Superness semiT and Fluxisch Else are used for the design of A Place to Stay. From publisher Corraini Edizioni:

A Place to Stay is a place to stay without a defined deadline, an elsewhere that contains and connects other places. It is not an isolated space: Cecilia Mentasti started populating it who knows how long ago until it became a place inhabited not only by artists and women artists of the last century, but also by animals, specifically dogs.

The work, which is accompanied by this volume, is a sound installation composed of a selection of 200 stories of Italian artists told to 200 dogs. It is promoted by Video Sound Art and created thanks to the support of the MiC and the SIAE, as part of the ‘Per Chi Crea’ programme. The installation, presented in the spaces of Careof from 10 October to 1 November 2024, is accompanied by a photographic project, which collects the portraits of each dog listening, and by this editorial project.

The artist makes a personal rewriting of art history, selecting little-known works and sometimes reconsidering the role of traditionally neglected figures or those outside traditional art circuits.

What is art today and what role should it play in society? The dog, a recurring presence in art history – devotional icon and witness to social transformations – seems to be the right recipient of this question.

The bilingual (Italian and English) softcover publication has 
136 pages measuring 10.5×15 cm
. It was printed in Italy. ISBN 979-12-5493-132-5

Breaking Cinema. Experimental Film 2010–2023 is a monograph of Cauleen Smith written by Romi Crawford. Superness Modulo is used in several styles. From publisher Mousse Publishing:

Operating in multiple materials and arenas, interdisciplinary artist Cauleen Smith (b. 1967) roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, moving images, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. The book Breaking Cinema. Experimental Film 2010–2023, adds to the growing scholarship on Cauleen Smith’s work, as art historian Romi Crawford elucidates a critical phase of the artist’s career and how Smith recasts film history in the context of the artistic and cultural ferment of Chicago’s South Side.

The softcover has 
96 pages measuring 16.5×10.5 cm
 and was printed in Italy. ISBN 978-88-6749-637-2

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

“On the Uses of Absence” is the title of Soapbox, issue 6.0:

Can we speak of a turn to absence? Across the contemporary academic conjuncture, theory is reapproaching the absent in its varying figurative and fleshly forms – revalorising the presence of absence as a critical matter. Whether in queer theory, trans studies, Black studies, Eastern European studies, or literary studies, enduring scholarly investments in re-presenting and re-presencing the absented body have become supplemented by an affirmative interest in staying with absence as such. This scholarship locates absence at the heart of myriad resistances against exploitation, appropriation, undoing, and normativity. For its seventh issue, Soapbox: Journal for Cultural Analysis has invited scholars and artists alike to submit work on the uses of absence in and outside of theory today. As an object of study, a critical figure, and rhetorical tool, absence is given a shape, meaning, form; it is put in writing, where it has a function, a flavour, and a politics. Absence, in other words, fails every time to be purely nothing. How, then, to think the contradiction and the provocation of a contemporary aesthetics of absence?

The graphic design was made by Alice Machado and Paolo Barbieri. They used Adriane Text by Marconi Lima, Harber by Benoît Bodhuin and Superness Modulo – a digitization by Alessio D’Ellena and Alberto Malossi of Nebiolo’s Modulo.

Nombril is a magazine that highlights contemporary stories from the perspectives of artists and authors. It aims to be free, collaborative, and evolving.

From Studio Vacarme (translated):

The Nombril Movement is a free exercise initiated by the members of Studio Vacarme. It was born of an attraction to the world of the imaginary, a desire to bring people together, and a desire to express, without constraint, a shared passion for art, photography and writing. Each Nombril magazine will have an abstract theme that highlights contemporary stories. These subjects are the subject of short stories, typographic creations and graphic experiments. Alongside them are photographs, illustrations and CGI art chosen to correspond to the given theme.

Texts are set in G2 TGR (Gruppo Due) and ABC Laica (Dinamo), with captions and details in Millionaire Script (Altiplano) and headlines in Bastardo Grotesk (Giulia Boggio). The bold cursive used for the logo is either custom or from a yet unidentified typeface.

Nombril is distributed by Cachier Central.

Web design for Jazminos, a restaurant in Bilbao that celebrates the richness of Arab-Mediterranean cuisine through a concept that blends tradition and modernity.

The website, designed to offer an immersive and intuitive experience, combines a minimalist and modern design with interactive navigation that allows users to visually explore the dishes and beverages. Functionality has been prioritized with a clear structure that guides the user and highlights both the unique flavors and the values of Jazminos. The choice of colors and graphic elements adds warmth and elegance, reinforcing the welcoming atmosphere of the restaurant.

The main typeface is ABC Laica in roman and italic styles. It’s supported by Editorial New Italic and Suisse Int’l. The Arabic name features Simplified Arabic as included in Arial.

