Following the initial À table ! poster and T-shirt, this project expands the culinary universe into a fully playable card game. À table ! is a reimagined take on the classic Jeu des 7 familles (Happy Families), heavily inspired by the mechanics of Fachorama. The objective is to gather cards from different categories to build complete menus – starters, meat & poultry, seafood, and desserts – while navigating special joker cards designed to spice up the gameplay.

The game is a satirical tribute to the outdated, unappealing, yet completely unironic recipes found in French cookbooks from the 1960s, ’70s, and ’80s, sourced directly from parental cupboards and internet archives. Mirroring the concept of the original poster, the 45-card deck celebrates the bizarre aesthetics and questionable plating of mid-century gastronomy.

Production-wise, the 45 cards were printed using two-color Risography, then finished with a silkscreen varnish to set the ink. Each category features a distinct color profile. The custom templates for the card boxes were also designed from scratch and followed the same artisanal production process.

Special thanks to @bouricooo for the finishing (façonnage) and Sacrés Caractères for the die-cutting of the cards. This project was created during my residency at Atelier Garage in Lyon, from March to June 2026. 35 decks of cards were produced. The typefaces in use are (in alphabetical order) Bookman Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono, and Zipper. Bon appétit !

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

Few Manhattan neighborhoods capture classic New York quite like Gramercy Park—a desirable enclave defined by its private garden, quiet tree-lined streets, and historic architecture. Bridging timeless elegance with modern livability, The Florian carries this legacy forward.

Watson shaped the brand from the ground up with a strategic naming approach: “The Florian” evokes warmth, greenery, and enduring character—positioning the residence as both refined and welcoming. The broader brand strategy centers on appealing to a new generation of first-time homebuyers putting down roots in New York City.

Drawing from Gramercy Park’s 19th-century ironwork, literary tradition and cultivated community, the visual identity system subtly balances history with forward momentum. A flexible logo suite spans from an expressive wordmark to a pared-back fleuron, enabling versatility across touchpoints while reinforcing a cohesive, place-based narrative. The typographic system reflects the neighborhood's effortless charm and ease while staying rooted it in its quiet sophistication. The neighborhood photography further grounds the brand in authenticity, emphasizing an emotional connection to this iconic New York location.

Both a tranquil retreat and a gateway into city living, The Florian is positioned as more than a residence—it’s a setting for new beginnings, designed for those ready to write their own New York story.

The logomark variations are set in MD Lórien with modifications to specific letterforms. Headlines are set in LL Catalogue and supporting copy is set in Founders Grotesk.

The Cottrell & Babcock Manufacturing Company was founded in 1855 in Stonington, Connecticut. In 1880, Nathan Babcock purchased the shares of co-founder Calvert Cottrell and set up a new printing press manufactory together with his nephew George Fenner. Renamed the Babcock Printing Press Manufacturing Company, it was moved to New London. Around 1886, Babcock introduced the two-revolution “Optimus” press. From Steve Fithian’s 2024 article for Otis Library:

The Optimus became the new industry standard for the production of high quality printing. Harper & Bros. of New York used the Optimus exclusively to print their popular and influential periodicals, Harpers Weekly and Harper’s Monthly magazine. By 1899, the company’s strong commercial success allowed for the expansion of the employee base to 250 men occupying 180,000 square feet of factory floor. During the period between 1883 and 1919, the company sold over 7,000 printing presses to businesses in every state of the Union with a global market that included Canada, Mexico, Europe and parts of Asia.

In their Handy Book of Artistic Printing from 2009, Doug Clouse and Angela Voulangas date the advertising card shown above to 1886. All the linework—including curves—were done up in brass rules, along with the metal type fleurons and dingbats. The main typefaces are Mother Hubbard (1885) for “‘Optimus’ Press” and “New York Office” and Latin Condensed (1873) with initials from Ideal (1884) for “The Babcock Printing Press Mfg. Company”. The then freshly introduced Art Gothic (1886) is used with caps from Mother Hubbard for “Drum Cylinder”, “Stop Cylinder” and “Two Revolution”. “Lithographic” and the New York address are set in Old Style Extended (by 1884). There are a couple of unidentified typefaces, including a generic gothic. The inclined sans probably is Gothic Italic (see Halbfette Cursiv-Grotesque).

