All-caps Crayonette set on a curve, for what appears to be a promotional poster for a group named Blue Moon by Luna Records, a Latin label from San Jose, California.

Poster for the launch of Mes Pants de Queer's new space.

Mes Pants de Queer is a Tiohtià:ke / Montréal based thrift bookstore by, for and about LGBTQ2SAI+ communities.

The main title is set in a tightly kerned Sylvar (Peter Wiegel’s digitization of Davida). Crayonette is used for the date, while the location and announcement employ Helvetica Bold and Herbus Regular, respectively.

Raquel Virgínia is a trans woman artist and activist from São Paulo, historian, journalist and also a singer and songwriter. She founded the band As Baías and was nominated twice for a Latin Grammy. In 2021, she created Nhaí, a startup that accelerates innovation in companies and brands based on diversity

Raquel brought us a challenge in 2023 to release her new album Raquel à Venda starting her solo career. Her entire album revolves around contemporary consumer relations. Where the vernacular and material meets the digital. Where the body is put up for sale over and over again, just like casual and romantic relationships. The album is a mockery of sales languages ​​linked to human relationships.

From a design point of view, we understood Raquel’s references and came up with a solution that we call “pay-per-feel”, which mixes signs of capitalism and the collective unconscious related to sales and constant exposure of oneself on the internet, on social media, on adult platforms, etc. To achieve this, we included a wide typographic variety, linked to the hierarchy of Pangram Pangram’s Formula Condensed and Arial Narrow as its supporting typography – purposefully chosen because it is a standard font that anyone can access.

The project applications ranged from the creation of Raquel’s logo and stickers for each song, to the creation of posters, posts on social media, art direction for Raquel’s motion and “consumption” music video, digital invitations, banners, merchandising, album cover, website and more.

The graphic design of the entire visual identity was developed by Eduarda Nieto, with creative direction by Diego Limberti.

Dolly Parton: Behind the Seams celebrates the country music legend’s “passion for fashion” and provides an inside look at her distinctive fashion style. The tome features 450 photographs and includes items from Parton’s private costume archive.

Designed by Annie Marino, the book’s design and typography translates these rhinestones and floral patterns into graphic form. It is primarily set in Commercial Type’s Canela, designed by Miguel Reyes. Ilham Herry’s Caniste and EFCO Songster are beautifully set on the bright pink cover and title page.

And I am thrilled to see Crayonette DJR (my revival of the 1889 typeface Crayonette) used throughout the book as an accent typeface. Its ornate and whimsical design are a perfect fit for the subject matter, and it echoes Parton’s previous use of Crayonette’s older cousin, Crayon, on her 1990 album Home for Christmas.

Many thanks to Dana Chen for alerting me to this use and for taking these photographs.

Poster made as a personal project to commemorate the release of Beyoncé’s album Act II: Cowboy Carter. The design is inspired by Chitlin’ Circuit posters. Printed copies are available from my print store.

Singing to Liberation is about Indian students’ resistance to the wave of nationalism in their country.

Published by Daraja Press, Wakefield, Quebec.

Our friends at Letterform Archive will hold their next Rare Book Sale on December 9, 2023. Typophiles eager to get their hands on some delightful duplicates can drop by on-site in San Francisco or online at the website. Hint, hint: members get early access to the sale.

We’re clearing out a treasure trove of rare duplicates from the collection, from 19th–20th-century type specimens and hard-to-find design books and periodicals, to ephemera and other design collectibles. This is the perfect place to discover something special for your own collection or to snag a few unique holiday gifts, whether you attend the local sale or browse our special online selection from wherever you are.

Elise Carlton’s design for the announcement indulges in a 19th-century aesthetic, and specifically references chromatic wood type like that shown by William H. Page in 1874. The star of the show is HWT Etta. Designed by Lynne Yun and Maxime Gau, it consists of two styles, East and West, and was released in 2021 with the Hamilton Wood Type Foundry. Established in 2012, that’s a joint venture between P22 Type Foundry and the Hamilton Wood Type & Printing Museum.

