Insert.

Epoque Roman and Bold were used extensively as the base font on the packaging of the Collection Particulièr by Bonnat Chocolate. Three limited edition flavors of fine chocolate – Dos Cielos, Kuna Balam and Les Sirènes – were released in October 2021: “A limited edition of chocolates made from cocoas, which in spite of their rarity, can be considered collectible beans.”

The typeface has been present on the brand’s social networks from then on, in combination with the brand’s luscious lettering and illustrations. It is interesting to note that the alternate forms for both the A and also the E were used on the back of the packaging in the middle part (see last image).

Note the alternate forms for A and E used in the center of this label.

The NIPKE logotype, set in Nip Sans—a redrawn and revised version of Arial Narrow Bold.

NIPKE is a beer and liquor brand initiated and designed by Studio de Ronners. The name is based on the Dutch word ‘nippen’, meaning ‘sipping’. Studio de Ronners writes:

NIPKE bundles our most outrageous ideas and experiments in taste, aroma and design. We founded the brand as an outlet for anything that doesn’t fit our regular work. In close collaboration with professional partners, we develop beers and spirits of gastronomic quality. NIPKE is also an exercise in uncompromising marketing: we go against all standards in alcohol branding and packaging to create a product line with a distinctive look and feel.

NIPKE products are enjoyable and drinkable, but they are also exclusive, coming in limited and hand-numbered bottles. This exclusivity is represented by the design, which makes it clear that this is not your average drink. With its bold lettering on back-to-basic monochromes, NIPKE can be seen as a kind of anti-branding, not obviously aimed at ‘selling’ the product. The raw style shows that this product is the result of lab experiments. It’s a collector’s item. The labels as well as the packaging are sophisticated, but they also exude a DIY punk attitude that goes against the predictable norm.

As part of NIPKE’s uncompromising branding, the idea emerged to use one of the most overused typefaces, which comes free with Windows: Arial (1982) by Robin Nicholas (1947—) and Patricia Saunders (1933–2019). You might be surprised, thinking the NIPKE typeface doesn’t quite look like Arial, and you would be right!

Together with Studio de Ronners, I revised—and redrew some letters of—Arial Narrow Bold, to change it from a typeface many people are tired of seeing, to something with a bit more intrigue. I removed the calligraphic influences (the curved leg in R has been straightened), I fixed some letters (I felt the weight distribution and curves of S around its spine were awkward), and I exaggerated some features. One of the most obvious changes is the enlargement of bowls—such as in P—and the widening of circular glyphs.

As a result, Nip Sans (English: “Sip Sans”) has a much more open and polished appearance compared to Arial, as well as a slightly erratic rhythm due to the large counter spaces in circular glyphs. To better understand what I’m talking about, have a look at MD Nichrome by Rutherford Craze, which features this effect in a more exaggerated way.

Also, Nip Sans features 4 stylistic sets with which you can activate characters of different extents of exaggeration or deemphasis. With its design and optional features, Nip Sans is decidedly more playful than Arial, with a bit of a DIY punk attitude.

☞ The NIPKE brand won bronze at the European Design Awards 2020.

A comparison between Nip Sans (black) and Arial Narrow Bold (yellow).

NIPKE No. 1 (Herr Heino) features Nip Sans, Neue Helvetica Medium (Weizen + Juniper + Lagering), Gloucester Extra Condensed (Herr Heino), and Haarlemmer Medium (OLD GENEVER, 42% VOL., 500 ML).

NIPKE No. 3 (Dibbes) features Nip Sans, a horizontally compressed/distorted Times Regular (DIBBES), and a horizontally compressed/distorted Times Bold (TRIPEL BEER + JUNIPER + LEMON + CORIANDER + GENTIAN ROOT, MOUTWIJN, 39% VOL., 500 ML.). The trolley is a custom design by Remmelt Deriksen.

NIPKE No. 2 (O’ Manta) features Nip Sans, and Heroic Condensed Black Oblique (O’ MANTA & the rest of the typography). Mommeriete + NIPKE (Swampy Wood) features Nip Sans, and a horizontally compressed/distorted Times Bold (MOMMERIETE, Swampy Wood, Porter, 5.7% VOL., 33 CL), and an undistorted Times Bold (SMOKED PORTER).