The colored card shown below followed in 1887. Its design also features Mother Hubbard. The wide typeface used for “Babcock” and, in mixed case, for “Drum Cylinder / Stop Cylinder / Two-Revolution / Lithographic” is Bowl, shown by Farmer the same year.

For both cards A. J. Smith was the compositor, with the printing firm of John P. Smith in Rochester, NY.

A poem written by Charles Knowles Bolton about a historical figure in Connecticut. The decorations are by Ethel Reed, but the printer or book designer is uncredited. The publisher, Lamson, Wolffe, and Company, wrote the following in their 1896 catalog:

It is printed in a a dark brown ink, in an old style antique type, on heavy, hand-made paper of natural tint, with deckled edges and uncut leaves. The book is appropriately illustrated by Miss Ethel Reed, who has drawn also the title-page and cover designs. […]

“Much of the attraction of Mr. Bolton’s little volume lies in the admirable illustrations and letter-heads by Miss Ethel Reed. These designs are in the ‘poster’ style, and in their cleverly massed effects and bold outline have considerable charm and originality.” — The Literary World.

The design is typical of the Arts & Crafts movement, favoring bold strokes in both artwork and type. Old Style Antique is the US import of Miller & Richard’s Old Style Antique No. 7, a 1850s–60s design that regained popularity in the early 1900s. It was later revised as Bookman.

The main title type is a mystery. It seems to match Boston’s Old Style Antique No. 2, but that W!

The 2025 version of Haley Park's personal website uses BN Wispy and Editorial Old as the primary fonts. Altesse and Old Standard serve in supporting roles. GT America is the text typeface for project descriptions. The decorative crosses and the fleurons in the footer are taken from Bodoni Classic Ornaments.

Las Killer Gringo is the debut novel by Jarol Ferreira Acosta, an artist born and based in Villanueva, La Guajira. The story follows a group of young people through their dangerous and radiant adventures in a coastal city where desire, violence, and friendship converge under the same sun. With a voice that is both direct and poetic, Ferreira captures a youth growing at the edge of danger—between music, heat, and the search for meaning.

Published by Rey Naranjo Editores, the book was designed by Raúl Zea and Isabella Viracachá. The cover features Akzidenz-Grotesk BQ Extended, while the interior is set in Lyon Text, a typographic pairing that reflects the contrast between the story’s urban energy and its intimate, contemplative undertones.

Karuta is a traditional Japanese card game where players listen to short descriptions read aloud from a reader’s card. Each turn, players race to grab the matching card with the corresponding picture or text, and the player with the most cards at the end wins.

Font Karuta is a variation designed for typography enthusiasts. Instead of pictures, the reader announces the font name and description on the reader’s card, and players compete to pick up the card displaying that font. The player who collects the most cards wins the game.

This edition is the “extension package” featuring only blackletter designs.

From top left to bottom right: Respira Black, FF Brokenscript, a couple letters from Breitkopf-Fraktur, Blackmoor, Claudius, an e and an exclamation mark from Old English, Wallau, Amador, Fakir, San Marco, American Text, Caslon-Gotisch, Engravers Old English, Marian Black, Fette Fraktur, Lucida Blackletter, JAF Herb, Gutenberg Textura, Alte Schwabacher, Goudy Text, Fette Kanzlei, and a tiny bit of Fette Gotisch. Featured in the game but not shown in the images are Deutsche Schrift and Wedding Text.

The box front features the title in Amador, with Clairvaux for the list of included typefaces. The Japanese font appears to be DNP Shuei ShogoMincho. The Font Karuta logo is in Akko.

The German-language game instructions are set in Gutenberg Textura with a headline in Blackmoor, in caps of alternating colors.

Abejorros (“bumblebee”) is a free magazine about popular music and Chilean folklore. The project is developed by Colectivo Abejorros (IG), a multidisciplinary group of four people passionate about local music and traditions. It’s made up of musicians Miguel Molina and Claudio Constanzo, sociologist Carolina Adaros, and designer Missael Godoy. Shown here is the first issue. The project envisages a quarterly publication.

