Exhibition catalog for Four Young Artists: Maurice Agis, John Bowstead, David Hockney, Peter Phillips, presented at London’s Institute of Contemporary Arts in July 1962. With an introduction by the ICA’s co-founder Roland Penrose and biographies for each artist. According to The Print Arkive, this was the first ‘solo’ show for Hockney.

In memory of David Hockney, who passed away this week at the age of 88.

MS NOW is an American cable news channel that was originally established in 1996 as MSNBC and is currently owned by Versant. The rebranding as MS NOW (a backronym of “My Source [for] News, Opinion, [and the] World”) took place on November 15, 2025.

As of May 2026, the website uses Cooper Hewitt in Medium and Bold weights for headings, navigation and short texts. Body copy as well as some headlines and teasers are in Merriweather. Provided as variable font, Merriweather is used with its optical size axis set to the smallest size, 7pt.

Front cover with an allegory of Historia and a title in Moderne Versalien

In 1854, three years after London’s Crystal Palace was completed, Munich proudly opened its own Glaspalast, or Glass Palace. Located in the Old Botanical Garden, it hosted dozens of major art exhibitions until its destruction in a fire in 1931 – a fate that the London model would share a few years later.

Shown here is the cover of the catalog to the annual exhibition of 1902 – and a selection of pages with adverts.

Section page for the appendix with adverts – which were handled by Rudolf Mosse. Römische Antiqua is paired with Angelus-Mediäval. The small type at the bottom is Mediäval-Egyptienne or similar.

Greif is a condensed companion to Ludwig & Mayer’s Aurora. It’s here used with various alternates, see for example the two forms for g, s, H and M. In this ad for E.A. Fleischmann’s Hof-Kunsthandlung it’s used together with Breite magere Grotesk.

The ad by Passage Schüssel features Eckmann, a typeface that was ubiquitous in German commercial printing in the first decade of the 20th century. It can here be seen with some of the accompanying Schmuck, or ornaments.

The ad for L. Bernheimer, purveyor to the Royal Bavarian court, mixes several of the aforementioned typefaces, plus Etienne schmal, Schelter & Giesecke’s Etienne, Breite magere Grotesk, a condensed sans (possibly Schelter & Giesecke’s Schmale Steinschrift which originated at Figgins), one of the many German copies of Bradley, and a couple more.

Art dealer M. Wagmüller specified Isis for the name and Römisch for everything else.

More Eckmann (here with long s (ſ)), Angelus-Mediäval, and Greif, the latter used alongside the wider Aurora – for “Photochrom”, with a CH ligature. “Maler” is in Holsatia.

Krause & Finckh promoted their Magazin für bildende Kunst with Georg Schiller’s Neudeutsch.

Back cover with more Römische Antiqua

This ad from 1903 promotes the then newly opened Hôtel Peterhof at Munich’s very central Marienplatz, with “rooms furnished in the finest modern style”, starting from 2 Marks.

The name is set in Moderne Versalien, an all-caps typeface first cast by Bauer & Co around 1899. In 2003, Andreas Seidel of astype made a digital revival named Sveva.

This printer’s trade card / business card from the 1870s was printed in three colors on gloss coated stock. It features five different typefaces. The bichromatic caps filled with stars and stripes are from Johnson’s National, designed by Julius Herriet, Sr. and patented 1856.

This is an exceedingly rare card, I only know of one example. Its exact date is unknown. Greenback, the bold upright cursive with split shade, was designed by Herman Ihlenburg in 1870 and patented by MacKellar, Smiths & Jordan a year later, so it can’t be any older than that. In 1879, one Robert Malcolm was publishing The Masonic Newspaper from the mentioned address at No. 49 Cedar Street, New York.

“Steam” is in Antique Extended and “New York” in italic caps from a Modern/Scotch. The grotesque used for “Near William” is unidentified.

