The book Worth. Inventer la haute couture, published to coincide with the eponymous exhibition, was presented at Petit Palais in Paris from 7th May to 7th September 2025.

From Boutiques de Musées:

The exhibition is devoted to Charles Frederick Worth, founder of a haute couture house that quickly became a symbol of Parisian luxury and a key figure in the fashion world. Over 400 works (paintings, clothes, objects and accessories) are presented.

The book is typeset in Lexicon No.1 by Bram de Does and Antique Legacy by François Rappo.

Clément Le Tulle-Neyret designed a lettering for the cover and interior based on a perfume box designed by La Maison Worth, and handled graphic design and book production.

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!

ArtReview.com homepage, above the fold

ArtReview’s website is potentially the only place on the Internet so far to use Lexicon (its No.2 variant) as a web font.

Headlines and other functional elements are set in Monotype’s Neue Haas Unica.

Article opening

Article text

Filtered article collections (author filter shown)

Search

FAQ, mobile view

Nizioleti (Abyme, 2017) in use on the cover of the April 2022 issue of ArtReview, reporting from the Venice Biennale. The cover was designed by Pedro Cid Proença at ArtReview.

Nizioleti was originally designed – and named – after the street signs of Venice (“nizioleti”) for the identity of the 2012 Venice Biennale by John Morgan studio – who also redesigned ArtReview in 2013.

The magazine is set in Lexicon throughout. Its masthead is based on Haas Unica.

This book is on the edge between an architect’s portfolio and a visual essay. In addition to presenting a selection of projects by the architect Ludovica di Falco, founder of Scape Architecture, this book offers a selection of quotations, references, photos, plans, archives dear to the architect. This allows us to better understand and apprehend her approach. The photos of her creations are compared with her references and this makes it possible to weave links between the various projects.

The conception and layout of this multifaceted book were realized by graphic designer Toan Vu-Huu, skillfully combining the different types of content to give them meaning. For the realization of this book, he chose Lexicon for the literary side of the quotations, and BVH Eddi to talk about the current projects or the architect’s quotes.

From the publisher's website :

Anna Nyburg’s Émigrés: The Transformation of Art Publishing in Britain examines the impact on the British illustrated publishing industry of émigrés from Germany and Austria in the first half of the twentieth century, looking in particular at the art publishing houses of Phaidon Press and Thames & Hudson.

Amongst these German-speaking émigrés was a 30-year old Berthold Wolpe, who went to enjoy a remarkable career in Britain as a book designer at Faber & Faber and a type designer for the Monotype Corporation. It thus seems only natural that John Morgan studio picked two of Wolpe’s signature typefaces, Fanfare (1937–1939) and Pegasus (1938), for the cover of the book.

The inside pages add their own typographic flavour to the whole project, with Bram de Does’ Lexicon No1 (the one with short ascenders and descenders) being used in one weight and two sizes only.

Hunger was realized for a course in typography at the Bauer institute in Milan, Italy. The main requirement of the course was the realization of a magazine and its masthead. As regards to the masthead, it was designed in view of the subject and contents of the magazine, and the lettering was produced using the Glyphs app. The main idea behind Hunger was to design a magazine about food and travel. Each issue of the magazine woud be dedicated to a specific city in the world, to its food and to the link between the food and its local culture.

The magazine covers the topic ranging from local street food to a Michelin-starred restaurant. The contents of the magazine were organized following a flat plan divided in five sections as there are five human senses. Each of the senses covers one aspect related to the food (smell=street food; sight=Michelin stars restaurants; taste=local food, etc.). The target audience of the magazine is young and curious.

As regards the masthead, the intent was to create something that was in contrast with the actual meaning of the word “hunger”. That’s why I decided to create a lettering that is excessively bold. At the same time, the choice of the word “hunger” emphasizes the connection between food and culture , as if the magazine was created in order to satisfy people's “hunger for culture”.

