Serotalin offers products to support well-being and health. Its focus is on natural food supplements that have been specially developed to promote balance, inner peace and better sleep. Their corporate design uses Faible by Identity Letters.

TT Commons is used in Hatch’s branding.

Hatch provides you with natural sleep and healthy routines, finds what works best for you to get high-quality rest. Discover new ways to make sleep magical for babies, adults, and everyone in between with Hatch.

From the HoomBand website:

HoomBand, the wireless headphones designed to help you sleep. Created by sleep specialists. We are Livlab, a team of insomniacs, designers and entrepreneurs, whose mission is to improve your sleep. We surrounded ourselves with the best specialists: hypnotherapists, sleep doctors, sophrologists & sound designers, to develop the Hoom project: qualitative, varied and immersive audio content to help you fall asleep.

The HoomBand logo uses Aribau Grotesk by Emtype Foundry. Aribau Grotesk is also used for the website, where it is paired with Joshua Darden’s Freight Text.

Deep Sleep is a product developed by Rose Los Angeles to improve sleep.

Nirvana has simple and pop shapes. It has no angles and expresses softness. Its rounded shapes combine well with illustrations: the words “deep” and “sleep” are transformed into an image of strange clouds. Nirvana is paired with a yet unidentified grotesk.

Still from a clay animation featuring lettering based on Nirvana, with three-dimensional letters on a bouncing baseline

Loftie is a brand dedicated to creating better tech-life balance for people everywhere by sleeping without a smartphone at hand but using their products instead. The logo is based on the warm Austin News which is also used for headlines on the website. Supporting type and the numerals on the clockface are set in Messina Sans – a highly readable sans serif that features details inspired the 20th century and its affinity for reduction.

Exhibea established a new eCommerce experience that is dynamic, engaging and inclusive. The project also encompasses brand positioning and messaging that highlights Loftie as a place where customers can immerse themselves in learning about the importance of screen-free relaxation and the world of sleep wellness. The background color is a newspaper-y beige, which gives the site a visual softness akin to ink on newsprint. The team helped create the Loftie user experience and digital design across web and mobile, developing a site hierarchy that is welcoming, elegant and easy to use.

“Communications” from the Paste Pot & Scissors subseries, ft. Mike Hinge’s Hinge Computer. Illustartion by Tom Sawyer.

Covers for various clip books of line art issued in 1970 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. The series provides a glimpse into the topics that were in demand by the press – and by the media in general – in the United States at the time. The covers paint a slightly more progressive image than those from a decade before, e.g. with a women in the driver’s seat (for “Transportation”, see below). The vast majority of the portrayed people still is white and male. The cover for “Communications” (above) with three protesting women is an exception.

The series is also a snapshot of what was in fashion in display typography. The chosen faces – almost each cover features a different one – are diverse in style. Many were issued only shortly before. There are several exclusive designs by the NYC-based typesetting studio Photo-Lettering (Hinge Computer, Brave and Free, Calendar, Microcircus, Benguiat Indian, Bauhaus Prisma, Bordonaro Black Magic, West Kangaroo) and also a few recent releases by VGC (Giorgio, Antikva Margaret).

See also the dedicated post about the subseries titled Grafika which was introduced in 1970. For more information on Harry Volk Jr. Art Studio, see the post about the clip books issued in 1955.

“Happy Birthday” (No. 190) ft. Davison Dimensional (1969). The small text is in Helvetica.

“Holidays” (No. 191) ft. Brave and Free with stretched letterforms.

“Travel” (No. 195). While the title is set in caps from Georg Trump’s City fett, rasterized and repeated at varying angles like stamps in a passport, the names of the destinations are hand-lettered. Some are probably based on existing faces, e.g. “Orient” appears to emulate Benguiat Newlock. “Greece” might be patterend after Copeland Trillium.

“Religion” (No. 196) ft. Solemnis. “18th Anniversary Issue” uses tightly spaced Futura Light.

“Winter” (No. 197) ft. Giorgio (Giorgio Giaiotto, 1966).

“Men” (No. 198) ft. Profil. Illustration by Tom Sawyer.

“Women” (No. 199). Illustration by Tom Sawyer. The constructivist stencil caps are from Futura Black.

“Holidays” (No. 200) shows tightly spaced lowercase Clarendon.

“Crowds” (No. 201) ft. Filmotype Vigus. The portrait format and the use of ITC Avant Garde Gothic Light as secondary typeface suggest that this was a late edition, already in the style used in subsequent years.

“Groups” (No. 526) ft. Calendar (1969).

“Transportation” (No. 527). Illustration by Tom Sawyer. The typeface is PLINC’s Microcircus, a squooshed variation of Microgramma/Eurostile.

“Insurance” (No. 529) again features Microcircus.

“Western” (No. 533) ft. a depiction of a Native American with feathered headdress. The type was apparently chosen for its name – it’s Benguiat Indian.

“Food” No. 539 ft. Prisma Graphic.

“Human Relations” (No. 541) in Cartier (Carl Dair, 1967), with slightly stretched letterforms.

“Education” (No. 542) ft. caps from Antikva Margaret (Zoltán Nagy, 1966).

