Hörspielsommer is a festival that takes place in Leipzig, Germany, each summer. The festival was established in 2003 and has continued since. It offers free radio play programs for both children and adults, has competitions, workshops and performances. The festival recognises established and aspiring artists.

For the 2023 festival a range of promotion material and merchandise was created by HawaiiF3. Utilising bright colours, a mix of type and illustration giving the work a playful, youthful and vibrant look

The fonts in use are Inky by Bonez Designz and MVB Grenadine by MVB Fonts.

Tiki Berlin is a book full of comic snippets from the future. It is available from Felder Books Berlin. See a flip-through video.

Tiki Berlin, inside

Tiki Berlin, inside

Writers take sides on the question: Are you for, or are you against Franco and fascism? Are you for, or are you against the legal government and the people of Republican Spain?

This book with 418 American authors weighing in on the Spanish Civil War was edited by Millen Brand, Dorothy Brewster, Harry Carlisle, and Groff Conklin, and published by the League Of American Writers in 1938. The featured voices include Gertrude Atherton, Brooks Atkinson, Carl Becker, Kenneth Burke, Countee Cullen, William Faulkner, Edna Ferber, Felix Frankfurter, Dashiell Hammett, Ernest Hemingway, Langston Hughes, James Weldon Johnson, Rockwell Kent, Stanley Kunitz, George Seldes, Upton Sinclair, John Steinbeck, Genevieve Taggard, Clara Weatherwax, and Richard Wright.

Mazzetti d’Altavilla celebrates 100 years of the famous Negroni cocktail with a special recipe based on Bitter, Gin, and Amaro Gentile all rigorously Mazzetti, wishing you “100 of these Negroni”.

To contrast the traditional design seen on the labels, Adore You has been used on the cardboard packaging. This handwritten script font with a big character adds a human touch and grants this case with a fresh casual look.

The Mazzetti d’Altavila logo is based on Trajan, which is also used for “Negroni Tasting Experience” inside the box. The three labels use a range of different fonts, the primary ones being Just Old Fashion and Selfish for Gin, HKF Gold Queen DLC for Bitter, and Mk Latino for Amaro Gentile.

A flyer for open decks at Bravó (Iceland) where anyone can come and DJ. “Open Decks” is set in distorted Lightning Punch PG (2021) by Teh Andeh. The informal handwritten-looking caps are from Flicker by Jakob Fischer. “Free entry” uses the similar Haven’t Slept in Two Days by Kimberly Geswein.

The quote by Miranda Hart is set in an unidentified sans similar to Loew Next.

Daft Brush by PintassilgoPrints is paired with beautiful illustrations by Emmanuelle Walker on the covers of the Tabitha Baird books by Arabella Weir. Published by Piccadilly Press, this young readers series spans three books: The Rise and Rise of Tabitha Baird (2014), The Endless Trials of Tabitha Baird (2015), and Testing Times for Tabitha Baird (2015).

The lettering on the book covers makes use of Daft Brush’s alternates: there are four alternatives for each letter, two for numerals, and yet more alternates for punctuation marks. The OpenType contextual alternates feature instantly cycles the glyphs to achieve an organic, hand-lettered look.

The blurb on this cover is set in Gotham.

Accent in use on the store front of a laundry in Berlin-Wilmersdorf. The fat brush-drawn sans originated at Filmotype and was shown in a 1955 list as a new release. It was preceded by Ark, a related narrower style. There are various digitizations of Accent. Here the letterforms were electronically condensed. For once, that’s an improvement – out of the box, Accent is a bit plump.

I can’t decide whether it’s laughable or charming that a budget dry-cleaner wants their shop front to look like it’s the work of an American sign painter from the 1950s. The bright colors and the limitation on one style in all caps definitely have some appeal.

The LED display shows Matthew Carter’s Tahoma Bold. The Cita Textilpflege logo uses more system fonts, Arial and Chicago, but I don’t list them here as they are shown too small.

Source: archive.org Detail of ad in Boston Pops Orchestra concert program, 1925. License: All Rights Reserved.

This fruit sauce brand goes back to the 19th century. Five Fruit bottle labels from the early 1900s (see photo of trade sign) had blackletter logo that was emulated with a modified Bradley – or lettering inspired by the typeface – for this 1925 advertisement.

Source: archive.org License: All Rights Reserved.

Source: www.flickr.com Image: Allan Katz Americana. License: All Rights Reserved.

December 27, 2017 Press Release:

The Philadelphia 76ers today unveiled its fourth and final uniform for the 2017–18 season, the “City Edition” uniform, which celebrates the revolutionary spirit of the city of Philadelphia. The uniform’s signature-style lettering and parchment-paper color are inspired by the Declaration of Independence, signed in Philadelphia in 1776.

“Phila” is set in embroidered Inoxida, a script typeface by Angel Koziupa and Alejandro Paul (of Argentina) that somewhat resembles Timothy Matlack’s calligraphy from the second edition of the Declaration of Independence. Other promotional graphics use Oxida, the rough-contoured version of the same type design.

April 11, 2018 Press Release:

The Philadelphia 76ers unveiled today its integrated brand campaign for the Philadelphia 76ers playoffs, presented by Toyota. “Phila Unite” builds upon the team’s season-long “Spirit of 76” initiative by combining the bell logo, inspired by imagery from Philadelphia’s 1976 bicentennial celebration, and the segmented snake, a hidden feature on the City Edition uniform that is derived from Benjamin Franklin’s historically-significant political cartoon of 1754. The 76ers playoff logo now showcases “Philadelphia” in cursive script, representing the signing of the Declaration of Independence.

