As Hungary’s TISZA Party rises to national prominence ahead of the 2026 election on April 12, a considered typographic choice has become central to its visual identity. TISZA (short for Tisztelet és Szabadság, “Respect and Freedom”) positions itself as a clear alternative to long-dominant Fidesz rule, promoting anti-corruption, economic renewal, and strengthened ties with the EU and NATO – all themes that call for messaging that feels legible, modern, and trustworthy.

TISZA’s visual team selected Luma Sans as the core typeface for campaign communication, applying its geometric precision and humanized shapes across podium signage, social templates, posters, and long-form text. The choice reflects three core needs: Clarity and Readability, Modern Authority, and Multilingual Support.

In TISZA’s typographic system, medium weights anchor headlines and calls to action, lending confidence to key messages. Lighter weights support policy summaries and longer prose without losing rhythm or readability. The result is a disciplined yet flexible visual voice that performs equally well in high-pressure public environments and digital spaces.

By rooting its identity in a modern, human-centred sans-serif, TISZA reinforces its political narrative: an alternative grounded in clarity, openness, and pragmatism.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

The Field Meridians’ Observer is a printed, quarterly neighborhood newspaper highlighting local news and seasonal perspectives. Published at the turn of each season and distributed for free to the Crown Heights community, local neighborhood stockists include the Brower Park Library (155 Brooklyn Ave) and Another World (629 Nostrand Ave) and The Word is Change (368 Tompkins Ave). The first issue is tied to the winter solstice, including a warming soup recipe, a piece on the joy of winter birding, and a calendar of the season’s best activities. A digital copy of the first issue is available here.

Jordi Ng designed the newspaper, which is typeset in International Edition and HAL Repost. Céline Hurka created a customised masthead, drawing bespoke initials of the Repost caps spelling “OBSERVER”. The pictograms are taken from Noto Sans Egyptian Hieroglyphs and Noto Sans Symbols. The issue also features illustrations by Lillian Ansell, Thomas Colligan, and María Medem.

An entry with Egyptian hiero

The L.A. Review of the Moving Image documents the shifting landscape of film culture in Los Angeles. Over the past decade, the city’s creative life has expanded beyond its traditional centers, moving away from Hollywood premieres and studio theaters into a constellation of smaller, experimental spaces. Today, moving images circulate through artist-run cinemas, living room screenings, rooftops, cemeteries, guerrilla file shares, Twitch streams, and group chats. This dispersed yet coherent network reflects a culture where watching, rewatching, editing, and remixing have become collective rituals.

The Review approaches the moving image not simply as content, but as encounter; asking where films are shown, how they are shared, and how they reshape communities and publics. It positions itself within this fragmented geography as both observer and participant, chronicling the ways moving images continue to organize memory, desire, and cultural identity in Los Angeles.

The newspaper and the marketing materials use Ceraph, a flaring semi-serif designed by Emma Piercy available at Sharp Type. Ceraph’s distinctive blend of sharpness and warmth mirrors the project’s contemporary and experimental spirit. Its versatility makes it well-suited for both editorial contexts and promotional materials, giving the Review a consistent yet characterful typographic voice. [edit: Additional fonts include Sometimes Times and ABC Favorit Mono, see comments.]

The project was led by art director Ellie Sunlight Moon, with editorial direction by Anthony Tran. Contributions were made by Mariah Flores, and publishing guidance was provided by Rachel Rosenfelt.

Covers of the print edition

Orbi was a short-lived multimedia platform active between 2022 and 2023. Owned by Grupo Bandeirantes, it originally focused exclusively on the city of São Paulo (Brasil), sharing news about local events and personalities in digital and physical formats.

Its offerings included a free weekly newspaper distributed at major intersections, a news website with cultural programming, a YouTube channel featuring special reports, social media with interactive content, and live events.

For the headline and titling typeface, in-house art director Cleber Machado chose Naipe Foundry's Pacaembu, citing that the typeface's research and origins – São Paulo's most iconic stadium – aligned perfectly with their goal to represent São Paulo’s heritage and identity. The Orbi logo appears to be a custom design.

The running text is set in Carol Twombly’s Chaparral while captions and other small texts are set in Jeremy Tribby’s Barlow, published through Google Fonts.

In late 2022, Orbi started offering versions for the ABC Paulista (Greater São Paulo Area) and Belo Horizonte, capital city of the Minas Gerais State, all sharing the same visual identity.

