The design talks to an architecturally literate audience, but also one that understands the significance of this publication. Contemporary typography as well as a bold palette of orange and blue underlines a fresh approach and new appreciation for the content. The minimal and generous pages create respectful space between the layout and the photographs, but the warm paper stock and fresh colours invite a non-academic audience. For us it was important to make this book appealing as a beautiful object so that it remained out of the bookshelf.

Spanning 304 pages, Casa Mexicana offers an in-depth look at contemporary residential architecture in Mexico, featuring 26 remarkable houses and over 320 photographs by Edmund Sumner. The texts, written by Jonathan Bell, accompany projects by leading figures such as Fernanda Canales, Ludwig Godefroy, Pedro Reyes & Carla Fernández, and Tadao Ando.

The book was designed by Tim George, an independent graphic designer and photographer based in East London. His design for Casa Mexicana strikes a delicate balance between graphic precision and expressive warmth. Designed with great care and joy, the book balances graphic precision with a warm, expressive tone. The typography combines Bonto by Blaze Type with Aperçu from Colophon Foundry, resulting in a layout that feels both elegant and approachable. A special mention goes to Bonto’s question mark – a favourite glyph that gets to shine in the foreword titled “What makes a house Mexican?” by Fernanda Canales.

The physical design of the book is equally thoughtful: quarter-bound with a pink uncoated spine, yellow foil-blocked type, and a spot UV varnish on the cover. Among the featured projects is Casa 720, designed by Fernanda Canales and beautifully photographed by Edmund Sumner.

Japanese Design Since 1945. A Complete Sourcebook was edited by Naomi Pollock and Masaaki Kanai and published by Thames & Hudson:

Design in Japan is deeply rooted in the country’s historic craft culture, profound understanding of materials and commitment to functionality. These qualities yield chairs, cups and other daily use items which are easy on the eye, comfortable in the hand and always do their job well. Even as mass manufacturing became widespread in the post-war period and cross-cultural exchanges began to take place with the West, Japan held fast to these core values and practices. This dedication has given rise to timeless objects of great beauty and utility as well as innovations in materials, form and technology.

To design this book, Ryuhei Nakadai used the typeface Maax designed by Damien Gautier and distributed by 205TF. The typeface used for Japanese text is yet unidentified [edit: it appears to be Midashi Go MB31, see comments].

Anıl Aykan and Sara Ozvaldic at Barnbrook provided the design for this “fascinating, clear, and detailed historical analysis of the eclectic and beautiful visual and material culture of paganism.” They used Kaftan Serif (with condensed proportions) for the title, paired on the cover with Albertus Nova for the subtitle and Apoc (with alternates) for the author’s name. The interior features a range of additional typefaces, see the image captions.

The book was published by Thames & Hudson in 2023. From the description:

Focusing on a curated selection of pagan art and artifacts, this book explains the iconography and mystic power of pagan ritual objects from around the world. Ethan Doyle White identifies three critical elements of paganism from classical antiquity to today: polytheism, affiliation with nature, and witchcraft and divination. Fundamental symbols are identified and examined closely, and central myths and allegories are clarified to provide new insights into the philosophies and beliefs of pagans.

Pagans begins with an introduction that clarifies what we mean by “pagan.” It traces the pre-Christian origins of paganism, the development of the different aspects of pagan belief over centuries, and how materials from the pre-Christian religions of Europe, North Africa, and West Asia are built into the practices of today’s Pagans.

The book is organized into three broad sections—“Ancient Ways,” “Ritual,” and “Community”—each containing three themed chapters.For each chapter, illustrated text is interspersed with double-page presentations of the key figures, stories, and iconography relevant to each theme. Readers will not only come to understand the many symbols that define pagan religions and practices but will also discover the beliefsand philosophies of pagans from around the world, from polytheism to pantheism and from magic and ritual to ideas about the afterlife.

Another typeface used in this book (but not shown in the included images) is Gill Facia.

Title page with frontispiece

Albertus Nova is used with initials from Black Mamba for the section titles.

Chapter openings use all-caps Kaftan Serif with Black Mamba initials for the title, all-caps Albertus Nova and Apoc for text, and Gill Sans Light for the rotated credit lines.

