Bitter Honey: recipes and stories from the island of Sardinia by Letitia Clark was published by Hardie Grant Books:

In Bitter Honey, seasoned chef Letitia Clark invites the reader into her home on one of the most beautiful islands in the Mediterranean Sea – Sardinia. The recipes in this book do not take long to make, but you can taste the ethos behind every one of them – one which invites you to slow down, and nourish yourself with fresh food, friends and family.

All titles and most headlines are set in Canopée, which is also used for page numbers. Body text is set in Self Modern, GT America Mono, and Calluna; selected details use a wide style of GT America.

YILLIK: Annual of Istanbul Studies is a peer-reviewed, international academic journal featuring cutting-edge research on Istanbul’s past and present, published by the Istanbul Research Institute. In addition to peer-reviewed articles, the journal includes sections titled “Cabinet”, “Meclis”, “Reviews”, and “Istanbul Bibliography”. The creative process and design of the journal are led by Volkan Şenozan. Noe Display is used for the cover and selected details and headlines in the interior, where Calluna is the main typeface.

The cover design of the journal consists of silver background and colors specially selected for each specific year. This color is also predominantly the pages of the journal’s particular issue.

During the layout design process of the YILLIK, the reader’s ability to use the print version of the journal efficiently was taken into consideration. This page layout, which aims to open a space for researchers to write their ideas and take notes, made the publication open to independent interventions. Another crucial factor affecting the design elements was the publication's use of the Chicago Manual of Style (17th Edition) format.

The triple column design in the Cabinets and Reviews section was designed to create a dynamic effect on the reader.

Flecha in italic and roman styles on the book’s spine

Celestial Intelligences: Angelology, Cabala, and Gnosis: Giovanni Pico della Mirandola’s Quest for the Perennial Philosophy by Greg Kaminsky, is a book that explores the life and ideas of Italian Renaissance philosopher Giovanni Pico della Mirandola and his angelology in order to interpret the process of spiritual ascension that he prescribed in his Oration.

This publication was released in three different editions: a Standard Edition (shown here), a Collector’s Edition, and an Artisanal Edition with slipcase, all in limited copies.

Illustrations and typography by Joseph Uccello.

The imprint is set in Calluna and lists the typefaces used for typesetting the book. Marbach and Px Grotesk are not shown in the images included here.

The title page features an early use of Chassi (2021, here with red initial C), paired with Heldane.

The frontispiece chart uses LL Catalogue and Stanley Italic.

Chapter beginning with Flecha in Extralight and Italic. The main text is set in Calluna, the footnote in LL Catalogue.

A drop cap from Flecha

Sabre and Carat for Kapadokya – Tas Kapidan Tackapiya (2018) by Gürsel Korat.

Examples of book covers by Geray Gençer for Turkish publisher Doğan Kitap, using Alias Harbour, Alias Sabre and Alias Noah for cover type. See more Sabre in use for Doğan Kitap covers for Kuyruk by Basma Abdel Aziz, Bir by Yonca Karaben Sözer and Altın Yıllar by Ali Eskandarian.

Noah and Futura for Küller ve Kızıl (2019) by Pyun Hye-young, translated by Tayfun Kartav.

Harbour, Calluna, and Futura for Gerçekler Kırıldı (2019) by Barış Müstecaplıoğlu.

Harbour and Futura for Bay Leodinas’ın Tuhaf Hikayesi (2018) by Tuncay Çevik.

Harbour for Hırsız (2017) by Fuminori Nakamura, translated by Mehmet Gürsel.

Harbour and Futura for a series of books (2018–) by Oktay Akbal.

Noah and Futura for Aynalar Şehri (2019) by Justin Cronin, translated by Dost Körpe.

Sabre for Mesnevi’den Cevaplar (blue cloth cover edition, 2017).

Homepage.

The Bordeaux Museum of Design and Decorative Arts, or madd-bordeaux, uses Fedra Sans for its identity. The humanist sans serif by Peter Biľak appears exclusively with its dynamic italics and often in all lowercase letters, in the logo and on the bilingual museum website. There, Fedra Sans is used in several italic weights (Book, Medium, Bold) and is paired with Jos Buivenga’s serif Calluna for text.

Exhibition page.

Object of the week no.28.

Object of the week no.18.

Visual submenu about the museum’s history.

Logotype in lowercase letters from Fedra Sans Italic.

FactCheckEU is a new fact-checking platform powered by 19 European media outlets. It focuses on debunking subjects related to the upcoming European Parliament elections. The website offers most of its information in 11 languages (Danish, English, French, German, Greek, Italian, Latvian, Portuguese, Serbian, Spanish, Swedish) and two writing systems, (extended) Latin and Greek using Nimbus Sans and Mono45. The longer articles are offered in English only, using Calluna for explaining the answers to the questions on the website. The logo is based on Josef Ultra (Ingo Zimmermann).