A spread from the print edition

Covers of the print edition

A spread from the print edition

Covers of the print edition

A spread from the print edition

A cover of the print edition

After its comeback in March 2024, Gonzaï finally publishes its second issue. On its green cover, the famous producer and artist Mirwais breaks his silence in a surprising interview. Also in this issue: the story of an engineer who became an internet star; the comeback of Suzi Ronson (David Bowie’s former hairdresser); the must-have book, album, show of the summer and much more to discover inside. All guaranteed free of adverts — except the fake ones.

The French tabloid periodical designed by Quentin Hourie is set in News No. 2 and Etrusco Now and printed in two colors.

The Gonzaï logo is based on Futura. Secondary typefaces used in issue Nº2 include FT88 and Brush Script.

Description of the project by Agnès Dahan Studio (translated from the French):

As part of the Parade exhibition at the Biennale de Chaumont 2023, we designed a newspaper commenting on 23 full-scale book covers produced by the studio. At Vanina Pinter's request, we tried to describe our creative drivers, our working methods, recount our encounters and the anecdotes that punctuate our projects and make each book a unique experience. We've also specified the techniques and materials we use to best reflect the materiality of each edition.

The newspaper is entirely set in Remix B. It measures 332×475 mm and has 48 pages. The Parade exhibition took place from May 27 to November 21, 2023 at Le Signe in Chaumont.

The Typography and Communication Design students at St.Gallen School of Design (GBS) were tasked to design a 16-page St.Gallen newspaper for visitors at the LUGA fair in Lucerne. In addition to a printed issue, the result was a giant walk-in newspaper that covered an area of 780 square meters. It featured interactive elements such as texts, infographics, and images that visitors could touch, admire, and read.

Franziska was chosen for all types of text and goes beyond the usual dimension: With a combination of Regular and Italic styles, and weights ranging from Black to Hairline, Franziska proudly displays the details that are usually shown in smaller sizes. The giant newspaper took type size to a whole new level, as the x-height is no longer measured in points, but in shoe sizes! Furthermore, Novel Sans was used for bylines.

The compressed sans used for the nameplate as well as for page numbers is yet unidentified.

Launched in January 2013, Gonzaï magazine is one of the first French media to jump on the direct-to-fans system. This underground independent title talks about music, cinema, literature, geek and pop culture.

After its suicide at the end of 2022, Gonzaï came back in March 2024 as a newspaper that’s free of adverts – except for false ones. Its purpose? To tell the story of today's underground culture by revisiting the fundamentals of yesterday’s freepress. This new tabloid periodical, designed by Quentin Hourie, is set in News No. 2 and Etrusco Now and printed in two colors.

The Gonzaï logo is based on Futura. Secondary typefaces used in issue Nº1 include FT88 and Tiny.

Front page of the first print issue of Heimildin from 13 January 2023

Heimildin (“The Source”) is an Icelandic media company committed to use investigative journalism to provide the public with access to independent information. The firm was founded in 2023 following the merger of Stundar and Kjarnan. It publishes a daily news website and a biweekly printed newspaper that’s also named Heimildin.

The new look was conceived by Jón Ingi Stefánsson, co-founder and former design director of Stundar. For the logo/nameplate, Stefánsson chose the Bold weight of Rector. This lapidary serif was designed by Hrvoje Živčić, and won him a Certificate of Typographic Excellence by the TDC. With its sharp details – like the wedge-shaped bars in H and e – Rector perfectly reflects Heimildin’s aspiration to be an incisive voice in Iceland’s media landscape. It’s also used for the logo of the supplement Menning (“Culture”), here starring its sculptural M and the defiant g. Rector is available from Production Type in a family of six weights in roman and italic. There is also Rector Display with Hairline and Outline styles.

Main headlines in the print edition often feature Mānuka. This tall, compact sans was designed by Kris Sowersby, taking inspiration from old German poster types. It was released by Klim Type Foundry, alongside Mānuka Slab and an even narrower Mānuka Condensed. The serif used in the newspaper and on the website is Tiempos, by the same type designer and foundry. It appears in two of its three optical sizes, Headline and Text.

Heimildin’s font stack is completed by Sanomat Sans by Commercial Type. This typeface was originally designed for another Nordic newspaper, the Finnish Helsingin Sanomat, and is part of a series that also includes Stencil and Slab variants. Heimildin makes use of its Sans Text styles optimized for small sizes.