Body copy and marginalia are set in SangBleu Kingdom, with Apoc Italic for captions. The drop-cap E is from Infidel, which “is based on letters from the Lindisfarne Gospels and other similar manuscripts and bibles from the middle ages.” [Barnbrook]

“Decoding” features Albertus Nova with its alternate uncial-like E.

The chapter title for “Ritual” uses Serpiente Display.

Jacket of the hardback edition by Thames & Hudson, 1980, featuring Gregory in the Pool (Paper pool 4)

The Paper Pools book presents a series of paintings by David Hockney. A well-known series by the painter, it was produced in Los Angeles, California, a location that marks the colors of the series.

From Beaux Books:

An illustrated record of the Paper Pools series of artworks created by Hockney in 1978. The twenty-nine Paper Pool works were made using the paper pulp process, a mix of printmaking and painting, and a new medium for the artist. The images focus on the play of water and light, whilst also recognising the Californian sunshine that Hockney sought. Reproductions of the twenty-nine works are accompanied by preparatory line drawings, polaroids and a text ‘Making Paper Pools’ by the artist.

The book was edited by Nikos Stangos and first published in hardback by Thames and Hudson, London, in 1980, featuring the painting Gregory in the Pool (Paper pool 4) on the dust jacket. Harry N. Abrams published the U.S. edition with a reproduction of Le Plongeur (Paper pool 18). The paperback editions by both Thames & Hudson and Abrams also feature this polyptych painted in 1978 using Hockney’s technique of colored pressed paper pulp. The interest in the medium and type of paper is reflected in the design of the book with an unusual paper, which is similar to the old, rough paper used for some editions of this series.

Jacket of the U.S. hardback edition by Abrams, 1980, featuring Le Plongeur (Paper pool 18)

Back and front cover of the paperback edition by Abrams, New York, again featuring Le Plongeur (Paper pool 18). The same design was also used for the paperback edition by Thames & Hudson, London. Text on the back is set in Univers.

Interior double page spread with a variant on the same theme as the painting used for the cover. This one is titled A Large Diver (Paper Pool 27).

Cover and spine of the U.S. hardback edition by Abrams, 1980. The names of the artist and the publisher are in Pump Triline, the title in Pump.

Title page from the paperback edition by Thames & Hudson, London, with a drawing made in preparation for Gregory in the Pool (Paper pool 4). Here, the title is here set in Pump Triline and David Hockney’s name in the solid style. The roman is Monotype Garamond.

From Thames & Hudson:

At the suggestion of Picasso’s widow Jacqueline, the distinguished art historian Pascal Bonafoux began researching Picasso’s self-portraits more than forty years ago. This meticulously researched book presents the fruits of his decades-long project. From the first attributed painting in 1894 as a thirteen-year-old boy, until Picasso's final self-portrait in 1972, a year before his death, Bonafoux charts the evolution of the artist's life and art.

Alias Harbour is used for the title with Portrait used for the subtitle and author’s name.

Photographer. Filmmaker. Artist. Designer. To master one of those disciplines would be a lifetime achievement for any creative individual, yet William Klein’s career was celebrated in each of them over the last eight decades. With over 250 images, this career retrospective looks back at his uncompromisingly creative lifetime, showcasing Klein’s prolific and relentlessly innovative contribution to the world of photography, art, design, and filmmaking.

Loose Joints Studio collaborated closely with William Klein to realise a book that takes his signature graphic style – reds and blacks, dynamic condensed type, and immersive full-page layouts – and playfully reinterprets his creative career for a modern eye. Using variable font ABC Gravity by Dinamo, Klein’s eye for lettering is stretched and pulled to reflect the dynamism of the artist's dynamic and diverse output, with a cover showing one of Klein's lesser-known early paintings: the same image used as the invitation card for his very first solo exhibition in the 1940s.

Meticulously crafted, this book marks the 20th anniversary of Tambour, Louis Vuitton’s line of modern luxury watches. Launched in 2002, the first Tambour model became an instant classic, with its drum-shaped case, superb Swiss engineering and innovative, uncompromising aesthetic.