The typesetting uses mainly Violeta for the general texts, together with Violeta Jardinera for titles, drop caps, and magazine logo. Simona is used for specific titles of some sections. Illustrations by Nicolás Astorga.

A pdf of the complete magazine (in Spanish) is available for download.

Note the fleuron, part of Violeta glyph set, which represents the vine leaf.

Note Simona’s use of uppercase swashes.

This issue includes an interview about the design of the book Por la Güeya del Matadero, published in 2011, in which early versions of Mazúrquica and Berenjena fonts were used.

Querido muerto mío is a novel by Felipe Núñez Mestre, published by Rey Naranjo Editores, that delves into the complexity of the willingness to go to war and the fragility of bodies shaped for combat, set in an opaque Caribbean with shifting borders and a threatening sea. The story contrasts the weight of a childhood among corpses, a furious adolescence, and an adult life trying to find meaning amid the military, the pursuit of fortune, and death. The book’s visual concept was created by Raúl Zea, Isabella Viracachá, and Isabella Barajas as part of the Rey Naranjo Editores design team.

Source: www.flickr.com Naiad & Walter Einsel: Art from the Heart, 2008. License: All Rights Reserved.

Naiad and Walter Einsel were a couple of illustrators. They met in 1952, got married in 1953, and shared a business – first in New York and from the mid-1960s in Westport, Connecticut – often working collaboratively on commissions.

For nearly half a century, Naiad (1927–2016) and Walter (1926–1998) created elaborate Valentines for one another. A selection of these illustrations, collages, poems and sculptures were collected in the book Art from the Heart, published in 2008 by Xlibris.

Shown here is a Valentine card that Naiad made for Walter in 1993:

Valentine Love Seeds
Sow the seeds of love and reap a Magical Harvest of sweet passon fruit. — Naiad
February 19th Nineteen Ninety-three
For Walter Only

Most of the text is rendered in her signature script calligraphy. The rest is probably hand-lettering (or rubber stamps?), but two styles are based on typefaces: “Valentine” and “Walter” are in Concave Condensed, a design that originated in metal ca. 1882 at MacKellar, Smiths & Jordan in Philadelphia. “Love Seeds” features caps from De Vinne, first cast by St. Louis’s Central Type Foundry about a decade later.

To learn more about Naiad and Walter and see more of their work, see the dedicated website and the accompanying Instagram account curated and maintained by their granddaughter, Lisa Bastoni.

MacOS version

TypoTasten is a keycaps set for Windows and MacOS making the extended keyboard layout “E1” from the German keyboard standard DIN 2137 (2023) available to users of mechanical keyboard in Germany and Austria.

Rounded typefaces were often used on computer keyboards during the 1970s and 1980s because of the double-shot moulding production process, which cannot provide sharp corners for the key legends. The TypoTasten keycaps are produced with a dye-sublimation process instead, so any typeface would have worked. Hoss Round was chosen because it can be associated with that time when mechanical keyboards were heavily used, while also being interesting enough to give these keycaps their own unique look. In addition, the range of weights was useful to clearly separate the different layers on the keys. Not all glyphs are directly taken from the fonts. Some glyphs had to be added and some were modified to increase the legibility when being used in such a small size.

The project was launched on Kickstarter in November 2024.

Windows version

Windows version combined with Cherry system keys

MacOS version

Postcard which is shipped with the keycaps

Postcard which is shipped with the keycaps

Cordial wishes for the year 1902 from the E.J. Genzsch foundry. Genzsch & Heyse’s branch in Munich was founded by Emil Julius Genzsch in 1881. Since 1897, the type foundry was located at Kapuzinerstraße 38. The greeting card showcases their Diplom-Ornamente and the Neu-Deutsch types, both cut after designs by local artist Otto Hupp. It was included as a supplement to the first issue for 1902 of the Archiv für Buchgewerbe trade journal.

First cast in 1900, Hupp’s Neudeutsche Schrift is used with a decorated initial, a floral heart, and the usual two forms for s/ſ as well as ligatures for ch and ck. The Diplom ornaments depict hares, birds, unicorns, a crowned ibex skull, and cranes with crowned human heads.

