Cover with slanted Croissant for the title

From the Ventoline website (translated from the French):

Ventoline is a fanzine born of both a daily enthusiasm for everything to do with music, and a genuine weariness at the near-absence of women's words on this vast subject. Commenting, criticizing, prescribing, sharing stories, tastes, dislikes – in short, musical culture… […]

Ventoline is an entirely self-produced and self-distributed editorial project that receives no public or private financial support, and has been running for three years thanks to the sale of its issues and a few hectoliters of elbow grease. Everyone contributes on a voluntary basis, according to their desires, means and time. The frequency of each issue is therefore erratic, but this absence of imperatives also proves to be a relief: Ventoline comes out when you can, when you want.

In issue no. 6, the contributors talk “about record collecting. Algerians, unloved instruments, Mexican narco-culture, euphoria and mourning of concerts, a heterotopic club of dykes, Moldavian tradition, and even motherhood – who knows!”

The text typeface in this feature is GR10. The blackletter used for the headline is Neue Theuerdank Fraktur.

Contents (“sommaire”) ft. Spider Panic and Optima with faux small caps and faux italics. The numbers are from GST Aero; the text at the top is set in OCR-X.

Insitu in two columns for text, with Tekton for the headline and emphasis

Body copy is set in Glasgow. The quote uses Modern Blackletter and the bold extended grot is OPS Facitype.

More text in GR10, paired with drop caps from Neue Theuerdank Fraktur and some Ober-Türkheim.

Verona on an angled baseline, with body text in Figure Monospace. The sans used for the lines on a steep angle appears to be ES Allianz.

The poster (50×34 cm) included in Ventoline no. 6 is a transcript of a TV interview with Edith Massey, a.k.a. the Egg Lady, actress and friend of John Waters, and performer of two punk rock hits including “Punks, Get Off the Grass”. The display typeface is Lyric Stencil NF, slanted, paired with more Figure Monospace.

On the left: Produkt and Glasgow Italic with headlines in obliqued Optima. On the right: WS Naive with triple contour and replies in Routed Gothic.

More of the interview in Produkt and Routed Gothic

Frankfurter Medium (left) and ITC Souvenir Italic (right), with big type in IM Fell DW Pica Italic and Lyric Stencil NF

The box on the bottom left of the right page is set in EB Garamond. The colophon in OCR-X additionally mentions Eccles and Hershey Times, but these fonts don’t seem to be shown in the images included here. Jakob, Aston Script and Flash represent a mirrored reproduction of an exhibition poster, and Harrington (“Club Ventoline”) appears to belong to a previous design, too – these aren’t listed under the fonts used for the design of this zine.

Taylor Swift dropped her surprised album Folklore (all in lowercase) in the mid of pandemic in the year of 2020, shifting her musical sounds into folk alternative, and present stories from each sides of fiction character from universe that she build in an album.

The vinyl and compact disc releases were published with eight different covers (and back covers). IM Fell DW Pica is used throughout – a grungy revival of a typeface cut by Peter de Walpergen and acquired by British bishop John Fell in the seventeenth century.

Design by Swift’s 13 Management Team, with art direction by Taylor Swift.

[More info on Discogs]

Not A Trampoline is Rob Cantor's debut solo album. It was released on April 14, 2014 through Bandcamp.

The album, while never released physically, also includes a 22-page PDF lyrics booklet using the same typeface. Rob Cantor’s previous musical projects included the indie rock band Tally Hall, which often used vintage fonts and an engraved illustration style in its promotional materials.

The art direction for this album was done by Bora Karaca & Rob Cantor, while the layout was by Nick DuPlessis.

The Shades of Magic is a trilogy by New York Times bestselling author V.E. Schwab, published by Tor Books.

The first book, A Darker Shade of Magic, hit shelves in February 2015, followed by A Gathering of Shadows in 2016 and A Conjuring of Light in 2017. In the same year it was announced that Sony won a bidding war over the movie rights to A Darker Shade of Magic.