Issue 006 with headlines in Mānuka

Covers of the supplement Menning with cultural news, featuring Rector Bold for the nameplate

“This is just the beginnning” in Tiempos Headline – front page from issue 038, January 2024, about the volcanic eruptions in the Reykjanes peninsula

“The government was warned” – when the situation in the area around Grindavík got more serious after the eruption on 8 February 2024, Heimildin deviated from the standard layout for issue 041 and placed the logo on top of the ominous photograph.

Heimildin homepage

The 2024 Paris Summer Olympics will be kicked off on July 26 this year. Exactly one thousand days before that moment, French sports newspaper L’Équipe dedicated a special issue to this event. “1924–2024, Cent ans de Jeux en France” builds a bridge between the Paris games of 1924 and the upcoming ones one hundred years later. In fact, this year the French capital will host the Olympic Games already for the third time, the first time being 1900 when they were held in conjunction with the world’s fair.

The front page of the special edition reflects on that long history designwise. The huge photograph (by Franck Seguin) on top shifts from black-and-white to color and depicts two superstars of today: Kylian Mbappé, Parisian footballer, and Cléopatre Darleux, goalkeeper of the French handball team, who respectively talk about their Olympic ambitions and experiences. While the layout of the page follows the expected pattern for a newspaper, the combination of typefaces is quite extraordinary.

The three fonts used to typeset the headlines draw an inspiring line through French type design history.

To begin with, you see Robur used for Darleux’s name and the quote beside the smaller picture of Mbappé. Robur was designed by George Auriol and published by Peignot & Fils between 1907 and 1911. In general terms, it is a bolder display variant of Auriol’s first typeface Auriol. It has its roots in Modern Style and the discovery of the Asian pointed brush as a writing implement by Western calligraphers. Auriol and Robur were very popular in France deep into the 1930s.

Next up in chronology is Cassannet, used in two contrasting weights for the big headline “1924–2024, Cent ans de Jeux en France”. Released in 2011, it was designed by Ismael González and draws its inspiration from the constructivist Art Déco lettering style of A.M. Cassandre who, back in 1924, had just begun his stunning career as a graphic and type designer.

All remaining headlines are set from Mars. This sans serif was designed by Alaric Garnier, who took cues from Venus, a typeface published by the Bauer type foundry around the same time as Robur. It is available from Production Type in three widths, two of which are used here: Mars Condensed is what you see in the all-caps lines and in the intro to the text about Darleux, Mars Standard was used for “Je veux vivre les Jeux de Paris”. Not on view here is the widest style, Mars Extended.

The reading text is typeset in ITC Cheltenham, a narrow and thereby economic roman with short sturdy serifs and roots in the early 1900s. “Sommaire”, the headline to the table of contents, is set from Engravers Old English, a broken script stemming from about the same time. The “Football” and “Handball” headings appear to be reproduced directly from an old newspaper. It’s unclear if these words use handdrawn letters or a typeface – Basuto is similar.

Kolt is a local newspaper for the Olten region of Switzerland, located between Zürich and Bern. Launched as a culture magazine, Kolt now serves the residents with a unique, reader-supported approach to local journalism. The printed edition ceased publication in 2022.

To design the newspaper and the website, graphic design studio Bureau Neue used the typefaces Muoto by Matthieu Cortat and distributed by 205TF and Passenger Serif by Diana Ovezea and Samo Ačko (Indian Type Foundry).

The first edition cover of Space City News with Annlie Italic and Berthold-Grotesk Bold with its alternate a and w. “20 ¢” is added in Bulletin Typewriter.

Space City News was a short-lived (1969–1972) “New Left” newspaper in Houston, Texas. It focused on the pressing issues of the time, from the Vietnam War and nationwide struggle for civil rights, to police brutality and other matters central to the revolutionary reader base of the time (akin to publications like The Great Speckled Bird and The Chicago Seed), while also spotlighting local issues and artistry.

Notable stories of the first issue include William F. Buckley’s acquisition of local black Houston radio, labor strike coverage, the inadequacies of Texas State welfare program, and – the biggest story – the People’s Park uprising in Berkeley and subsequent police brutality against those protesting the University of California’s desire to turn it into a soccer field.

The first edition was dedicated to Pancho Villa, a general of the Mexican Revolution.

Spread with pages 2 and 3, with headlines in Bulletin Typewriter (left) and Twentieth Century Ultrabold Extended (right).