The typeface used on the cover for “Copenhagen” is Fit by David Jonathan Ross, modified with roof-like tops as a reference to the architecture of the houses in Copenhagen. Fit, in fact, was born from the idea of filling the space with maximum impact, just like the fascinating Danish architecture. Inside the editorial, GT Walsheim by Noël Leu is used for titles, and texts and captions are set in Lexicon by Bram de Does. The graphic language was envisioned as a translation of the Danish character and dynamics. The combination of GT Walsheim and the more classical Lexicon creates tensions and games of innovation and tradition. The readability of the Lexicon also makes editorial articles easy to read.

Addendum is an Austrian print magazine published by QuoVadisVeritas (QVV). QVV is a media and research platform, financed by Red Bull founder Dietrich Mateschitz.

The magazine’s layout was developed by the New York-based agency Sagmeister & Walsh. Title and headlines are set in the characteristic font Larish Alte. Sagmeister and Larish Alte have both Austrian origins. The Vorarlbergian Sagmeister started his career in Vienna. Larish Alte is a renewal of Plinius, a typeface developed in the early 20th century by the Viennese calligrapher and designer Rudolf von Larisch.

On the inside, the magazine shows two very different fonts: The sans serif Mériva is a rather new, affordable, and relatively unknown font and comes with headstrong details which pay tribute to the early grotesque typefaces of the 19th century. The serif Lexicon No. 2 is a classic, exclusive, world-famous font, and a role model of Dutch type design. The layout uses these two fonts to differentiate between special issue (Mériva) and general content (Lexicon).

What it Means to Write About Art. Interviews with art critics is, in the words of publisher David Zwirner Books, “the most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time.” In a conversation with author Jarrett Earnest, designer Mark Thomson discusses the challenges of designing a book of interviews.

Tiny details can have a huge impact: a text with line spaces between the two voices is very different from one without. Initials or names before each entry, as if it were a play? Too many signs! Staggering the layout of a multi-vocal interview, as if it were taking place in an imaginary room? Yes, but I’m not sure it worked that well.

Thomson has grown skeptical of the benefits of typeface superfamilies:

When I started out, I usually used types that had a sans serif and a serif in the same family [see e.g. FF Scala for Taschen, Fedra for Collins]; it was an attempt to keep the voices in the same space. These days I think that was a bit simplistic; perhaps it gave more uniformity to the conversation than was actually there. The people behind the voices are different: their conversation is sharing a page; it doesn’t have to share a type skeleton too. So after a while I started using different types for different voices.

For this book, the London-based designer combined Lexicon (TEFF) and Gerstner-Programm FSL. Bram de Does’ roman (“incredibly good at containing serious thought”) is used as the typographic voice of the critics, while Karl Gerstner’s rationalized reworking of Akzidenz-Grotesk was cast for Earnest’s questions. Originally conceived for phototypesetting, Gerstner-Programm was digitized by Stephan Müller and re-released by Forgotten Shapes in 2017.

I am interested in the fact that Gerstner Programm is a product of the 1960s, even though it looks back all the time. In that sense it is appropriate for many if not all of the critics, and for the book as a whole. Plus the fact that Gerstner Programm was “lost” and then recovered is in some ways like the reflections of the critics on their early days.

One thing is certain: a semibold grotesque and a sixteenth-century-inflected text type together on the same page could get out of hand, and that’s where the liveliness of the conversation comes in. I gave them the same x-height, not the same point size—this means they can live together despite their differences.

Make sure to read the read the full interview with Thomson (part I, part II). Visit Forgotten Shapes to learn more about the history of Gerstner-Programm (full disclosure: I provided the English translation of Marcel Raabe’s text).

Magazine title set in SangBleu Empire, number in SangBleu Courtesan, subtitle in TheW Clan ODB and fine print in Suisse Int’l.