Set in Selecta LV, a custom version of Selecta specially developed by Maxitype for this publication. Page numbers are set in LL Supreme.

Photography by Maxime Guyon. Silver duotone screen printing on black stock paper by Lorenz Boegli.

UK edition by Thames & Hudson/Andre Deutsch

In 1969, Kurt Weidemann had served his first four years as professor at the Stuttgart Academy, working under his former teacher Walter Brudi. This book titled Book Jackets & Record Sleeves. An International Survey is a compendium of Weidemann’s favorite designs from these two fields. On 165 pages, he presents 427 b/w illustrations, of works by Willy Fleckhaus, Pierre Mendell, Rudolph de Harak, Seymour Chwast, Paul Rand, Wim Crouwel, Kurt Wirth, S. Neil Fujita, Heinz Edelmann, Hannes Jähn, Crosby/Fletcher/Forbes, Bob Gill, F.H.K. Henrion, Ellen Raskin, Milton Glaser, Imre Reiner, Erwin Poell, Robert Massin, Yūsaku Kamekura, Leo Lionni, Saul Bass, John Berg, Holger Matthies, Günther Kieser, Reid Miles, Andy Warhol, and many others, including Weidemann himself. (Apparently he didn’t go to great lengths to include more women designers.)

There are at least three different editions, all in 1969, and all with text in English, German, and French; by Frederick A. Praeger, New York; by Thames & Hudson/Andre Deutsch, London; and by Verlag Gerd Hatje, Stuttgart. The latter has a trilingual title, Buchumschläge & Schallplattenhüllen / Book Jackets & Record Sleeves / Jaquettes de Livres & Couvertures de Disques. The typeface chosen for the dust jacket is Torino, used in all caps, and combined with a minimalist illustration of three books and a record.

On this day, Kurt Weidemann (1922–2011) would have celebrated his 100th birthday. Typographische Gesellschaft München has published a congratulatory blog post and announced a publication titled 100KW, initiated by Olaf Leu and realized by Horst Moser, with contributions by Silvia Werfel, Susanne Zippel, Erik Spiekermann and others. A pdf version (German) is already available.

UK edition by Thames & Hudson/Andre Deutsch

German edition by Verlag Gerd Hatje

Words from Wout de Vringer:

The AGI - the Alliance Graphique Internationale - unites the world’s leading graphic designers and artists in a professional club of common interest and achievement. Since its inception in 1951, its members have been responsible for the identity design of most of the world’s top corporations and institutions as well as for countless examples of globally known packaging, publications, illustration and posters. In 2006 Faydherbe/De Vringer, both AGI-members themselves, were asked to design a book about the AGI. This book presents biographies of every AGI member to date - about 600 - illustrated by examples of their work, as well as a history of the AGI and its landmark achievements.

From the website of publisher Thames & Hudson:

This survey of the world’s most innovative and successful examples of pre-fabricated homes explores the full range of possibilities, open to anyone seeking to find clever and up-to-date solutions for building their own home. From net-zero houses to plug-and-play dwellings and converted shipping containers, each chapter explores the varied and exciting ways that architects and designers are using pre-fabricated technology to address today’s living and world challenges. A reference section includes in-depth essays, which explore the latest manufacturing methods, trends and technologies, presenting a wide range of possibilities to suit every need, taste and desire.

Titles throughout the book are set with Euclid Stencil. Here, the stencil gutters might be seen as underlining structures for letters, echoing the style of architecture found in the book. Body copy is set with the Light style of the Graphik workhorse family.

Euclid Stencil is part of the Lab typefaces, available from Swiss Typefaces.

F37 Bella by F37 Foundry in use by Amélie Bonhomme at Thames & Hudson for The Sustainable Fashion Handbook publication. From It Fashion (translated from Italian):

(...) it is the definitive guide that refers to all aspects of sustainable fashion. Of an unprecedented scope, the book ranges from the environmental problems produced by fast fashion to the social impact of global fashion, an industry that employs up to 40 million people around the world from manufacturing to agriculture.

News Gothic BT and Monotype Baskerville are used for smaller text.