“Handyman” (No. 543) ft. Goudy Oldstyle Bold, with a shortened ascender for d.

“The Golden Years” (No. 544) ft. Augustea Open. Illustration by Tom Sawyer.

“Teens” (No. 545) ft. Bauhaus Prisma K (1970).

“Family” (No. 546) ft. Jana (1965). Illustration by Tom Sawyer.

“Sales” (No. 547) ft. Eurostile stretto. Illustration by Tom Sawyer.

“Spring & Summer Sports” (No. 548) ft. Permanent Headline in solid and open styles.

“Worry-Fear” from the Paste Pot & Scissors subseries (No. PP132) ft. Black Magic by Lewell Bordonaro.

“Son of Little Guy” (No. PP136) ft. West Kangaroo Demibold, an informal face with horizontal stress by Dave West.

Newspaper ad for a chaise longue named “Victoria”, from 1906.

Extend your life through healthy sleep on chaise longue bed “Victoria”. Price from 16.50 Mk. Over 20,000 pieces sold. Indispensable for every household. D.R.G.M. №37159.
High elastic spring pad, head and foot part adjustable. Many recognitions. Brochures about patent furniture, patent mattresses, bedsteads, adjustable wedge cushions, table beds etc. free and post paid. Nippe & Pasche, Berlin, Oranienstraße 101/102, formerly Leipzigerstraße 73.

The headline and the company name are set in the Extended style of Bradley. ATF offered a special cut to their German-printing customers named Ihlenburg, which is distinguished by the inclusion of umlauts, long s (ſ), eszett (ß), descending z, as well as the (then) obligatory ligatures for ch, ck, tz. The font used in this ad, however, is probably not Ihlenburg Expanded, but one of the several German copies. These included Altgotisch breit (Gebr. Klingspor), Britannia-Gotisch fett (Bauer, Klinkhardt), Kloster-Gotisch fett (Flinsch), Mammut-Gotisch (B. Krebs Nachf.), and Original-Gotisch (Ludwig Wagner).

The copy is set in a standard Fraktur, see Normal-Fraktur, with a Halbfette Kanzlei used for emphasis. Among digital fonts, Mars-Fraktur and Kanzlei halbfett klein (both by Gerhard Helzel) are probably the closest matches.

Another ad from the same year uses Antiqua (i.e. roman, incl. sans-serif) type.

Logo animation

In her bachelor thesis project Slepalyzed, Lisa Ribbers developed the corporate design for a (fictional) healthcare organization that informs about sleep paralysis.

Sleep is an essential part of our lives as it takes up one third of our entire lifetime. The importance of restorative sleep becomes increasingly salient if its occurrence is hindered by sleep disorders. The so called sleep paralysis represents a remarkable form of such a disorder. Although the lifetime prevalence of sleep paralysis approximates 30 per cent in university students and eight percent in adults, it is a mainly unknown phenomenon in the general population. When initially affected, people are often upset by the frightening experience and cannot make sense of it.

The typographic dialogue reflects the contrast of dream and real world in an unobtrusive way.

For headlines and collages, Ribbers used TheW Clan RZA by Swiss Typefaces. She writes:

TheW captivates especially with its high contrast and its striking, sharp angles in combination with the round drop terminals and dots. The mixture of classic roman and contemporary, extravagant details underlines the reference to ancient medical designs without sacrificing modernity.

It’s contrasted with the sans-serif Relevant by another Swiss font label, Binnenland.

The Relevant font family “emerged from a typographic attempt to create a font family with a systematic architecture, both in terms of development and design, and, at the same time, maintain optimum legibility and readability.” According to Ribbers,

… this is where the concept of scientific design comes in again, because the focus of font development was its functionality. Its eleven styles provide an optimal basis for the development of a holistic appearance. Distinct variations in tracking and in line spacing, in combination with large differences in font sizes, create many strong contrasts, further underlining the multifarious nature of a sleep paralysis.

Concept, design and interviews by Lisa Ribbers. Made at FH Dortmund, supervised by Lars Harmsen.

Series of business cards

Flyer and envelope

Self-help guide (cover)

Guide spines with exposed binding

Guide (interior)

FAQ

Poster series with collages representing nine emotional states

Collage for “ausgeliefert” (exposed)

Collage for “unverbunden” (unconnected, isolated)

Collage for “wehrlos” (defenseless)

Collage for “beobachtet” (monitored)

Shawn Hazen on Book Worship:

Damn. The type is over-the-top, but the layout is so simple. I wonder if there was a phototype font that had all these amazing ligatures, or if she did it manually. Either way—good stuff.

Yes, these are prefabricated letters! Not from a phototype font, though, but from a dry-transfer sheet. The multiline letterforms used for The Functions of Sleep are from Stripes. This Letraset typeface was designed by Tony Wenman in 1972 and included all the glyphs shown here (see below). The lines of the initial and final letters were extended to appear as if they wrap around the book cover. The only other example of such a treatment that I’m aware of is the cover of Letraset USA’s Graphic Art Products Catalog, also from 1973.

Cover designer unknown. Sally Sullivan — who worked as a designer for Yale University Press — is credited for the book interior (not shown here).

Glyph set of Letraset Stripes with its many alternate glyphs

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