Omdat het anders niet bestaat is the new novel by A.J. Maren. The book cover pairs all-caps Akzidenz-Grotesk with Plantin.

From Wikipedia:

The Roaring Silence is the seventh studio album by English rock band Manfred Mann’s Earth Band. It was released on 27 August 1976, by Bronze Records in the UK and by Warner Bros. Records in the US.

The cover was designed by Shirtsleeve Studio, using Marvin with recessed letterforms and EndcapS. The giant ear with an open mouth inside it was modelled by artist Derek Goldsmith.

[More info on Discogs]

TilburgsAns contains a special punctuation mark for the local Tilburg expletive or interjection “jè” (pronounced as the English “yeah”). The mark is designed as an upside down letter j with a curl of the letter e. The expletive is used as a kind of interrobang, expressing a doubtful affirmation. Several people have got a tattoo of this “jè” mark.

Baron Frankenstein creates two "zombies" - one male, one female - planning to mate them in order to create a master race. — IMDb

One of [main actor] Udo Kier’s most vivid memories from “Flesh for Frankenstein” was the infamous ‘internal organ’ scene. Real animal organs were used that were left unrefrigerated on the set for several hours. Udo had to pull the organs out of a prop dummy with his bare hands and hold them up to his face. He has said he will never forget that smell. — IMDb

The Italian Horror movie Flesh For Frankenstein (1973) was named Andy Warhol’s Frankenstein in the United States in 1974 for marketing reasons. Andy Warhol himself (allegedly one of five producers) was hardly involved. He was credited for the movie largely due to earlier collaborations with director Paul Morissey and the appearance of his protégé Joe Dallesandro in the role of Nicholas the stable boy.

Bradley is used on both the poster and in the theatrical trailer, with lifted initial caps (again). The credits use what looks like Trade Gothic and the movie title – lettered with red paint on a photo print skin, sliced and stitched back together – seems to be modeled after Franklin Gothic (but with a different leg on the R). The same type treatment was re-used for the 2015 vinyl release with the original movie soundtrack.

Forever Immigrant (Tattoo) is a reactivation of the work Forever Immigrant as a tattoo at VT Artsalon in Taipei.

The Forever Immigrant tattoo made by YQ Tattoo was on Betty Apple. It was also tattooed onto the skin of six other people during a 3-hours performance. Each participant received a certificate of the work.

For his art performance Forever Immigrant (Tatto), Marco Godinho uses Perec (designed by Alejandro Lo Celso, PampaType, 2010).

Astype’s Vtg Stencil UK No. 76 font is used for the book jacket of Gunnar Kaiser’s novel Unter der Haut (“Under the skin”) published by Berlin Verlag.

Additional images on the portfolio website of Zero Media show a special edition where the letterforms are cut into a slipcase, revealing the red anatomical image on the cover underneath.

Vtg Stencil UK No. 76 is also used for the title page, the section openings, and the page numbers.

The book interior was set by psb. The text typeface is Minion.

Source: edition.cnn.com License: All Rights Reserved.

The Lost Men France, 2014, Thiepval Memorial to the Missing of the Somme, Northern France. Five (5 m × 5m) pigment-printed photographs on silk, steel. 200 metres. Photographed by Paul Emmanuel. Courtesy of Art Source South Africa.

Source: www.paulemmanuel.net http://www.paulemmanuel.net. License: All Rights Reserved.

Photograph of the artist’s body for The Lost Men France, 2014. Photographed by Charl Fraser. Courtesy of Art Source South Africa. © Paul Emmanuel

Source: www.paulemmanuel.net License: All Rights Reserved.

Photograph of the artist’s body for The Lost Men France, 2014. Photographed by Charl Fraser. Courtesy of Art Source South Africa. © Paul Emmanuel

The Lost Men Project is an ongoing series of installations by South African artist Paul Emmanuel.

Paul Emmanuel website:

The viewer encounters an installation, engaging concepts of memorial and public grief – a temporary, once-off, personal expression in a selected public arena. The names of men who have died in conflicts from the site are pressed into Emmanuel’s skin which is photographed before the bruising fades. These photographs of his marked body are then printed onto silk sheets which are hung outdoors and left to the wind.

After encountering an early work in the Lost Men series in a Museum Meermanno exhibition – a video of disappearing impressions of names on Emmanuel's skin, plus a block of metal type that was used in the making of – I asked Paul Emmanuel a few questions about his work.

How have you gone about to choose a specific typeface and size for your works?
Was this simply a matter of what type was easily attainable, or were there other considerations?