For a second example of Civil War-era patriotic type, see the “God and Our Native Land” envelope. It features a typeface that is not exactly the same as the one shown here.

The scores on Emma Crouse’s Scholar’s Certificate, dated January 22, 1885, indicate that she did well in reading, writing, arithmetic, and other subjects.

Emma's teacher, Peter G. Shelley (1862–1938), was only 22 years old when he filled out this certificate. He continued to teach for many years, and the U.S. Census for 1910 and 1920 listed his occupation as teacher.

The title typeface is an ornamented Tuscan carried by various American foundries. The earliest known showing so far is in Boston Type Foundry’s Condensed Specimen Book from 1860, as Two-Line Small Pica Ornamented, No. 2.

Scholars’ Certificate.
It Is Hereby Certified That
Emma Crouse
is a scholar of Richfield, advanced School and has passed an examination in the following branches with the annexed results:

• Composition 99
• Orthography 100
• Reading 99
• Writing 95
• Arithmetic 100
• Geography 100
• Grammar 95
• U S Hist —
• Drawing 95
• Declamation 99
• Logic 96
• Deportment 100
• Attendance 100
• Tardiness 1 time
• Average —

P. G. Shelley, Teacher.
Jan’y 22, 1885. Richfield, Juniata Co., Pennsylvania.
Explanation.--No. 100 signifies very good; 90, good; 80, middling; 70, poor; 60, very poor.
Bellwood Independent Print.
No. ______

I’m Taylor Jane Roy, a multi-disciplinary designer from California. My portfolio website uses two typefaces. The old-style serif typeface Fraunces by Undercase Type infuses playful personality into an otherwise minimal design. This soft and wonky font is contrasted by the consistent rhythm of Maison Neue, originally by Milieu Grotesque.

An advertising card design shown in the Printers International Specimen Exchange, Vol. XIV, 1893. Printed letterpress with extensive usage of bent brass rules. Though not typical of the genre, it should be considered work in the artistic printing movement category.

“Tipo-Litografiche” is in Bijou (1883), “Milano” and “Telefono N. 143” in caps from Unique Celtic (1889), and the address in Chaucer (1883). The thin typeface chosen for the company name itself is yet unidentified.

Giovanni Ricordi founded his internationally known music publishing company in Milan, Italy, in 1808. He was hired by Teatro alla Scala in 1814, and in 1825 purchased the entire La Scala library. In 1839, he published Verdi's first opera. The company in 1893 was headed by Giovanni's grandson Giulio. Ricordi remains very much in business today.

This composition, to me, could be mistaken for a modern, contemporary design.

The headline mixes Romanisch Kursiv No. 20 with Koch-Antiqua fett. The latter is used with both forms for s, but the former isn’t. The question mark is added from Cooper Black, while the smaller copy is set in Futura.

This 1931 group tours brochure was issued by the MER – Mitteleuropäisches Reisebüro G.m.b.H. – of Berlin. The brochure gives details of organised holiday tours across Europe, by train and ship, as well as an extensive tours of the USA, out via the HAPAG line and returning on the Norddeutschen Lloyd for a cool 2,800 RM. The brochure also has numerous adverts for resorts, hotels and travel companies.

The various adverts, a selection of which I have scanned here, are also interesting from a typographical and design standpoint. Many are in the very latest German ‘style’ and feature some interesting and often relatively new typefaces. This advert, with a variety of typefaces and a decorative border asks “Kennen Sie schon die volkstümlichen Gesellschaftsfahrten des MER?” (“Are you already familiar with the popular group trips offered by MER?”) It gives a list of destinations within Germany and abroad as described elsewhere in the brochure.

MER was formed as a Central European Travel Agency in Berlin in 1917 and grew to include the travel interests of the Austrian and Hungarian railways. Many of its services were similar to those of say, Thomas Cook, in the UK. The company was heavily implicated in the crimes of the National Socialist era and in post-war years the company, in both East and West Germany, underwent several complex reorganisations but survives under the name of DER Travel.