The result is a digital platform that strengthens Jazminos, highlighting its cultural roots and unique gastronomic concept.

The website comes in three languages. In addition to Spanish, there’s also a version in Basque …

… and a version in English.

Mvh has redesigned the brand identity for Odin Forvaltning, one of Norway's largest and oldest fund managers. Translated from the Norwegian:

Odin Forvaltning has maintained the same investment philosophy since its inception in 1990. However, the expression and visual identity had also remained untouched, and they wanted to do something about this. Along with a communication strategy, a new website and updated content for all channels.

Typefaces used are Laica from Dinamo, and Store Norske Geita from Skriftkompani.

See also the previous post about the website.

Mvh has redesigned the website for Odin Forvaltning, one of Norway’s largest and oldest fund managers.

Translated from the Norwegian:

We have carried out a comprehensive upgrade of our visual profile and website. But we see no reason to change our 34-year-old investment philosophy. The updated visual profile involves modernising the logo, colour palette and graphic elements, which now appear more contemporary and appealing. The website has also been given a comprehensive facelift with a user-friendly design that makes it easier for you as a customer to navigate and find the information you are looking for at any given time.

Typefaces used are Laica from Dinamo, and Store Norske Geita from Skriftkompani.

Spiegelbild – Reflections in Digital Space is a zine made as an investigation into the amazing world of reflections in digital space. It aims to explore and to answer the questions of: What are reflections in digital space? How can they be created? As well as, what are they used for?

Made as student project at Kadir Has University in İstanbul, supervised by Zeynep Özüm Ak.

The book brings exclusive content from the first season of the Lombada podcast, an original production of Clube do Livro do Design, a Brazilian publishing house devoted to expanding the range of design books available in Portuguese. Lombada is a narrative podcast, hosted by designer and editor Tereza Bettinardi. Every episode brings stories that have a design book as a starting point.

Lombada #1 features the transcripts of all episodes, selected interviews and images. Printed in black with a hot pink plastic jacket. The typeface seen throughout ABC Laica Mono, used with the wordspace reduced to 70% of the width.

A selection of pages from the A4 handouts printed for each exhibition

ISSUES is a contemporary art gallery in central Stockholm, initially set up as an ambulancing space in 2014 by Oscar Carlson, Johan af Geijerstam, Julia Eriksson and Peter Ström.

Between 2014 and 2021 the gallery produced thirteen shows around Stockholm, where the geographical location was of equal importance as the artist. For Issues #3 in 2015, Ryan Trecartin’s work CENTER JENNY was shown in the local Mediamarkt store on all 196 TV screens simultaneously. For Issues #4 in 2017, a group exhibition took place in an (at the time) empty space on Södermalm shaped like a display window, where the artworks were rotated every fifteen minutes in order to let that specific space come to its fullest.

Because of these new physical and geographical locations, the visual identity for the gallery was changed each time, adopting different typographic references to the current space.

In 2021 a more permanent space on Vattugatan 13 was found, turning the gallery into a commercial one in a fixed location – at least for the time being.

A permanent design system was introduced with the new space, where the location was less important – almost the opposite, as the new space was in a location almost unheard of even for the most hardcore Stockholmer, in an area filled with governmental buildings.

The design system takes its starting points in concrete poetry and early computer art (mainly ASCII) using Vincent Chan’s Quadrant Text Mono, complemented with the addition of a typeface and treatment picked for every artist – giving each artist their own visual identity connected to the space. Each typeface and treatment picked either refers to the artist’s practice or is connected to the idea of a place in downtown Stockholm – or in some cases, both.

The grid is based the word “ISSUES” written 16 by 10.5 times on an A4 sheet — because, you know, too many ISSUES…

The visual identity for ISSUES 4 took its typographic starting points in the typeface Eurostile found at the logo of a left over vacuum cleaner in the space.

The new space at Vattugatan 13 uses Quadrant Text Mono on all its signage and printed matter, as well as on the website and social media.

Insta stories using frame-by-frame tap animations, mixing ASCII and logo typography in ABC Honeymoon

Selected front and back covers from the A4-sized catalogue that comes with each exhibition.

Covers featuring Brush Script, Crowbar, Horizontal, and Jannon

Insta stories featuring P22 Arts and Crafts, Antique Olive Nord, Purple Haze, and PC Myungjo

For most of the shows, merchendise has been made in order to promote the shows with and to the local community and scene that ISSUES is part of. Reflective wests for Henning Hamilton using ABC Maxi Round, gym bottles for Hampus Wernemyr in Jannon, hats for Zoe Barca in Monaako, and candy, T-shirts and mugs in Quadrant Text Mono.