Cover photograph: Vivienne Westwood

From Thames & Hudson:

In this wide-ranging book, two complementary voices – one belonging to an artist who looks to Asian and Buddhist traditions as much as to Western sculptural history, the other to a critic and historian – consider how sculpture has been central to the evolution of our potential for thinking and feeling. Sculpture cannot be seen in isolation as an aesthetic pursuit; it is related to humankind’s compelling urge to make its mark on the landscape, to build, make pictures, practise religion and develop philosophical thought.

Jude is used for titles and headline type. The serif used for the running text is Carat; the sans serif on the cover is Caslon’s Egyptian [see comments].

The content of the book explores the creative process through multiple case studies across practices. Make to Know follows the approach that designers and artists employ with iteration and visual exploration to find a solution.

Arcade Game Typography aims to be a definitive resource on pixel typography in arcade videogames throughout the late ’70s, ’80s and early ’90s. It features 250 examples selected, extracted, chosen and categorised by style by author and Monotype type designer Toshi Omagari. Commissioned by Darren Wall for publisher Thames & Hudson after seeing Omagari speak on the subject of videogame type design. Omagari was keen to develop his research into a completist publication. During his research for the publication, he played and assessed over 7000 games to make his final selection for the book.

LL Akkurat is used for all other typography throughout.

A fantastic book that tells the story of Tower Bridge. From historical plans for a river crossing at the site, through its development, construction, operation and continued use and presence as an iconic landmark of London. Beautifully designed by Grade Design, the book is heavily illustrated throughout and set using Adobe Caslon for text and Bliss for headings and captions.

Typography has become more exciting than ever. While the legacies of classical typographers will always be respected and revered, recent developments have paved the way for a new generation of digitally-savvy creatives to explore and experiment with an eye-opening range of possibilities. Variable fonts, kinetic typography, format- and content-responsive design, typography in augmented reality and interactive typographic installations are just a couple of new fields. The future of typography is becoming more and more flexible.

"On the Road to Variable: The Flexible Future of Typography" was curated and written by TwoPoints.Net and published by Viction:ary. It contains an extensive introduction, insightful interviews with Mitch Paone (DIA) and Felix Pfäffli (Studio Feixen) and 122 inspiring typographic works by 62 brilliant design studios from all over the world.

The book was designed with the classic book typeface Caslon 540 to reinforce the idea that opening up to new developments in typography does not mean that “old” typography becomes obsolete. Quite in contrary. We become giants by standing on shoulders of giants.

Cover for Can you keep a straight face, with a modified ‘g’ in the title, and a question mark, repurposed as nose. Illustrated by Élisa Géhin. Published january 2017.

Bernard Duisit is a renowned paper engineer who has worked on dozens of pop-up and interactive books. Thames & Hudson published a series of wimsy pop-up books by Duisit with different illustrators, in which Duisit surprises and entertains kids and grown-ups. Three books of the series are shown here. The narrative is simple and effective: the question on the book cover is repeated in different variations on the left page, and answered with an illustration on the right hand page.

In the English editions, all typography follows the same design, with titles set in Emigre’s Variex regular weight, with glyphs in different sizes to enhance the rhythm, and some modified glyphs to improve the legibility. All text inside the book is in Meredith Mandel’s succesful freebie Chunk.

From Can you keep a straight face?

From Can you keep a straight face?

From Can you keep a straight face?

Cover for What’s up? Illustrations by Olivia Cosneau, published January 2017.

From: What's up?

This or that? Illustrated by Delphine Chedru, published January 2017.

From This or that?

From This or that?

From This or that?

Paperback edition of Histories of Nations: How Their Identities Were Forged by Peter Furtado

The title typeface combines several styles of Brim Narrow for chromatic effect: Fat Lines (blue), Face (black) and Outline (blue). The color of the lines and the subtle outline differentiates it from the flattened Brim Combined.

1978 Thames & Hudson paperback edition, as seen on Ski-Ffy, which notes:

Cover painting by Peter Tybus, based on a photograph of Eric, a 1928 robot
inspired by Karel Čapek’s play R.U.R.