In the third issue of Type Life, Swiss Typefaces take a look beyond their own work and celebrate contemporary type made by others. The Swiss design studio compiled a selection of their favorite typefaces, licensed the fonts and used them to design a magazine. The resulting specimen of “Non-Swiss Typefaces We Like 1569–2018” comes with a text by Florian Hardwig (Fonts In Use) and is visually enriched with works by lettering artist Julien Priez (boogypaper).

Type Life 3 showcases 19 fonts from 19 international foundries: 29Letters, Adobe Type, Commercial Type, CSTM Fonts, Dinamo Typefaces, DSType, Extrabrut.Shop, Future Fonts, Hoefler & Co., Letters From Sweden, Linotype, Milieu Grotesque, Or Type, Production Type, Sharp Type, Sportsfonts.com, The Enschedé Font Foundry, Typotheque, and Velvetyne Typefoundry. The selection is a representative sample for the diversity in type design and gives an illuminating overview of the current scene. While the majority of the fonts was released in the past few years, many draw inspiration from all kinds of sources from previous eras. There is blackletter, script, slab serif, sans serif, and more. This – a stress on newness, historical references, and a vast stylistic plurality – reflects three major trends in today’s typography, as Florian Hardwig points out in his introduction. Other recurring themes that he identifies as being symptomatic for 2018 include highly conceptual projects and a quest for extreme aesthetics. At the same time there are functional fonts designed to solve specific problems. Just like the fonts, the type designers who created them have diverse backgrounds, in terms of geography, or how they entered the field. The represented distribution models range from traditional licensing to subscriptions, free and open-sourced fonts, as well as experimental or even unfinished releases.

Each issue of Type Life features a guest contributor. This time it’s the up-and-coming French lettering artist Julien Priez. A graduate of École Estienne, Paris, he’s a member of the international collective High on Type, best known for organizing the annual festival All Eyes on Type. Priez gives workshops at various schools and is an instructor at the prestigious TypeParis program. His work oscillates between the analog and the digital. Alphabets are first calligraphed, then cut in wood, and eventually digitized. Priez is just as comfortable painting meter-high letters with a triple brush on a wood fence as he is animating ornate pixel letters with kaleidoscopic patterns. Type Life #3 shows a range of his repertoire, starting with a still from his animated Nightmare Alphabet and two of his in-progress fonts Boogyroma and Boogylink on the cover. Mandinor Gothic is used to render the word “KING” on top of a kinetic gesture. The next page answers with “KONG”, in letterforms that pay homage to Jean Midolle’s Alphabet Lapidaire Monstre from 1835. With such historical references and the stunning stylistic versatility, Priez’ work is a perfect fit for the content of this issue.

At a whopping 40 pages, Type Life 3 is the most substantial issue so far. It’s printed in three Pantone spot colors plus silver and black, on two different paper stocks including transparent paper.

“Dream” set in Boogyroma and “Chasers” set in Boogylink, two in-progress typefaces by Julien Priez. Foundry names set in TheW Clan GZA by Swiss Typefaces. The caption that mentions the typefaces is set in Suisse Int’l Condensed.

Essay, set in SangBleu Republic (body text) and Suisse Int’l Mono (streamers, side notes). The green type on the left and at the very top of the right page is KOPYME As Uzual.

Galapagos (Felix Salut, Dinamo) and Xprmntal 01 (CSTM Fonts) visiting each other’s page. Typeface names (top) are in KRSNA. In the margins left and right, the foundry names are set in stacked letters from KOPYME (Swiss Typefaces).

Winner (Sportsfonts.com) × Quarto (Hoefler & Co.)

A pattern of Patron (Milieu Grotesque) with a guest appearance by Vincent (Letraset) is juxtaposed with a collage featuring elements from a Caslon Old Face specimen by H.W. Caslon & Co. from 1924.

On the left, a page from the book Il perfetto Scrittore Di M. Gio. Francesco Cresci, Italy, 16th century. On the right, (raster) pattern tiles are mixed with Frank Adebiaye’s Montchauve (Velvetyne).