“Shakespeare’s hometown is the quiet, picturesque market town of Stratford-upon-Avon in the county of Warwickshire.” Motor can be seen in early use, featuring a non-standard narrow R.

“Don’t miss a chance to visit Lake Lucerne and its eight mountain railways during your trip to Switzerland”
Two weights of Memphis plus a drop cap from Schaefer-Versalien.

Schaefer-Versalien and all-caps Memphis for “Lucerne Lido, the Swiss lakeside resort”

“Finland – the idyllic land of a thousand lakes. A new travel destination!” More Motor – with a narrow alternate N.

Adverts for the San Marco Schiffahrts-Gesellschaft Venedig and Palace Hotel in Tunis, Tunisia. “San Marco” shows Motor’s narrow N again, and features yet another alternate glyph, this time for S. “Dalmatien” is in Berthold Block. The description of the hotel uses Koch-Antiqua.

Adverts for Jadranska Plovdibda D.D. Sušak and Dubrovačka Parobrodarska Plovidba, with several Futura weights and three sizes of Neuland

Oliver Grace has updated the identity of the Australian brand Redheads, drawing inspiration from its archives of the 1960s and 70s. The project simplifies the historic Ms Redheads icon, whose hair is now treated as a graphic flame flickering across the bottom of the packaging. The goal is to modernize this national institution while preserving its original spirit, ensuring it remains recognizable both in-store and on e-commerce platforms.

The new logo features Fusion from the Blaze Type foundry. This typeface was chosen for the specific details in the lowercase l, t, and a, which add a touch of personality to an otherwise understated structure. This typographic choice bridges the gap between the Swiss design rigor historically present in Redheads’ identity and a more contemporary, effective aesthetic.

To ensure consistency across the range, a flexible grid system was implemented. This allows visual elements to adapt to vastly different formats, from small matchboxes to four-kilogram charcoal bags, while clearly integrating mandatory regulatory information. This modular organization provides a technical balance between respecting a well-known visual heritage and meeting today’s logistical needs.

Faire école… de la résilience is a collaborative project led by Cité Anthropocène and Éditions 205 that brings together scientific and civic knowledge to develop concrete solutions for environmental challenges. Built during the winter of 2024–2025 by participants from academic, cultural, non-profit, economic, and public sectors, the initiative aims to foster new forms of cooperation, creativity, and collective engagement.

The titles are set in Pinokio Grand, while the interview questions are set in Pinokio Sans (Tanguy Vanlaeys, 205TF). The body text, interview answers, and quotations are set in Alcalá Xtra (Damien Gautier, 205TF). The page numbers and running headers, meanwhile, are set in CX80 (Damien Gautier, 205TF).

The research zine Publishing Anecdotes brings together insights and reflections from thirteen practitioners – both individuals and collectives – across the diverse field of artistic and critical publishing. Each contributor was invited to share a short anecdote from their practice, be it a thought, an image, a memory, or anything they felt relevant.

Contributors include Björn Giesecke, Peter Schmidt (Books People Places), Simon Wahlers (Edition Zweifel), Samuel Bänziger, Rosario Florio, Olivier Hug and Larissa Kasper (Jungle Books), Sabrina Fernández Casas & Patricio Gil Flood (Macaco Press), Paul Soulellis (founder of Queer.Archive.Work), Lauria Joan (Pseudopress), Vida Rucli (Robida), Roland Früh, Eléa Rochat, Léa Gallon, Julien Guazzini, Vincent Chanson, Pablo Arnaud, and Camilla Brenni (Sans Soleil), Freek Lomme (Set Margins’), Jonas von Lenthe (Wirklichkeit Books), and Mio Kojima (Futuress).

The publication was initiated, edited, designed, and published by Roman A. Karrer in August 2024 and marked the end of his research residency at ABA Berlin.