I generally use Palatino or Times for all phases of The Lost Men, because the serif engages with the past. Most traditional memorials, whether they are inscribed in stone or some other "permanent" material, use a serif. It was a trial and error process for finding the right size of the letters because of the physical properties of the skin on my body and the relationship between the size of the text and the size of "me" and the numbers of the fallen. If the text is too small, its legibility is compromised because the skin and flesh underneath the skin cannot be effectively pressed into the tiny crevasses of the shapes of the letters.

Human flesh has a limit on registering wounds that are legible at small scales. I do not think there is a limit on larger scale legibility. At larger scales, it becomes more about the sheer number of names that I cover my body in. Wars are about the numbers and the scale of the loss. As the scale of The Lost Men series increases I have tried to literally obliterate myself in the lists, the loss is so great that no one body can ‘speak’ about it.

I’m not sure if there is a ‘serif or sans serif majority’ in gravestones or memorials, but picking a serif for The Lost Men seems a logical choice. Do you think we associate serifs with authority, facts?

Maybe architecture has subtly coded ways. I think that we are conditioned to recognise these codes from an early age. I think that there have been studies to demonstrate that children listen to and trust adult men wearing dark colours and suits rather than shorts and T-shirt. Men in suits signify authority and therefore are to be obeyed. Perhaps the visual codes of “trustworthiness” and “facts” are built into institutions of memory too, which is why I always want to question that idea with previously excluded histories.

The different stages of The Lost men Project have different ways of ‘typesetting’ – some use lead type, in another you have stuck synthetic letters one-by-one in moulds of you body.

Yes exactly, lead type was used for The Lost Men Grahamstown and The Lost Men Mozambique, set by an old man here in Johannesburg called Bert Calrose. He died a year or two after setting those names for me, he had a wonderful studio in the city with all the old antimony type machines that would set the type on the spot. I watched him do it. He had a small market of setting type the old way for wedding invitations etc.

Then with more budget and a desire to literally almost obliterate my body in names so that I almost disappear in them by immersing myself in a cast of names, we made The Lost Men France. The installation that went up in France (The Lost Men France) had a bigger budget, so we could produce moulds to impress the names.

Would you consider a block of type, as displayed in Meermanno, a work of art, or are they merely tools?

Absolutely I consider the block of lead type an artwork in itself, it is a remnant of a process. There is actually a touring museum exhibition of the remnants of The Lost Men France, in which the moulds are exhibited as artworks. I often think of The Lost Men as a process or 'performance' in a way because of the installation's liminality, all that remains are the remnants – the photographs, the videos, the moulds and other artifacts as evidence that something has happened.

Unfortunately, there's no end to wars – will there be an end to your Lost Men project?

My plan is to create the final phase of The Lost Men with an installation for a site in the USA, and because of my father's Lebanese (Christian) ancestry, I plan to use Arabic script on my body.

Thank you very much for sharing your thoughts!

Source: www.paulemmanuel.net License: All Rights Reserved.

The Lost Men Mozambique, 2007. Photographs of the making of by John Hodgkiss.

Source: www.paulemmanuel.net License: All Rights Reserved.

The Lost Men Mozambique, 2007. Photographs of the making of by John Hodgkiss.

Source: www.paulemmanuel.net License: All Rights Reserved.

The Lost Men Mozambique, 2007. Photographs by John Hodgkissused for the installation.

Source: Andrew Meintjes License: All Rights Reserved.

The Lost Men Grahamstown, 2004. Photographed by Andrew Meintjes

Source: www.paulemmanuel.net License: All Rights Reserved.

The Lost Men Grahamstown, 2004. Photographed by Andrew Meintjes

Source: www.paulemmanuel.net License: All Rights Reserved.

The Lost Men Grahamstown, 2004. Photographed by Andrew Meintjes

“Healed charlie chaplin quote on Quinten. Done some time ago @inkstitution rotterdam, where you can find me every first sunday of the month! Swallows done by @seesensido !!”

Tattoo by Thye Houben, lettering started out with ITC American Typewriter.

Somewhere between printing without ink and photography without developing, solar imprints allow for direct projection onto any surface. “Tinta de Verano” (Summer Ink) is a series of ecological post cards, naturally sunned due to over exposure to the sun, with rhythms of grilling out or the Macarena. It is a tribute to third cardboard lining — known as a check book cover — which had its glorious past in the last century and has passed into history. Due to its development with soft pulp and blown fibres, the dyes that colour it rapidly deteriorate giving way to tones typical of used pastels. A defect has become a plus thanks to this discarded myth.

For the exhibition Make-up. Shaped for Life? at the Museum der Kulturen Basel, Büro Fax created a magazine called Haut-nah.

Some people really love type. A lowercase a from Dolly Italic is tattooed on one of Dan Rhatigan’s arms — along with a large collection of single glyph tattoos from different typefaces.