The word “AND” on the right is a so-called catchword. Such decorative whole-word sorts were common in American wood type and are also known as logotypes, or logograms. This specific glyph is included in Miranda Roth’s HWT Catchwords. Other digital fonts with similar vintage catchwords include Brothers, Adobe Wood Type Ornaments, and Catch Words JNL.

The festive setting is crowned by Crayonette DJR, David Jonathan Ross’s digital revival of an italic design with horizontal contrast that was originally dreamt up by Henry Brehmer in 1889.

Addendum: I learned that for the 2023 announcement, Carlton reused her design from the previous year, with new colors.

Studio MPLS designed the logo and packaging for Strange Lands, a (now defunct) distillery that was based in Trois-Rivières, Quebec. The identity uses an elegantly-customized Crayonette DJR for the logo, monogram and perhaps, most importantly, the word “GIN”). Other display text is set vertically in Corfe, and supporting text is set in an all-caps combination of LHF Egyptian and Series A Signage JNL. The identity uses a variety of colors to distinguish the different gin varieties, all set on a label with distinctive stepped corners.

Studio MPLS senior designer Brent Schoepf spoke to The Dieline about the typographic palette:

[Crayonette] DJR all day! Dolly Parton’s album Home for Christmas made us do it. We’re just imitators in this case. All other typography is either from Letter Head Fonts or Jeff Levine, always and forever our default font makers. And a special shoutout to Beasts of England for the embossed type on the side of the bottle, done in ‘Corfe’.

Already in 1890, one year after Crayonette was first cast, the Keystone foundry in Philadelphia added a Crayonette Open. It was advertised in the January 1891 issue of the Inland Printer. The editors comment that this addition “is especially adapted for illuminated work, and as the crayonette fits exactly the crayonette open, the result is very effective when worked in colors.”

Sometime between their 1960 and 1965 catalogs, Photo-Lettering made a phototype adaptation of Crayonette including its Open style. This probably provided the basis for the cover typography of Mystical Lady, an album by American jazz organist Shirley Scott (1934–2002) released in 1971 on Cadet Records. The designers of Maurer Productions used Crayonette Open with squooshed letterforms and a customized swashy y.

[More info on Discogs]

Odetta Sings the Blues is an album by Odetta Holmes (1930–2008), commonly known as Odetta, who is often referred to as “the Voice of the Civil Rights Movement”. First released in 1962 as Odetta and the Blues and with a different cover, this is a re-release from 1968.

The front cover uses Crayonette, with the artist’s name set in all caps. With its mid-stem decoration, Crayonette’s T can easily be misinterpreted as an F – and her name hence be read as a lisped version of Odesa. David Jonathan Ross mitigated this pitfall in his digital interpretation, Crayonette DJR, by moving down the tendril.

Cover design by Robert Flynn with beautiful photography by Jim Marshall. The liner notes were designed by Joe Lebow featuring a sketch by Victor Kalin.

[More info on Discogs]

The title on the back cover is set in West Behemoth, with Stymie used for the liner notes by Ralph J. Gleason.

German schlager album by French chanteuse Jacqueline Boyer (b. 1941), released in 1971.

Cover designer Bernhard Wetz used Crayonette with its caps raised to the baseline, as it was common in the days of phototype and dry-transfer lettering. The specific version seen here has slightly simplified glyphs for A H P (cf. this album cover) and also an E that’s different from the original’s. Such an extended version was available at the time from Berthold Fototype as Crayonette Flair. Lettergraphics in California carried it as Crayon Flair.

[More info on Discogs]

Source: archive.org Internet Archive. License: All Rights Reserved.

Crayonette in use for a Happy Time Record named after the 1968 musical motion picture and designed and illustrated by Frank Daniel, vice president of creative services for Pickwick International.

Children’s classics in story and song like ‘Peter Pan’, ‘Pinocchio’, ‘Snow White & The 7 Dwarfs’ are beautifully created with all the charm and fantasy children love, and parents and educators approve. From the children’s cinema there is the joyous ‘Born Free’, the animal hi-jinks of the beloved Dr. Dolittle, the freshness of ‘The Sound Of Music’. All the Mother Goose favorites, the animal stories, and of course the legendary Puff! Mary Poppins too! A delightful combination of enjoyment and learning awaits the young listener in these happiest of records.