For DOWNTOWN ISSUES 2 in September 2023, one T-shirt with a typographic identity was designed for each participating artist printed in a single copy only. Seen here is a selection of the almost 70 T-shirts in total.

A few examples: The typography for Elis Monteverde Burrau with Tesla references the big amount of Teslas in the neighbourhood (and indicates where this Swedish poet might be heading in the future?). The typography for Georg Nordmark in Amsi references local pet food chain Arket Zoo because of Georg’s interest in animals in his art. The typography for Militza Monteverde Burrau uses Dinamo’s ABC Honeymoon and connects to her organic sculptures in glass. The typography for Ilja Karilampi links to his meme lord status via its use of Impact. Siri Carlén was treated with the never-to-be-released Småländsk Antikva by Konst & Teknik – which started around the same time Siri was a student of Konst & Teknik at Konstfack. Viktor Fordell got a Ford logo knockoff typeface because of... you know... Ford.

The non-personal T-shirts come with one front cover and three different back versions: The big 2 is based on the most downtown building Stockholm offers, parking house Parkaden and its beautiful brutalist numbering system and fascade. “DOWN TOWN” refers to local clothing brand Our Legacy WORK SHOP that is often seen on T-shirts around town. A version of the T-shirt with all the artist names overprinted was made in an extra limited edition of only five copies. All T-shirts printed in white ink on black fabric by Everynight Studios.

Fonts in USE!

Aardvark Wine & Beer is a boutique shop created “to take the snobbery out of wine”. Founded by a self-taught connoisseur turned certified sommelier, Aardvark brings a humble, community focused approach to learning about and loving wine. They arrived with an idea and an off kilter name. We took it from there and created the visual system, character and illustration, and tone of voice that make Aardvark a destination.

The primary Aardvark logo is based on Retail Display, with modifications. It is paired with a custom secondary script logo, and an eclectic typeface palette, consisting of some of the solid styles of ABC Grow plus ABC Laica and Ostia Antica.

Art direction, creative direction: Nonfiction
Exterior murals: Nick Stull
Environmental: Creative Palette
Signage: Graph X Productions
Apparel: Tonic Studios

Poster for Stefanie Egedy’s lecture concert that took take place on Friday, May 5, 2023, at Saal Altes Theater of the Duale Hochschule Baden-Württemberg in Ravensburg, Germany.

Stefanie Egedy (São Paulo/Berlin) has studied public administration and philosophy. In the last years she has established a career as sound artists/musician, working exclusively with subwoofers as instruments and sub-bass as sonic medium.

On the occasion of the ten-year anniversary of its artist residency programme at Villa Kamogawa, the Goethe Institute in Kyoto, director Enzio Wetzel and curator Michael Hirschbichler invited former residents to submit “connecting pieces” (Japanese: つなぐモノ語り, “tsunagu mono gatari”, German: “Verbindungsstücke”) of Japanese-German cultural exchange for an exhibition and catalogue.

Berlin-based typographers Toshiya Izumo and Ferdinand Ulrich developed the visual concept for the bilingual exhibition catalogue Verbindungsstücke/つなぐモノ語り. The biscriptual design is centered around a playful, unconventional approach to the different directions of reading: from top to bottom, from left to right and vice versa. The catalogue consists of 73 artist cards and a 60-page brochure of essays, held together by two wrappers. The three covers follow a color concept by fashion and textile designer Nari Haase, they were printed letterpress by Daniel Klotz at Die Lettertypen.

All text is set in Alessio D’Ellena’s ABC Laica (Dinamo) and in Akira Kataoka’s Marumin Katura (Kinuta Font Factory). The layout does not favor one language, nor is the typographic design of one language forced on the other. Instead each layout suits the respective language, carefully adjusted to complement each other. In addition to this convergence, the titling face Ribaasu offers a connecting element between the two languages. Type designer TienMin Liao exclusively donated her unreleased yet award-winning typeface to this project. Ribaasu’s character set covers Kanji, Katakana and Hiragana, as well as the Latin alphabet.

All photographs of the printed catalogue are captured by Norman Posselt. The catalogue is available from the Berlin publishing house Wasmuth & Zohlen.

The catalogue has no ›front‹ and ›back‹, but two cover titles and two spines.

The color palette of the three covers was selected by textile designer Nari Haase: Lockwood Green, Lavender and Factory Yellow of the Colorplan collection. Daniel Klotz printed them letterpress on a Heidelberg cylinder.

The artists in residence at Villa Kamogawa are divided up into four cohorts named after the four seasons. The order of the artist cards follows this theme.

The typographic design of one language is not forced on the other. Instead each layout suits the respective language, carefully adjusted to complement each other.

In the Dirt was an exhibition held at Engine, a gallery in Biddeford, United States, from 13 December 2021 to 14 January 2022.