Detail from page 5, with Playbill and Berthold-Grotesk Bold. The typewriter face seen below is in a Cubic style. Lukas Krakora’s digital Aachen Typewriter comes close.

Spread with pages 6 and 7, Cooper Black (top left) and the Light weight of Berthold-Grotesk (“dallas goon squads of yore”).

Spread with pages 18 and 19, with Cooper Black (left) and headlines in Futura Bold Oblique (or maybe Spartan Black Italic) for “Rocky & Warhol?”, Futura Condensed for “grand jury”, and an unidentified face for “Kindergarten”.

Detail from page 19 with Franklin Gothic Extra Condensed, lettering, and an unidentified typewriter style

Detail from page 19 with contoured Cooper Black and Futura Display for “art cinema”

Detail from page 20 with Ultra Bodoni Extra Condensed and Cheltenham Bold Extra Condensed

Detail from page 23 with “space city news” in Playbill

As one of the titles of the 17th Istanbul Biennial, Mantı Postasi (English: Dumpling Post) is named after the Kayseri Dumpling Festival and is a form of reaction. This newspaper was published after the Hrant Dink Foundation’s “Kayseri and Its Surroundings: Social, Cultural and Economic History Conference”, which was planned to be held in Kayseri in 2019 and was banned first by the Kayseri Governor’s Office and then by the Şişli District Governor’s Office.

This newspaper is published within the scope of the 17th Istanbul Biennial, organized by the Istanbul Foundation for Culture and Arts (İKSV) with the support of the Chrest Foundation, Heinrich Böll Foundation Turkey Representation, and SAHA–Supporting Contemporary Art from Turkey. The views and opinions expressed in this newspaper are those of the authors and do not necessarily reflect the views or positions of İKSV.

studiokwi designed an accessible newspaper for RuT, Germany’s first inclusive, intergenerational lesbian housing project and queer socio-cultural center. CoFo Sans is paired with Literata and Atkinson Hyperlegible. The preexisting RuT logo is based on Brush Script.

From the studio’s website (translated):

The project is being developed in cooperation with the municipal housing association Berlin-Mitte mbH WBM. On the first floor there will be a neighborhood café and a hall for cultural and music events as well as rooms for counseling, health prevention and educational seminars. The house will become a contact point for lesbians of all ages and lesbians with disabilities – a meeting place for exchange and living community: for the building community, for the neighborhood, for Berlin's LGBTIQ+ communities as well as for regional and supra-regional art and cultural actors.

Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

We started off this entire venture with the question of how to design a book about a 3,000 kilometer bike journey. For those with no idea what we’re talking about here, the answer to that question can be found in this previous post about the Tour d’Europe book.

But as anyone who has worked in publishing knows making the book is the easy part, telling the world about the book is much more challenging. Even more challenging is to get people to care about the fact that such a book even exists.

This is probably why there’s usually a separate marketing department, a set of individuals to take over when the author is too exhausted to think about such trivial matters as actually selling the book. But as we write, draw, and publish our own books we unfortunately don’t have a big team of business-minded people to fall back on. Which in a sense is just as good, because coming up with hare-brained marketing campaigns is something we’ve come to enjoy quite a lot. True, they might not work in the traditional sense that we would sell more books thanks to them, but on the other hand we have so much fun working on these campaigns we feel like it more than makes up for the meager-ish results.

The first marketing ploy we came up with had to do with the subtitle of the book – The Yoga of Road Cycling. In the book we spoke about the meditative aspects of what it feels like to let your mind rest while your legs do all the work, and how such a mind falls into a state of creative bliss. In our marketing campaign we decided however to interpret the subtitle literally: What would cycling yoga look like if taken at face value? A quick call to our friend Måns Broo (who happens to also be a Sanskrit scholar) and we had our concept ready: Dvichakra Yoga – Yoga of the Two Wheels.

After some deliberation we came up with a set of thirteen cards featuring thirteen poses which would comprise this new system of yoga, and decided to package them in a small folder. On the flip side of the thirteen cards the name of the asana (yoga pose) can be read both in transliterated Sanskrit as well as in English. The typeface chosen was once again WAD’s Metro No. 2, as was the case in the book this product was supposed to help market. As Christoffer was the bendier one of us he was chosen to model the thirteen poses, a feat that had a poor graphic designer pushed to his very limits.

Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

But before any posing could be done there was a typographic matter to resolve: What kind of a typeface would be suitable for the shirt he would be wearing in the photos? Well, the answer was the mother of no-nonsense sans serifs, Franklin Gothic. (Keeping with the spirit of yogic pursuits the shirt reads Vérité – Truth, beautifully appliquéd on the black pullover.)

Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

With this part done we turned to the question of a poster – we felt we needed one, but a traditional poster seemed a bit dull. So we came up with the idea of a four-page broadsheet newspaper with one side being text-based, the other a nice beautiful photograph of two heroic cyclists. Now the only thing that need to get done was realizing this idea. So Christoffer put his pen to paper and begun writing articles loosely based on what transpired in the book.

And as a newspaper needs a name we came up with a name as pompous as they come: La Voix du Cyclisme – The Voice of Cycling. (The name naturally needed to be in French because French is after all the language of cycling!) And what better way to pay homage to the French than by choosing a typeface called Paris? In all honesty the name of the typeface was merely a lucky coincidence, we would never be frivolous enough to pick a font based on name alone! No, Paris by Enric Crous-Vidal suited our needs perfectly, as the typeface has a distinct personality, one easily associated with the time period we had set out to loosely emulate.

Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

The headlines in our newspaper were set in the wonderfully idiosyncratic didone Ambroise Firmin by Jean François Porchez, while the body copy is set in HTF Didot by Jonathan Hoefler. It should be noted that all of the type has been digitally “aged” to mimic the ink spread on low-grade newsprint. Once opened up the newspaper reveals an intense photograph of a bike race (with only two contestants left in the mix). While this side has no type on it, two aspects should be noted:

1. There’s some beautiful calligraphy on the lower right-hand corner giving details as to when and under what circumstances the photo was shot.

2. We are wearing House Industries cycling jerseys, kindly gifted to us by the late great Rich Roat of House Industries.

Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

As a small tip of the hat to Rich the third line of the hand written text reads “Equipe Industrie Maison” – that is “Team House Industries” for those of you out there less versed in French!

And then we arrive at the last part of our less than stellar marketing campaign, the cycling cap. Because of course you will need a bespoke cycling cap to go along with the book about cycling across Europe! Seen here is Kaisa posing with the only cap we have left, as these surprisingly sold out immediately at the publishing party. Who would have thunk?

Again we encounter the typeface Paris on the side of the cap. And as we live in a bi-lingual country (The two official languages of Finland are Finnish as well as Swedish) our dilemma was to choose which language version of the name we should use?

Here another House Industrialist came to our aid – Ken Barber quickly convinced us that the Swedish Borgå looked way cooler with the letter Å at the end of the name compared to the Finnish name Porvoo. (His predilection for heavy metal bands with a love affair with umlauts might have been a factor here…)

Christoffer Leka, Kaisa Leka. License: All Rights Reserved.

The bridge underneath the text is a graphic rendering of the walking bridge in our hometown. (The same bridge can be spotted on the cover of the book.) This inclusion of the bridge is of course metaphorical, ie. crossing over something, but it is simultaneously a small nod to one of the most beloved cycling team kits – Brooklyn, with its emblematic rendering of the Brooklyn bridge on the side of their caps. Borgå, Brooklyn, all the same, right?

So there you have it, the story of our marketing material!

We might not have sold any more books because of these, but they sure were fun to work on. And in the end that’s all that matters. Don’t let any marketing department tell you otherwise.

Le Petit Bonneuillois (LPB) cover, n°6

In 2021, at the end of the Covid restrictions, part of the team at the École Expérimentale de Bonneuil (France) decided to launch a Journal workshop. This is a special school, which makes this journal special, too. It was founded in 1969 by psychoanalyst Maud Mannoni as a home for children and adolescents (commonly referred to as les jeunes [“the young people”]) with autism, psychosis or severe neurosis. Today, it has the status of a day hospital, where the living environment, exchanges and psychoanalytical thought structure the establishment. During this workshop, the youngsters investigate and write in depth, as journalists, in order to publish a monthly newspaper.

The team often calls on the outside world (i.e., outside the institution and outside the profession) to establish a dialogue with these young people and enable them to position themselves alongside others.