The claim on the back cover reads “Happiness is a Happy Time Record”. Accompanied by a little couple (Peter Pan & Wendy Darling?), it might look like a nod to Kim Casali’s “Love Is …” comic strip, which used Crayonette since day one. There is a catch, though: the comic strip was first published on January 5, 1970. Discogs and the Internet Archive date this album to 1969 – and Happy Time Records were launched years earlier. So … is it the other way around? Or just coincidence?

“Happy Time” is in another script typeface with horizontal contrast: Gonzales Jeanette.

[More info on Discogs]

Source: www.ebay.ca coolcollectablestuff123. License: All Rights Reserved.

Source: www.ebay.ca coolcollectablestuff123. License: All Rights Reserved.

Detail

Source: www.ebay.ca coolcollectablestuff123. License: All Rights Reserved.

Detail

Hi y’all :-) Just wanted to share my neat little poster about the city I live in! It will be in a gallery for October and parts of November so that’s very exciting! Love getting to use Crayonette as well as a big size. The sans for all the singular words is Neue Haas Grotesk Display and the longer statement is Creato Display. Happy with how it came out!

Mint is an indie rock band based in San Francisco, influenced by genres such as dream pop, shoegaze, and garage rock.

I was asked to design this merch for them and I immediately knew Crayonette DJR would be the perfect typeface for them.

Inspiration Information is a typographical installation designed by the multi-disciplinary designer and type artist Raissa Pardini for Ses12naus in Ibiza. Pardini describes the project as follows:

I was invited to Ibiza by curator Linda Rocco and foundation Ses12Naus in February for an art residency. I've never attended an art residency before but I felt at a point of my carrier where everything was too comfortable so I urged to challenge myself by pushing my creativity to places I’ve never pushed it to before. It was awkward and hard at times but our best work comes out of struggle.

Me and another 8 international artists were invited to work on the presence of the island, exploring Ibiza and take inspiration from the frequencies and magnetism the island offers during the winter. I started thinking about the contrast between its presence in the summer – when tourism is booming – and the winter, when the island offers locals unique smells, stunning views and interesting sounds that lived there for thousands of years and will always be present in Ibiza, no matter what happens in the summer.

I spent weeks recording anything I could pick up in Ibiza. By recording the sound that organically came out of the island I produced a track with Diego Torán that invites people to meditate to the real presence of the Ibiza.

Once the track was done, I produced a big wooden box which I painted completely black inside and tested the sound there. I wanted people to feel very connected with the island and really isolated at the same time. Next step was covering the box and I had the idea of making posters out of some of the sound I recorded and promote them as street posters, looking like they should be from dance clubs in Ibiza.

That way I managed to promote the listening space as a club, tricking tourists and music lovers to come and enjoy the real presence of Ibiza.

I present you (proudly!) my first installation which it was launched in Ibiza through an exhibition on the 6th of March, 2022. This is the first time I combined music and art in the same art piece. I guess I needed to do both separately for a while without rushing.

Inspired by the island and its (real) sound. Also inspired by Futurism, Russolo and ambient artists like John Cage.

Wood, paper, ink, glue, sound, 237×126 cm. The fonts in use include Brass, Sea weed (or probably its digital incarnation named Polly), Euphoria, Crayonette DJR, and a slightly modified Redaction 70 Italic. The typeface made of dots is yet unidentified. [edit: it’s ARK-ES, see comments.]

Cover for the sixth album by Tommy James and the Shondells, Crimson & Clover, released by Roulette Records in December 1968, and featuring the number one hit of the same title. While the red caps on the bleeding heart are lettering, the band name is set in Crayonette.

Originally designed around 1889 with descending caps, the initial letters are aligned to the baseline here. Crayonette had already been revived for phototype at the time of the album’s release. A few years later, in the early 1970s, Letraset issued Columbian Italic, a revival for dry transfer lettering which is based on and named after a copy made by the English Caslon foundry around 1899.