Where Grape Leaves Grow is a book by Anna Daliza that explores the history of Maronite Catholics in Lebanon over two thousand years. It intertwines Anna's family story and her experience growing up as a second-generation immigrant in the white suburbs of Southwestern Ontario.

The design of the book, by Michelle Kuan and Emi Takahashi, reflects the poetic dialogue through an expressive and evolving textual layout. The book incorporates custom-made glyphs that symbolize the growth cycles of a grapevine. Its materiality and extended two-panel cover are inspired by the traditional wrapping of warak enab, Lebanese stuffed grape leaves. These elements come together to create an intimate and one-of-a-kind artist’s book.

This typography carefully mixes Kalice by Margot Lévêque with Vivaldi by Friedrich Peter. The captions are set in 29LT Baseet, and the font used for the few Arabic words is 29LT Zarid Text, both from 29LT.

The mix of Kalice and Vivaldi is also used for the book launch party.

The book Observer, comprendre et utiliser la typographie (“Observe, understand and use typography”) was written by graphic designers Damien Gautier and Florence Roller and published by Éditions 205. For the design, Bureau 205 used the typefaces Cosimo and Yorick, both designed by Matthieu Cortat and available from 205TF.

From Éditions 205 (translated):

This book aims to make each of its readers, whether amateur or professional, student or experienced, able to observe, understand and use typography with precision. It presents the origins of writing and what allowed typography to develop. It shows the fundamental typographic notions and then details the subjects that everyone can be confronted with from the moment they compose a text. The multiplication of communication channels, printed and digital, static or dynamic, and their ever-increasing use, imply that those who wish to use typography with full knowledge of its origins, and master its foundations: typography is an art, within everyone’s reach.

The book was published as the third volume of M.A.X, a series of manuals devoted to graphic design, aimed at students and teachers, practitioners and their sponsors.

Limited edition book exploring the origin and legacy of the Sabon typeface. A book in three parts: English translation of Jan Tschichold’s 1967 essay ‘The life and work of the type founder Jacob Sabon’; first English translation of Jost Hochuli’s ‘Sabon-Antiqua: a new typeface’ originally published in Typografische Monatsblätter, 2, 1969; and, a number of further texts by and about Tschichold and his Sabon explore typographic arrangements of Sabon-Antiqua, kursiv and halbfett in all available sizes up to 48 Didot of Stempel foundry type for hand composition. English, French and German languages are shown. Monotype 9, 10 (a special casting with long descenders), and 12D are also featured. All the type is hand set and letterpress printed on a 1964 Korrex Hannover test press and a 1905 Schelter & Giesecke Phoenix IV art platen. Mould-made ‘bütten’ papers from the German mills of Zerkall and Hahnemühle. Bound by hand with cloth spines and marble paper sides.

See Corvus Works for more images.

An 18th century well was recently uncovered in the Boerum Hill neighborhood of Brooklyn, and a one-of-a-kind historical marker was mounted at the site in April 2021.

Abby Goldstein designed the small plaque with raised letters. Its center-justified text succinctly deploys Study’s lining figures, old-style figures, Th ligature, small capitals, and fleuron.

Howard Kolins of the Boerum Hill Association and Assemblymember Jo Anne Simon with the marker

Spot the tiny plaque just above the potted plant near the center of this photo.

Steps, Bantam Books N4719, Oct. 1969. Cover art by Leo and Diane Dillon. The small text is set in Bauer Bodoni.

Jacqueline Susann isn’t the only author for whom publisher Bantam Books used Montage. Several of the paperbacks with novels by Jerzy Kosiński (1933–1991) feature this heavyweight by Ed Benguiat, too.

In the 1971 One Line catalog by Photo-Lettering, Montage is shown in a section titled “Engravers”, in widths ranging from Triple Condensed to Expanded. While the style on the cover for Steps (shown above) appears to match the Extra Condensed, the one chosen for Being There (below) is wider, possibly the Extra Bold.

The designer who was responsible for the type and layout isn’t credited.