For the book covers, designer and illustrator Will Staehle chose the font Polyspring by PintassilgoPrints. He comments:

Once we locked on this design we went back and forth on a few possible type solutions, but ended up with this narrow serif. Lettering that feels a bit turn-of-the-century, while also creating a nice contrast from the very strong graphic circles of the cover.

Read more about the cover design process of the book A Darker Shade of Magic and see other cover approaches commented by Tor Books Art Director Irene Gallo on Tor’s website:

It is both playful and smart, sugesting that there is a really fun and clever adventure to be had.

Second Guessing’s new EP Tijd Verdringt – a single sided 12″ record with screen print on the B-side – covers themes such as loss of a loved one, mental instabillity and recovery, written and recorded through a very witheld and internal lens. Metaphorically rich, Tijd Verdringt references themes such as Dutch architecture, the functions of the human body and more, to articulate the negatives and positives of personal experiences/struggles that are otherwise difficult to express.

I chose both typefaces to show contrast between modern and old, big and small, and rough and straight – using IM Fell DW Pica for the band name and DIN 1451 Medium and Light for the other text. Keeping this type of contrast works well with the rough and angular collage work and the contrasting theme's of the EP.

Sparkling Blanc de blancs (Traditional Methode Champenoise).

Knockout lended this packaging redesign for cult winery Creekside Estates in the Niagara Peninsula of Ontario, Canada a dynamic structure and modularity needed for varietals and brand / presentation consistency.

These attributes manifest themselves via the identity which is rooted in a simulated woodtype lettering style and peppered with texture. The typography sits sideways (depending on your perspective, or how much you’ve had to drink) and becomes even more readable when in the ‘cellared’ position. The muted color palette compliments by conjuring notions of the underlying layers of earth that fuel the vines themselves. The Roman numeral X on the sparkling wine label, as well as all of the longer descriptive texts on the back labels, are in Fell Type.

Rebrand by Bob Beck (DesignSociety), Montréal, Canada
Product photography by Marc Montplaisir

Reserve Bordeaux format (Cabernet Sauvignon).

Reserve Burgundy Format (Pinot Noir).

Reserve Burgundy Format (Pinot Gris).

Reserve Burgundy Format (Chardonnay).

Poster using Cooper Black.

Self-taught London designer Joe Prytherch landed “the dream job”, doing posters for Boiler Room, a worldwide organiser of electronic music parties and events. The series is extremely varied and often referential, with compositions placed in a recurring square frame. Typefaces typically change from poster to poster, making the absolute most out of those licenses.

Poster using Akkurat.

Poster using Helvetica with a splash of Trade Gothic.

Poster using a scanned and stretched Gotham.

Poster using Helvetica, as the actual MacOS system font San Francisco is unavailable for general licensing.

Poster using FF DIN.

Poster using Hoefler's beautiful Fell interpretation.

Artwork and visual identity designed for the latest exhibition of Studio Marant. Studio Marant is a Parisian consulting agency for creative and artistic projects, collaborations in art, fashion and design and a store specialized in limited editions.

Designed by Horror Vacui Studio [edit: In 2024, the studio was renamed to Lareu & Gonzalez.]

Lookbook for Sina Barbra Gentsch. Set Design 2013–2015

Hardcover: 148×210 mm | 150 pages | open thread-stitching
Softcover: 210×298 mm

Identity & cards for Sina Barbra Gentsch, Set Designer
Business cards: bookbinding board 800g/sqm | holographic foil stamp | edge-foiling

On first glance it looks like this website is set entirely in Igino Marini’s Fell Types – more precisely his digitization of Peter de Walpergen’s Roman and Italic Pica cuts. The designers could have benefited from the other four optical sizes available in this revival, but they sticked to the coarsest style which is suitable only for smaller text. Instead there is an antiqued version of Emigre’s Filosofia, embedded as pixel images. In a cameo appearance: Thing T. Thing AKA Adobe Caslon’s slightly scary manicule.