From the website of Deciduous Studio:

In the Dirt is a 6-week duet exhibition by Grace Foxen (ceramics) and [Danny Gugger] (photography). Together, [they] created the concept, branded the exhibit and opening event, and made the artwork. The exhibit visually explores the concept of preservation and its relationship to our natural environment.

The title of the show is set in Paraiso Heavy (Lucas Descroix, Future Fonts), in all caps, with a bit of the Regular weight used on the front window of the gallery. The accompanying text in the exhbitions is set in Laica (Alessio D’Ellena, Dinamo), and Self Modern (Lucas Le Bihan, Bretagne) for the printed documents.

The cover provides a table of contents, with an outlined letter a from each of the 16 featured typefaces.

CAST Foundry loves to spread the typographic word. This is why we have partnered with the independent Italian publishing house Lazy Dog Press to produce Cast It, a periodical publication that discusses the history and culture of type together with CAST’s digital fonts. Half magazine, half specimen.

Cast It #3, “Der Schriftgiesser” (“The typefounder”, by Johann Samuel Halle) is a description of typefounding included in Werkstäte der heutigen Künste oder die neue Kunsthistorie – a virtually encyclopedic series concerning crafts originally published in Leipzig between 1761 and 1779.

Thanks to Dan Reynolds, we now have Halle’s text for the first time in English. His translation comes with a foreword (also by Reynolds) which is also the only commentary on its contents ever published in any language.

The fonts used for the title page are, from top to bottom: Macho Modular, Rialto dF (“An Essay”), Voland Italic, Sempione Grotesk (“Typefounding”), Capraia Italic, Sole Sans, Saffran (“Werkstäte …”), Dic Sans, Valnera Italic (“Werkstäte”), Neon Nbl, Arzachel Italic, Voland (“Dan Reynolds”), Valnera Italic, Macho Moustache, and Rialto dF.

The opening page of the essay is set in Valnera Monster and a type weight gradient from Arkit.

Spread with Zenon, Gramma (left), and various styles from Neon Nbl (right).

Spread with cross-page text set in Macho Moustache.

Detail.

Sempione Grotesk and Sempione Modern.

English translation with two-column text set in Capraia, Gramma, Rialto dF, Divenire, Fulmar, and Arkit.

From CAST type foundry’s Instagram account: “someone took inspiration from one of the Saffran’s sample images on our website to engrave the word POSTA on a marble letter box.”

Designed as a typeface for text under 7 points body size, Saffran comes with sturdy and simplified letter shapes to prevent tiny type from looking blotted or clogged in print. As with most ‘micro’ typeface styles, the same details that were designed to remain invisible can be used to make a strong or vivid impression when used big.

The angular stencil shapes of Saffran seem almost like an invitation for use in lettering – but perhaps its shapes are more easily repeated when cut with a knife, rather than carved from marble with a hammer and chisel. I guess the unknown designer (in Japan?) had his text machine-engraved, maybe using a CNC router.

Super fun pairings on this website dedicated towards introducing designers the basics of Python programming by Roberto Arista.

The illustrations (by Beatrice Bianchet) and Gig do a great job of making this approachable, and visually engaging. The wonkiness of Arnold turns the code samples into works of art, but is still very readable. And Laica does a great job stringing it all together in the body copy.

http://pythonfordesigners.com/

Curiosités judiciaires et historiques du Moyen Âge. Procès contre les animaux (“Judicial and historical curiosities of the Middle Ages. Trial against animals”) was written by Émile Agnel (1810–1882) and originally published in 1858. Axel Pelletanche Thévenart’s interpretation of the text is set in Laica. The digitally printed book has 84 pages and measures 108×175 mm. Learn more about the history of animal trials on Sarah Lippincott’s website.

“The paintings of Julie Mehretu captured the spirit of our fragile, new century. Monumentally scaled and visually explosive, they resonated with a perception of the world irrevocably impacted by an accelerated consciousness of the simultaneity of events in time and place and the intersecting flows of economies, geopolitics, and people that were their engine.”
— Suzanne Cotter

Published on the occasion of Julie Mehteru’s exhibition A Universal History of Everything and Nothing at the Serralves Museum of Contemporary Art in Porto and at Centro Botín in Santander, this book reflects the formal, pictorial, critical and poetic overlays that are fundamental to the artist’s work. It includes newly commissioned essays by renowned authors Amin Maalouf and Marina Warner and a curatorial overview by Suzanne Cotter, Director of the Serralves Museum of Contemporary Art. New photography documenting Mehretu’s process in the studio, together with details and large scale reproductions of paintings and drawings are accompanied by images selected by the artist as part of a richly layered and urgent visual universe.