The name chosen by the workshop team for this newspaper, Le Petit Bonneuillois, dictated a strong graphic axis and a very condensed typographic style. Firstly, to maintain a high visibility, and secondly, to echo the headlines and front pages of newspapers, where typography is as eye-catching as possible. In this spirit of reference to the daily press, I designed a header which mixes very bold, straight condensed letters with round, almost geometric shapes for certain letters. In this way, the emphasis is on “Bonneuillois” and less on “Le Petit”. To complete the musical rhythm and add a touch of softness, the i’s are treated as lowercase letters, revealing little people for all to see. The rounded counterforms accompany this softness, imitating ink that would have smudged on the paper, as might have been the case with newsprint.

A true point of departure, everything stems from this typographic block, which was then developed into a typeface, Bonzom. The layout is joyful, colorful and airy, while retaining the solid structure of a daily newspaper, with the use of Mário Feliciano's Sebenta (in bold and regular weights plus italics) and its gentle mechanical rhythm.

The project lasted a year, with the publication of several newspapers and special magazines. You can read more about the process, the collaboration with the teams and les jeunes, and the graphic codes on the project page of my website (in French).

Le Petit Bonneuillois cover layout

Bonzom sample page

Bonzom sample page

Le Petit Bonneuillois cover series

Le Petit Bonneuillois n°7, detail

Le Petit Bonneuillois n°3, detail

Double-page spread, Le Petit Bonneuillois n°6

Le Petit Bonneuillois n°5, detail

Le Petit Bonneuillois n°5, detail

Le Petit Bonneuillois n°5, cover

Cover, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Cover and back cover, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Layout, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Double-page spread, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Double-page, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Double-page spread, special magazine issue, Le Petit Hors-série Bonneuillois n°1

Detail, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Detail, special magazine issue, Le Petit Hors-série Bonneuillois, n°1

Le Petit Bonneuillois and Le Petit Hors-Série Bonneuillois

Drunkendog is a taproom in Mexico City inspired by old-school pubs, serving national and international craft beers.

The designers of Candid Brands comment:

For the typography selection, we considered the “classic English pub” aesthetic for this brand giving it a modern image making it more legible and trendy. We wanted to make a visible contrast with the typography selection, where you could find different and contrasting styles coexisting in harmony.

Alias Harbour is used for logotype and headline type — with slightly wonky positioning for the sign. Curved characters sit on the baseline rather than slightly underneath, so appear too high up.

Menus and business cards pair Harbour with Publico and Robinson.

The Drunken newspaper combines a logo in Ambidexter with text in Karelia.

Source: www.bestmarketing.ee Liis Treimann. License: All Rights Reserved.

 

Source: mag-scene.blogspot.com License: All Rights Reserved.

One of the first issues to feature the new design by Jacek Utko, from November 2006

Äripäev is an Estonian financial newspaper founded in 1989. Initially published once a week, the frequency was changed to three issues and then to five issues in 1996. In 2023, it ceased publishing its print issue, and now is distributed exclusively online.

In 2006, Polish designer Jacek Utko was commissioned to overhaul the newspaper’s look. In the course of this redesign, a new logo was introduced. It is based on FF District (2002) by Albert Boton. Utko’s design was recognized by the Society for News Design as one of the World’s Best-Designed Newspapers.

As of 2023, Äripäev is still using this wordmark, on the website as well as for various subbrands like the Äripäev Raadio podcast.

Source: news.err.ee Siim Lõvi /ERR. License: All Rights Reserved.

Äripäev reception desk

Source: www.aripaev.ee License: All Rights Reserved.

The newspaper logo in an issue from 2010. The main text and headline typeface is Metroflex.

Source: www.aripaev.ee License: All Rights Reserved.

Äripäev is Estonian for “business day”. The weekend edition consequently is named Puhkepäev, that is “holiday”.

Source: www.aripaev.ee License: All Rights Reserved.

The newspaper logo in an issue from 2022. The main typeface used for text and headlines now is Stag Sans. The slogan “Ausalt ja kartmatult” (“Honest and fearless”) is added in FF District Light.

Source: podcast.ee License: All Rights Reserved.

Posted as part of a series that pays tribute to Albert Boton, one of the preeminent French type designers of the past sixty years. Albert Boton died on July 20, 2023, at the age of 91.

Without Borders is our studio newspaper that encapsulates culture and our unique process to be inspired by the people, planet, and micro details of cultures. Issue 1 highlights 48 pages of design, culture, and travel in Greece and India, our homelands.

Learn more at vedrosstudio.com.

Printed with Newspaper Club.