A decent example of Miller & Richard's Grotesque No. 4 Italic, which, for all its quirks, looks perfectly at home on a no-nonsense government notice. I particularly like the flinching f, echoed in Fred Smeijers’ vintage-inspired Ludwig, which uses it—quite pragmatically—in ligatures.

The other typefaces are mysteries to me, and I would appreciate any help in identifying them—especially the interloping 3s in “30th SEPTEMBER” and “3 a.m.” and the O in “On and after,” which differs a bit from the others.

Ludwig Black and Black Italic by Fred Smeijers. The f flinches à la Grotesque No. 4 Italic to make way for l, f, t, and i, but stands (or leans) straight next to o. (The second f in “off” flinches in solidarity with the first, I suppose.)

Designed by the Berlin-based agency Neue Gestaltung, the exhibition catalog for Sehnsucht und Fall (“Longing and Fall”), curated by Philipp Bollmann, shows video works from the Wemhöner Collection. At Kunstsaele Berlin, in rooms specially modified for the show, videos by Isaac Julien, Bianca Kennedy, Masbedo, Hans Op de Beeck, Alexandra Ranner, and Erik Schmidt were presented in one to three-channel installations. The book is set with the serif typeface Kalice (designed by Margot Lévêque Studio).

See more images on the website of Neue Gestaltung.

Suntup Editions is publishing a new limited letterpress edition of Richard Matheson’s seminal horror novel Hell House from 1971. The story was the basis of the 1973 film The Legend of Hell House, and was referred to by Stephen King as “the scariest haunted house novel ever written”.

The new edition, set for release in summer of 2024, features illustrations from William Basso (who sadly passed away shortly after completing the illustrations), introduction by R.C. Matheson, foreword by Mike Flanagan, and afterword by Nancy A. Collins.

The edition is offered in three states: “Artist” (750 copies, with dust jacket), “Numbered” (250 copies, ostrich leg leather binding), and “Lettered” (26 copies, full ostrich leather binding with goatskin headbands in quarter goatskin box). Five orders of the book will also be selected at random to win a copy with a unique red colored spine.

The book was designed by Michael Russem (who has designed several other books for Suntup Editions) using the Fanwood typeface (based on Fairfield) for body text, and my own Margo typeface (based on classic film and bookjacket lettering) for titling, headings, and initials. I was happy to see Margo’s contextual alternate stairstep ‘ll’ pair make an appearance in the title.

The novel is broken up between dates and timestamped sections following the events of the story. Russem used large initial caps of Margo for new sections, however the initials appear partway into their respective lines, preceded by the smaller timestamp text. Stylized brackets from Monotype Bell enclose the running headers, facing ]out[, and page numbers, facing [in].

The book is available for preorder from Suntup Editions.

All Eternity is an expressive typographic calendar designed by our studio and distributed as client and collaborator gift to kick off the year. Conceptually, the calendar focuses on the subject of time, with each month typographically depicting a saying or famous quotation about the value and importance of time.

Folded invite for Connie Harrison’s solo show Nurtured Furrows at Arusha Gallery, Edinburgh. Designed by Callin Mackintosh, set in HAL Timezone by HAL Typefaces (Hanzer Liccini).

Have a good time is a self-published 365-day tear-off calendar for 2022. The theme is Time: all-embracing, everlasting, always in fashion. Each month deals with a different aspect of time: Time telling objects, making time, wasting time, questions of time, time sayings... if you're curious to read more, click here.

All numerals are using Oroban Hermonthica by Blaze Type, the rest of the content is using Neue Helvetica.

We developed the brand of Ordinary Lifee, a space where you can enjoy a cup of coffee in your everyday life, with the concept of “Ordinary Time”. It provides everyday life records and a space where you can feel the special relaxation and comfort. The meaning of Ordinary Time has been consistently applied to logotypes, slogans, and various graphic applications.