This truck fooled me. At first I assumed it was hand painted — that flick at the end of the ‘S’, the handwriting ampersand, the close shade — but closer inspection revealed Workhorse, a font calculated to mimic a sign painter’s gothic. The shadow on the right side could have been a clue: sign painters usually shade on the lower left.

The multicolored Mexican 100% is a nice touch.

Artwork for the album Brasil Afora by the band Os Paralamas do Sucesso, using several Brazilian fonts inspired by vernacular lettering, including Suburbana, a freebie available from Dafont. Read more about the project at Tecnopop.com.br.

Art developed for a national campaign of the Individual Entrepreneur Week, developed by SEBRAE (Serviço Brasileiro de Apoio às Micro e Pequenas Empresas). The titles are composed in the Bonocô typeface. The font is free and can be downloaded from Dafont.

In the annual “The Lives They Lived” issue, The New York Times Magazine remembers those we lost in the past year. This year’s edition features the eye-catching Sestra for headlines, combined with Georgia (text) as well as the magazine’s proprietary Sans (captions, by-lines) and Serif (for the summaries in italics).

Designed by Austrian-based Kristina Bartošová, Sestra was initially drawn for a logo of a concept store and subsequently developed into a custom typeface. The design appears to be inspired by Ehmcke-Antiqua a.k.a. Carlton. The online feature uses two weights of Sestra. While the title graphic is embedded as SVG, the headlines are rendered with webfonts, making heavy use of the fonts’ special features — extra-wide alternate capitals and nested ligatures, among other things — activated via the OpenType features Discretionary Ligatures and Stylistic Sets.

Spotted at the Big Taste Festival in Almere, 2 hours before opening (27 May 2016).

Louisiana Canteen is a food cart serving Sloppy Joe, Cajun Chicken, Chicken & Seafood Gumbo and other soul food.

Source: twitter.com Photo by Ken Barber. License: All Rights Reserved.

Portland, Oregon’s “White Stag” sign represents a gradual erosion of lettering over its 60 years. What remains is mostly Brush Script.

The sign was originally erected in 1940 as an advertising sign for White Satin Sugar. It was repurposed in 1957 for White Stag Sportswear using a new style of lettering, and again in 1997 for Made In Oregon which introduced some Brush Script into the mix. The sign was acquired by the city in 2009 and it was soon redesigned to read “Portland Oregon”.

Source: en.wikipedia.org Photo: Steve Morgan. License: CC BY-SA.

The White Stag sign, with its hand lettering as sprightly as the deer, stood this way for 40 years: 1957–97.

While some of the 1957 letterforms were preserved during the two recent transformations (e.g. ‘e’ and ‘g’), most of today’s sign uses Brush Script, which has only a passing resemblence to the energetic, angular forms of the White Stag original.

Source: en.wikipedia.org Photo: Steve Morgan. License: CC BY-SA.

Source: en.wikipedia.org Photo: Steve Morgan. License: CC BY-SA.

Personally, I wish they had hired a lettering artist to emulate the unique style of the White Stag original rather than resort to a font that has no special connection to the place, nor fit as well with the lines of the deer artwork — but not everyone is as picky: “In 2011, Ramsay Signs' work on the redesigned sign won the company First Place in the Historic Reproduction category of an annual design competition held by the International Sign Association.”

Smuteční slavnost is a, what they call “Strictly unorthodox Black Metal” band from Prague. Their logo is set in XXII TotalDeath by Doubletwo Studios, making use of the font’s OpenType features for symmetrical swashes.

The band is signed to Yehonala Tapes, a “small bedroom cassette tape label” based in Berlin. The Yehonala Tapes logo uses XXII GoreGrinder.

Book design Talent in praktijk – Inspirerende verhalen van LMC Praktijkonderwijs Schietbaanstraat Rotterdam (“Talent in Practice – inspiring stories of students of LMC Praktijkonderwijs Schietbaanstraat Rotterdam”).

72 pages / A5 / Authors: Joke van der Zwaard, Rianne Polak. Photography: Rein van Zee. Graphic Design: Karin ter Laak

Originally written in the mid-1950s, Go Set a Watchman was the novel Harper Lee first submitted to her publishers before To Kill a Mockingbird, her Pulitzer Prize-winning classic. Assumed to have been lost, the manuscript was discovered in late 2014. [HarperCollins]

On the Guardian’s Books blog, Stuart Bache dissects the cover design:

The blue US jacket is a love letter to the first edition of To Kill a Mockingbird [published in 1960] – from the typeface used, to the pictorial style. The name of Harper Lee stands prominent (notice that on the original edition her name is on one line and is much smaller).

Of course there is the “Author of” line across the top, but the entire cover is To Kill a Mockingbird, just 20 years on from the original story’s timeframe. There sits the tree, a little older now, with far fewer leaves and without the beautiful vibrancy of the green. Instead the ones that remain are gold; perhaps Scout returns in autumn, or it’s a suggestion of her age, or of Atticus’s age – he is in his “golden years” after all. […] 

Bache is certainly spot on about the cover having been “designed with the sole purpose of being a companion to the first edition of To Kill a Mockingbird”, down to the similarly looking letterforms. There is one major technological difference, though: While the text on the cover from 1960 was lettered, i.e. drawn or written by hand, the lines on the new design are typeset, using prefabricated letters as defined and stored in a font. The fonts in use here are Caterina Bold and Bold Italic as designed by Paul Veres in 1999.