Perfil (DSType) and Cardinal (Production Type). Cameo: Magnificat.

Julien Priez’ Mandinor Gothic in combination with his lettering.

Pattern by Julien Priez, printed in fluorescent and metallic ink.

Separat (Gunmad, OR Type) on the left, and Azal (Pascal Zoghbi, 29 Letters) as well as a tag lettering on the right hand.

Times Europa (Linotype) vs. Line (Letters from Sweden), with interventions by Good Vibrations and Block Up (Letraset).

Type that looks like it cannot be moved, and type that looks like it couldn’t sit still for a second: Berton Hasebe’s Styrene (Commercial Type) and Jérémy Landes’ Digestive (Triple Studio).

Thesaurus Display (Typotheque) × Respira Black (Sharp Type)

Feature page with Benoît Brun’s Shakotan (work in progress), printed in neon spot color.

On the left, a selection of A monograms (mostly dating back to the 15th and 16th century) shine through their overlying page with a big silver A set in Bram de Does’ Lexicon No. 2 (The Enschedé Font Foundry).

Pull quote in SangBleu Sunrise, printed in silver metallic ink.

Back cover with a sneak preview of the upcoming KOPYME and SuisseU.

SITE is a journal for contemporary art, architecture, cinema, and philosophy. When the journal started, we attempted to set ourselves a series of goals, or at least to circumscribe a certain terrain. Because of the plurality of interests among the editors — artists, curators, film theorists, architects, philosopher, art critics — this proved to be a difficult if not impossible task, and instead of operating with definitions that in the end do not define anything, we attempted to do the opposite: to remain as long as possible in an indeterminate state.

The images are taken from the most recent edition, no. 33 from 2013. Konst & Teknik’s redesign was introduced in no. 20, 2007, when the previously bilingual journal gave up publishing articles in Swedish and became English-only. The text typeface is Lexicon No. 1 (i.e. with short extenders) in Roman A and Italic A styles, with occasional emphasis in Roman D (bold). Konst & Teknik drew a custom sans serif typeface used for titles, running headers, page numbers, etc., known as Tratura. Earlier issues from no. 1 (2001) to 18/19 (2007) had been designed Carlsson/Neppelberg, with Vectora as the main typeface.

Thonik’s 2010 rebranding of NRC Handelsblad used Lexicon for the print and advertising material.

Jonathan Pierini (one half of the duo that created the Parmigiano Type System) designed this stellar booklet primarily typeset in Lexicon.

Jonathan Piernini:

Lebensformen, design for tomorrow is a joint project of the Burg Giebichenstein Kunsthochschule Halle and the Freie Universität Bozen. It looks at the design process not as a problem-oriented aid, but rather understands aging as an emotional condition of change that is of great relevance to society. Following their direct and personal contact with people of older generations, students have prepared a narrative concept.  

Lexicon is the world’s most expensive typeface. A fantastic achievement in type design and one of only two typefaces designed by the great Bram de Does (The other being Trinité, the second most expensive typeface in the world). But the family is priced based on the sheer quality, making its use extremely limited to high quality projects by extremely qualified typographers. This is one of few uses of the type family by Abbott Miller.

Pentagram on the design of the book:

Abbott Miller worked closely with Eric W. Sanderson on the design and development of the book and exhibition. Both document The Mannahatta Project, Sanderson’s decade-long research of Manhattan’s ecological history.

Mannahatta the book is serious science but is as readable as any historical blockbuster. Miller’s design for the book straddles the line between academic text and illustrated history, using a readerly format that makes the content engaging for a mainstream audience. During their research, Sanderson and his colleagues reconstructed the island at the scale of a city block using the latest techniques in computational geography, and the book contains stunning visualizations of pre-settlement Manhattan by Markley Boyer. In Miller’s design, these are presented in dramatic side-by-side comparisons with contemporary aerial shots of New York City.