It It has 48 pages measuring 138×190 mm and was Riso-printed by Drucken3000 (Alexander Branczyk & Florian Haberstumpf) in an edition of 100 copies, using Medium Blue and Silver Metallic inks on Clairefontaine Tropheé Rose 80g/m² and Metapaper Rough Warmwhite 90g/m².

Special thanks to: Pro Helvetia, ABA Berlin, Emma Affoua Kouassi

Two alternates for a poster with a spring equinox theme, leaning into British pastoral occultism, made for an event at The Bird in Perth’s Northbridge suburb.

Bad Head is a monthly event held every third Thursday at Pintology, a craft beer and whisky bar in Sasazuka, West Tokyo. The series features vinyl DJ sets, craft beer, and distinctive posters designed by Ian Lynam since the beginning. Many of them feature various Future Fonts fonts.

This poster seems to exist only on Instagram, but it’s an exemplary use of Superfluous. Ian goes all in, using, abusing, and overusing its features and emoji to turn the composition into a delightful postmodern mess. The supporting typeface appears to be a customized Copperplate Gothic.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “mikado”. License: All Rights Reserved.

Vol. 2, Ostdeutschland (“Eastern Germany”)

One of a series of six charming small format booklets issued by the Königliche Eisenbahndirektion (“Royal Railway Directorate”) in Altona, Hamburg, and describing the Allgemeine Verkehrs-Mitteilungen und Sehenswürdigkeiten – general railway travel information and sights in the relevant areas of Germany. The organisation of railways in Germany prior to 1918 was somewhat complex but many railway companies were, effectively, nationalised as part of the Preußische Staatseisenbahnen (“Prussian State Railways”) and these booklets all show, in various forms, the Adler or Royal Eagle symbol of the railways as well as the “winged wheel” symbol that was much favoured by various continental railway adminstrations.

The booklets all contain the information that large numbers of visitors were now visiting Germany, many brought by the various steamship lines including Hamburg–Amerika (HAPAG) and the Norddeutscher Lloyd, and given the booklets were issued by the Altona-Hamburg office of the railways one suspects that copies were probably available on board the vessels to be given as publicity to passengers. The booklets were also available by post from the Altona offices. They are not dated but volume one has a manuscript date of ca.1905–07 and given the style this feels correct.

Although each booklet follows the same format each design is subtly different; all are in a loose “Arts & Crafts” style that would morph in Germany into the Werkbund movement and in France to an Art Nouveau style. This includes elements of the cover design, framing and lettering as well as aspects of the editorial text. The booklets contain detachable postcards for mailing and are each printed by a printer in the relevant area of Germany covered by the particular guide.

Volume 2 is for Berlin and Eastern Germany covering areas of Prussia and Saxony. The front cover shows Schloss Marienburg (Lower Saxony), the now lost Wissower Klinken cliff formations on Rügen, and the Brandenburger Tor in Berlin. There are outline maps of the railways in the area covered by the guide as well as of the suburban lines in Berlin. Mention is made of the newly opened first stages of the Berlin Hochbahn (now U-Bahn) and the back cover has a very Imperial series of symbols for the State Railways.

While most booklets (below) have custom lettering for the title, the cover for Volume 2 (above) is typographic: the featured typeface is the wide style of Mikado as cast by the Flinsch foundry in Frankfurt. “Heft 2” is in a German version of Antique No. 8. See the image captions further below for the period typefaces used inside.