In 1895, Crayonette was used to typeset the words “Crimson Clover”, on a catalog for seeds and plants by E.G. Packard. Had the uncredited cover designer seen this piece of ephemera? Is there something inherently crimson-cloverly about Crayonette? Pure coincidence?

[More info on Discogs]

Mexican EP with Spanish versions of three songs; “Ven A Mi” (Come To Me), “Bola De Fuego” (Ball Of Fire), and “Trebol Carmesi” (Crimson And Clover). The titles appear to use Folio Bold Condensed with the alternate straight-legged R. [More info on Discogs]

Cover of a catalog with agricultural products “grown and for sale by E.G. Packard from Dover, Delaware, with prices for best varieties of each.”

The inclined face with horizontal contrast is Crayonette. It’s also used for the text set on angle and overprinted in red, proudly claiming: “All Cream, No Skim Milk Here.”

Seventy-three years later, Crayonette would appear on the album cover of Crimson & Clover by Tommy James & The Shondells. Coincidence?

There is also Old Style Extended for the other product names, and (a) Celtic for the location. “Information” and “E.G. Packard” is in a related bolder and condensed style which is eluding me right now. Carl Crossgrove’s recent Wakerobin Compressed would be a good contemporary stand-in. The all-caps roman and the grotesques are unidentified, too.

Crayonette (or probably Letraset’s version named Columbian Italic) with raised caps for Wintergarden. This album of jazz funk library music was recorded by Günter Platzek (1930–1990), keyboard player and long-time member of the James Last Orchestra (1965–1990) as well as of the NDR big band, the Alfred Hause tango orchestra, and the Bert Kaempfert orchestra. Released by Selected Sound ‎as ST 120 in 1979.

From What Is Wrong With Grooving:

The cover looks obscure, rather cheesy but this is actually one of my favourite Selected Sound Library Music albums. Highly recommended is the funky and slightly Brazilian influenced “Midnight Train”. Dope Crime-Funk. Catchy and dance floor friendly Library Grooves with 122 BPM what makes the “For Dancing” label a very good fit.

[More info on Discogs]

1889. “Registro” uses a typeface related to French Oldstyle, while “Atti di Morte” is in a version of the design later known as Bruce Mikita, which was sold by Italian foundry Società Urania as Pekino. “Parte I” is (similar to) Lining Gothic or Interchangeable Gothic.

These are cover pages from the Salerno, Italy death certificates, "Atti di Morte," from between 1889 and 1901. I found these during research into my Italian heritage, and they were too cool to not share.

1892. “Registro” uses Mortised, patented by Hermann Ihlenburg for MacKellar, Smiths & Jordan in 1884. The bifurcated Tuscan caps with outlined shade used for “Atti di Morte” go back to Henry Brehmer’s Ornamented No. 1540 for Bruce (1876). “Anno” is set in a style like Old Style Bold. “Degli” and the body copy might be Mediäval-Egyptienne (similar, but without beard on G: Old Style Antique).

1901. “Il Presidente” and “Il Giudice Delegato” use a style known in the U.S. as French Antique/Clarendon Extended.

1909. “Atti di Morte” is a version of Zeitungs-Grotesque, which was sold in Italy by Reggiani (as Turandot) and by Nebiolo (as Etrusco nerissima). “Ufficio” is in Washington.

1917. “Atti di Morte” is set in De Vinne Bold (cf. this specimen by Barnhart Brothers & Spindler)

With a passionate and ever-growing community of Broccoli readers, the publication’s team created a 3-day festival in June 2019 for cannabis lovers to come together, network, inspire, and simply feel connected beyond the printed pages and digital screens.

For more, read Ella Riley-Adams’s piece in Vogue covering the event: “At Portland’s ‘Weed Prom,’ Women Gathered to Celebrate and Strategize”

The text is set in Crayonette DJR and a yet unidentified sans (Mériva and Maple are similar). [edit: Giuseppe identified it as A2 Grot10.]