Being There, Bantam Q7275, June 1972. The cover art might be by Leo and Diane Dillon, too, but this is unconfirmed. Small text is added in all-caps Caledonia.

Being There, Bantam T2265. Judging from the higher price, this is a later printing. The red text at the top is again in Caledonia. The cover art appears to be signed, but I can’t read it.

Cockpit, Bantam Books 02613-5, 1976. The cover art by Sandy Kossin wraps around from the back to the front. Abstract set in Caledonia. “The Painted Bird” is shown in alternating glyph colors, cf. the cover for Dolores (1977).

The Painted Bird, Bantam X8257, Feb. 1975, feat. a condensed style of Montage, set on a curve and flanked by floral hearts (❧). The cover art is a detail from a Hieronymus Bosch painting.

Montage was also used for a paper slipcase with Five Great Novels by Jerzy Kosinski, 1976. Not all of the included volumes use Montage (the spine lettering for The Devil Tree is in Americana). The cover art again is taken from a Hieronymus Bosch painting.

Inside of unfolded invitation, 10″×14″

For The Paris Review’s 2019 Spring Revel benefit invitation design, Topos Graphics conveyed a broad range of book design with 18 carefully-selected bookish typefaces. Topos provided this explanation by email:

We designed a book shelf environment for text elements to be placed, composing texts as if they were individual titles. Different volumes of content got different character treatments. This functioned to compartmentalize the invitation’s hierarchy of info, but it also allowed us to approach each individual element anew. Like a personal library, the result takes on a character of its own. Tinged with old- and new-era sensibilities, we felt the selections—and the suite's ​ color palette—connected to The Paris Review’s 1960s advent and a contemporary moment—both in literature and typography. Book collections, like font collections, showcase a rich diversity of history, form and taste.

The invitation unfolded to a 10″×14″ posterette, with the front and back sides designed as a kind of A-Side, B-Side of a wooden bookshelf. The shelf cubbies gave us spaces—a semblance of a grid—to place information within. And that grid functioned through the event’s other collateral, like its printed program.

The annual event’s title “REVEL” is spelled out of book spines and a clever crop of Schmalfette Grotesk’s R. Strategic moves in hierarchy, with color, scale, and type orientation, create an engagingly graphic reading of a large amount of text. The books are energetically stacked, with the bookshelf bolstering as a grid to group and separate information.

Additional typefaces reflect different eras and aesthetics of book design: elegantly readable Garamond Premier, Paperback, and Study; mid-century classics like ITC Franklin Gothic and Lydian; genre-novel signifiers Ballast, Bookmania, and Cortado; stoic and structural ITC Lubalin Graph, Swiss 721, and Sentinel; contemporary and inventive Minérale and Canela.

Larger book spines use display typefaces to prioritize the most pertinent information, like the event location and speakers. Smaller type used uniformly suggests the repeated design systems of book series—Study for the board of directors and Schmalfette Grotesk for list of hosts.

The opposite side of the unfolded invitation provides a peek at the book blocks from behind the shelves and a quiet background for a mailing label. All information is repeated from the graphic side, set more traditionally in Garamond Premier. The attention to hierarchy persists, and ruled lines parallel the organizational function of the bookshelf.

Front of folded invitation. The Paris Review’s logo is segmented on book edges.

Outside of the invitation, unfolded

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork. Garamond Premier is used in various of its optical sizes.

Close up of Minérale, Schmalfette Grotesk, Paperback Italic, and a little bit of Chrysaora

Close up of the writer hosts section using Schmalfette Grotesk

Tanatopedia is an encyclopedia with entries on death, with illustrations by Caroline Murta. The crowdfunded project was designed to make the book sumptuous, a physical object that does not go unnoticed due to its size or theme. Sober, elegant and dark – words that define the aesthetic used for the design of the cover and inside.

The design includes illustrated drop caps and column-organized entries. The flickering terminals of VVS Nobleman, a typeface family chosen especially for the entries, refer to the mystery that the book evokes. The text is set with Adobe Jenson, with Cloister Initials. The cover additionally features Orpheus and Mrs Eaves.