At least Vol. 6 was printed by Hans Bleher at Verlags- und Handelsdruckerei Stuttgrart.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 1, Norddeutschland (“Northern Germany”), with lettering similar to Kolumbus. The front cover shows the Lombardsbrücke in Hamburg, the Marktplatz in Bremen, and the steamship Deutschland passing the Alte Liebe lighthouse at Cuxhaven.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 3, Mitteldeutschland (“Middle Germany”) with cover lettering on top of the Imperial Eagle. The vignettes are of the now vanished Kronentempel pavilion at Bodetal in the Harz, the Wilhelmshöhe in Kassel, and the famous Wartburg overlooking Eisenach.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 4, Nordwestdeutschland (“North West Germany”). The cover, along with a steam locomotive and train, is in a rather high ‘Art Nouveau’ style including the lettering, and depicts the famous Kölner Dom.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 5, Südwestdeutschland (“south west Germany”). The cover is almost Guimard in design and shows Heidelberg along with a cartouche of a speeding steam locomotive and train.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “secession”. License: All Rights Reserved.

The title page to Vol. 1 features a winged wheel and text set in Berthold’s Secession (1901). The initial D is from Herkulanum, Schelter & Giesecke’s name for Mayflower (Conner, 1891).

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “werk-grotesk”. License: All Rights Reserved.

The introduction to Vol. 5 features a very similar typeface: it’s Werk-Grotesk by Ludwig & Mayer, likewise issued in 1901, with a drop cap from the licht (open) style.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “eckmann”. License: All Rights Reserved.

The title page to Vol. 6 is set in the most popular of the so-called Neudeutsch typefaces: it’s Klingspor’s Eckmann (1900).

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “eckmann”. License: All Rights Reserved.

Table of contents for all six booklets as included in the final volume. Note the two forms of H (“Hamburg” vs. “Harz”) and s/ſ, as well as the use of letterspacing for emphasis.

Spanish branding studio Wozere created the new identity of Monasterio de San Francisco, a hotel located in Palma del Río near Córdoba and Sevilla.

They chose to gather a palette of textures, soft tones, and memories that guided the creation of a visual universe where the brand’s identity can truly come to life.

The curvy calligraphic logotype in Miss Fajardose is combined with a discreet use of PoW Limerick for the initials, as well as some of its vignettes. The condensed serif is Editorial New.

Superness semiT and Fluxisch Else are used for the design of A Place to Stay. From publisher Corraini Edizioni:

A Place to Stay is a place to stay without a defined deadline, an elsewhere that contains and connects other places. It is not an isolated space: Cecilia Mentasti started populating it who knows how long ago until it became a place inhabited not only by artists and women artists of the last century, but also by animals, specifically dogs.

The work, which is accompanied by this volume, is a sound installation composed of a selection of 200 stories of Italian artists told to 200 dogs. It is promoted by Video Sound Art and created thanks to the support of the MiC and the SIAE, as part of the ‘Per Chi Crea’ programme. The installation, presented in the spaces of Careof from 10 October to 1 November 2024, is accompanied by a photographic project, which collects the portraits of each dog listening, and by this editorial project.

The artist makes a personal rewriting of art history, selecting little-known works and sometimes reconsidering the role of traditionally neglected figures or those outside traditional art circuits.

What is art today and what role should it play in society? The dog, a recurring presence in art history – devotional icon and witness to social transformations – seems to be the right recipient of this question.

The bilingual (Italian and English) softcover publication has 
136 pages measuring 10.5×15 cm
. It was printed in Italy. ISBN 979-12-5493-132-5

KATELYN LEE IS ONLINE translates six months of personal browsing history into a typographic system. 24,740 entries are indexed, classified, and encoded through a custom glyph language, where each action becomes a mark and each entry a line of text. Browser data is restructured into legible, repeatable forms across books, posters, and a web interface built with HTML, CSS, and Paged.js. By treating browsing behavior as a written record, the project reframes digital activity as something that can be read, archived, and physically encountered over time.

Running visualization at the bottom represents the information on that page.

72 unique topics, manually tagged.

From Wikipedia:

“Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, Different Class (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release.

“Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from Different Class after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim.

[More info on Discogs]

Typography-wise, the single follows the choices made for the album, with Chromium One for the band logo (also by The Designers Republic) and Windsor Extra Bold Condensed. The palette is completed by italic Poster Bodoni and Helvetica.

Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.