Byte magazine, issue #4, December 1975

Bill Godbout was something of a pioneer in the early microcomputer movement of the 1970s, and his firm Bill Godbout Electronics was a commercial vehicle selling discount and surplus electronics and microcomputer components. Bill Godbout Electronics was a regular advertiser in the early issues of the seminal BYTE magazine. Issue #4 is the first Christmas issue and features a 2-pager from Bill Godbout Electronics that mixes a large number of fonts in a style typical of both this era and this advertiser.

“Bill Godbout Electronics” is in Wexford. I think the “CAVE grafix” is lettering, but the first word may be based on Koloss (see further below). “Wish you a joyous holiday season” and so in is in Davida. “If you are into toyful tinkering” and so on is in outlined Cooper Black.

“Son-of-a Cheap Clock” is in Tonight, and above it “We have a successor to our very popular ‘Cheap Clock Kit’!” is in Script (for the IBM Selectric; see also the body fonts, glossed below). The price, $14.50, is in Umbra. Both Script and Umbra are used on the following page.

Windsor is used for “they also make great gifts” (on the curve) and the following text. “Electronic Projects for Musicians” is Reklameschrift Herold. Below the decorative band, “EROM board special offer” is in Helvetica, outlined and with a South shadow.

“4K x 8 pre-programmed for 8080” is in an outline style of a somewhat Microgramma-like font that I couldn’t identify that is also used on the second page.

On the second page, “Bigger & Better” is in Skin & Bones (using two alternates for G, but not for E). “Pace 16 bit chip set” is in Koloss. “1 Pace 16 bit CPU” and other text on and under the curve is the previously mentioned and unidentified outline Microgramma-lookalike.

“Pace Data Packet” is Advertisers Gothic (using the A without a top flag). “4K x 8 RAM kit” is in Umbra. “EROM board kit” is in Rock Opera. The “8K x 8” and so on again is in Wexford. “There’s more ... We have” is in Monogram.

The body text (and some secondary and subtitle text) is typewritten in a variety of fonts, and I did a much better job of identifying those, all available on the IBM Selectric:

On the first page the text for the clock, starting “BIGGER DIGITS” is in Artisan. “By Craig Anderton” (the author of “Electronic Projects for Musicians”) is in Orator (probably, in any case Orator is used on the next page).

The text for the Craig Anderton blurb is Adjutant, I think. Delegate and Adjutant are very similar with only slight differences in weight and thick/thin contrast, but they have different pitches: Adjutant is 12 characters per inch, and is tighter than Delegate at 10. The text block at the bottom of the first page, starting “By special arrangement”, is in Bookface Academic.

On the second page, below “Pace 16 bit”, the text starting “This chip set gets you into PACE” is in Manifold. The word “PACE” itself is in another font (the Selectric had a feature where you could switch type-balls and still retain the cursor position), possibly Pica. Manifold is again used for the bottom paragraph starting “READOUTS, LEDS, TRANSISTORS”. Below “Pace Data Packet”, “Since we started advertising” is Orator. Below “4K x 8 RAM”, “Note the lower price” looks like Prestige Elite.

Below “EROM BOARD”, the text starting “Now you can stuff up to 8K” initially had me stumped, but I think I have tracked it down. The small caps in place of little letters, made me think of Orator, which it isn’t; the o is distinctly squaroid and reminded me of the output of the IBM lineprinters, such as the 1403. It turns out that the IBM Selectric has a typeball called AN3/360 which the 1972 brochure specifically says matches the AN3 style available on IBM’s lineprinters.

At the bottom of the second page, to the right of the wordmark, the payment and terms text starting “YOU MAY PLACE MASTERCHARGE® OR BANKAMERICARD® ORDERS” is in Script.

To design the visual identity of the photography school Bloo in Lyon (France), Bureau 205 used an early version of CX80 (Damien Gautier, 205TF) named Bloo. It’s paired with Mercury (Hoefler & Co.) and Pica (Bitstream).

LineRead is a magazine designed and self-produced through on-demand online platform MagCloud by Australian graphic designer Michael Bojkowski. It was developed from his online writings about graphic design, as he put it “turning blog posts into printed pages“.