“Ordinary Time” stands for the space and time of Ordinary Lifee. Ordinary Lifee provides time to comfortably record and experience various moments and experiences in daily life in our space. The Ordinary Lifee logo was designed with a functional and rational logo that eliminated unnecessary decorative elements, and the trademark symbol (™) was expanded to ‘TIME’, in order to emphasize the time of Ordinary Lifee. By designating the slogan as “13th, Ordinary Lifee Time,” which is the same as the design concept, we actively deliver a message that our purpose is giving relaxation and comfort to the customers.

Ordinary Lifee develops design with the concept of time and record. With the word type that visualizes the ‘13th hour’ and the image type that lists and records everyday objects, Ordinary Lifee's consistent design system has been established.

McQueen by Fontwerk is used throughout.

Website.

Time After Time is a Korean brand that sells fashion items and accessories including shirts, umbrellas or phonecases, but also posters and postcards. Their pop-up store in Seongdong-gu, Seoul additionally functions as a café.

In the spirit of Chet Baker’s “Time After Time,” the essence of brand Time After Time is to share the deepening value and meaning of that which is accompanied by the passage of time.

The designer of these products used NB Grotesk to evoke a simple mood. By using a sans-serif font, the designer gives the audience a cleaner view.

Photo printed hoodie.

T-shirt.

Tape.

Social media ad.

Signage at the pop-up store.

A clockface with jumbled numbers and mirrored type.

Paper cup.

Photo booth.

The Clock by Swiss-American artist Christian Marclay is a 24-hour video installation, composed of thousands of fragments found in cinema and TV scenes that refer to the time of day. The work received the Golden Lion at the 54th Venice Biennale in 2011, and has since taken thousands of visitors to dozens of museums around the world.

For the exhibition foyer at the Instituto Moreira Salles in São Paulo, the communication design was conceived as a contemporary version of old cinema signs, with three-dimensional letters supported by horizontal shelves. GT Haptik was chosen for two reasons: its geometric letters, especially the O that we cut and turned into a C, slightly rotated for its two appearances in the word “CLOCK” (as a reference to the passage of time); and the absence of overshoots in the capitals, which made the lettering installation easier. In addition, a tabloid with the same graphic identity was designed, featuring an exclusive interview with the artist.

Timelapse of the installation of the wall lettering.

A posthumous collection of short stories by Cyril M. Kornbluth, who died in 1958. Originally published under the pseudonym Cecil Corwin. Edited by James Blish and released in 1970 by Dell Publishing.

Both the author’s name and the main title get a multi-color treatment in Montgomery Pousse Cafe (1969). The subtitle uses narrow slab-serif caps with a 3-dimensional effect. This face goes back to the 1830s. It was available from PLINC as Sunset and is also known as Broadcast today. The range is completed by caps from Broadway (1927) and Lightline Gothic (1908).

The title on the cover of the latest novel by Matt Haig is in Sonrisa Bold, set on an angle and slanted so that the stems appear vertical again. Designer Pete Adlington comments on the font choice:

I needed something that gave a historical nod without feeling like it was defined by a period and this seemed to fit nicely.

Sonrisa has an interesting background: Its design “evolved from [Jason Castle’s] sketches of the skeletal structure of Jakob Erbar’s Koloss, trying to discover its underlying essence without all the contrast and bulkiness of the original design.” Koloss, originally released by Ludwig & Mayer in 1923, was advertised as the extrabold companion to Feder-Grotesk, also by Jakob Erbar. First cast in 1909, the latter is a very early example of a contrasted sans serif. One could say that Castle reverse-engineered Feder-Grotesk. The result has narrower proportions, but especially the capitals come quite close, see this comparison. Sonrisa was released by CastleType in 2011, around the time when the renewed interest in the stressed sans serif started to gain momentum, see e.g. Condor (2010) or Timonium (2012). This is the first time I’ve seen it in use. Hat tip to Ben Anslow!