Alias Key and Alias Vacant are used throughout “The Disconnect then Fracture Issue” (2010) and paired with Fontstruct-created typefaces for headlines and IBM Pica in all caps for captions.

In 2019, deValence designed a series of three books for Éditions Dilecta, presenting the work of French artist Bernar Venet. Mostly known for his monumental steel sculptures, Bernar Venet’s artistic career has however shown different facets in the last years, such as conceptual art or painting. These different aspects are documented through this series: one book deals specifically with his conceptual work, another holds a retrospective, and the last one is an anthology of critical texts and essays about the artist’s work.

For this collection, deValence adopted sobriety through black covers with the text screen printed in white, the common factor between the three volumes being the typography set in the Mars family from Production Type. For each volume, Mars is used in a different way: in all-caps from the Condensed in left- and right-aligned lines; in caps from the Extended width, stacked and staggered; and in mixed case from the Extended, paired with the IBM Pica typewriter font. This creates a subtle harmony between the books, where the unity of the typeface is not noticeable at first sight. Mars is also visible in the setting of internal titles, paired with Tiina for legibility and reading comfort.

In these books, Mars displays an elastic quality, echoing the process of metal-shaping proper to Venet’s artistic work. Besides, Venet’s sculptures change regarding the angle from where we look at them: sometimes tight and compact, the moment after wide and curly, what looks like giant steel springs, they’re made to play with the eye and the depth in which the circles extend. Always the same, but variable in their perception, as Mars can be.

Emergence Magazine is a quarterly online publication with an annual printed edition. Each issue features a theme explored through innovative digital media as well as the written word.

Designed with the same aesthetic and interactive sensibility as their online presence, the print magazine is filled with stories, along with URLs that direct you to films, multimedia experiences, and companion podcasts that feature author-narrated versions of all the essays.

Our inaugural print edition is a collection of essays, poems, adapted multimedia stories, and photo essays from our first four issues. Tactile and intimate, this edition spans 296 color-filled pages and six different textures of paper—inviting you to slow down and enjoy these stories over time.

Studio Airport, also responsible for the design of the magazine’s website, did a very nice job with the layout and art direction. The magazine is transformed into a lively ecosystem by skilfully juggling colours, papers and typefaces, to the point of pairing romans and italics from different families (Monotype's Italian Old Style with the not yet released Fragen Italic, or Rosart with GT Super Italic). Which is kind of uncommon, and surprisingly charming!

A title page set in Fragen Light Italic, with name of the author in GT America. On the next spread, the lead paragraph is set in Italian Old Style and the (blurry) text in Rosart, with folio in GT America.

Chapter introductions are, for most, set in Italian Old Style, with Fragen Italic for the name of the featured artist/writer. Folio set in Rosart, running title in GT America.

Another example of chapter introduction combining Italian Old Style and Fragen Italic. Folio and running title set in GT America.

Several spreads, showing a variety of layouts, colors and papers.

Article set in Rosart and GT Super Italic, printed in grey paper.

Interview set in GT America for the initials, Pica for the questions and Rosart for the answers. Printed on grey paper.

Folio set in GT America. Printed on glossy paper.

Text set in Rosart and GT America, with pull quote set in Fragen Italic. Printed in two Pantone spot colors, blue and red.

Folio and title set in Pica. Small page on white paper, set in GT America

In 2015, Sandeman celebrated its 225th Anniversary. Their pioneering spirit in the wine business has been unprecedented, with a permanent attitude of innovation and creativity towards its products and the business itself. Always true to its history, heritage and legacy, Sandeman is now not only 225 years old, but also 225 years strong.

Selling no less than an average of 18 bottles per minute, Sandeman is one of the biggest producers in the Porto wine business, constantly thriving to improve its premium perception, with exclusive products that are a testament to its quality.

When they called VOLTA to help them celebrate their anniversary, they asked not only for a premium perception in every material produced but also for us to develop a concept that truly explained the brand’s history and attitude. In close collaboration, we decided to create 6 stories, that together tell the story of The House of Sandeman’s 225-year-old success and commitment to quality.

See more on VOLTA’s website and on the official anniversary site.

The anniversary collection comprises six chapters: “The Word”, “The Spirit”, “The Journey”, “The Craft”, “The Pioneer”, and “The Hat and Cape”.