Can art bridge across geographies and gaps of knowledge?What connects Sápmi, Surinam and Switzerland? How do Christianity and Vodun intersect? Do Karen Blixen and Fidel Castro share common beliefs? What might seem far removed, share close bonds when we look beyond national and historic divisions.

The publication BAT: Bridging Art + Text, just released by Hurricane Publishing, looks into complex historical and current connections across the globe presenting international artists, scholars, curators and writers in 3 volumes of 800+ pages. The book, curated and edited by Michelle Eistrup, presents contemporary artists born or based in the Caribbean, Africa, Europe and the US creating an insight into aesthetics not often presented in Scandinavia.

The first volume shows connections between art, performance and religion. In the second volume, artists and writers deal with racism as well as the omission of voice and identity. The third volume gathers artists and writers who actively critique history and its influence on present times.

The transfer of cultural and spiritual knowledge from Africa across the Atlantic and further towards Europe show the potential and strength of maintaining a shared cultural heritage. The strength of bridging creates ways of facing racism and prejudice and seeing old and new connections.

Anyway.Post is a bi-weekly newsletter focused on design news / resources / jobs digest in China. The simple landing page is designed to embrace the ‘old school’ newspaper feel and reading experience just like the e-mails themselves.

The monograph is published by Verlag für moderne Kunst and is presented in two versions: one for commercial sale and one special edition limited to 100 copies. The special edition features a textile cover, infused with micro-organisms to cultivate unique patterns co-designed by nature and Greiner’s experimental methods. Captured and suspended in time, abstract splashes of color in varying gradations have been fixed by a process of sterilization—preventing further transformation while producing an individualized record of the transitory structures of nature. — Berlin Art Link

The Limited edition has a textile cover, infused with micro-organisms

Standard edition front vover

Collected Coffee is a New York-based coffee subscription service committed to sourcing the world’s best coffee beans, prepared by speciality roasters. The service worked with Canadian design studio Fivethousand Fingers to develop a brand identity, which included logo, packaging and web design, that would be perceived as intelligent, cultured and curious to a sophisticated coffee enthusiast. This was achieved through a contemporary gallery-like aesthetic of plenty of white space, still life photography and clear product insight, consistently expressed using Calluna, that builds on the curatorial nature of name and service.

Read more about this project on BP&O.

Viewbook.com is a web app that allows photographers to easily create their portofolio websites, while Viewbook for iPad is a viewer for the photos. Calluna and JAF Facit are combined to create a clean and minimlist website. On Viewbook for iPad, JAF Facit is used throughout as an UI font.

Louder Than Ten home page

Louder Than Ten is a Digital Project Management and Operations training school for digital agencies and product studios. We

Custom training page on website

Program info booklet

Burn those red flags down book

Program info book

User profile

WesternEye is the students’ union newspaper of the University of the West of England. It is a free publication created by and distributed among students of the university. The newspaper uses Adelle in generous headlines and supporting texts, Calluna and Brandon Text.

A very minimal and typographic focussed portfolio website of a freelance web designer & front-end developer.

I tested some classic serif typefaces like Garamond and Caslon, and contemporary magazine types such as Kepler and Lyon that work very well at small sizes. I also played around with some sans serif typefaces, but quickly abandoned the idea because they felt too modern. Offscreen is about returning to our roots and bringing back a traditional, calm reading experience.

Calluna strikes a nice balance between a traditional serif and a more playful contemporary text face. It works very well in both small and large sizes and could therefore easily be used as a display face. The various weights and styles allow for a range of applications, which was particularly helpful when a single typeface is used for all body text. I especially fell in love with Calluna’s small caps, something I tried working into every page. For example, the folio uses Calluna in small caps at 8.5 pt followed by a thick, bleeding line carrying a color code for each interview. Offscreen is a magazine about people, so their names appear (with very few exceptions) consistently across the whole magazine in prominent small caps at 15 pt bold, usually followed by their job title in regular italic and their location, in regular small caps at 8.5 pt.

The pull-quotes use Calluna’s beautiful set of discretionary ligatures. I first tried to apply the color specific to the interview to the text of the quotes, but this felt too distracting. So I tried a black version (both in terms of color and weight) and loved it. Even though the ligatures can seem a little over-decorative at times, I really like how they compliment the interview spreads.

I ended up liking Calluna so much that it formed the Offscreen logo, which is basically Calluna in black with a few manual alterations to some brackets and stems. Calluna is on Typekit, which helped me make a final decision on the typeface. I like consistency across different media, even though Calluna looks quite different on screen. It loses a bit of its round and playful dynamic when displayed in smaller sizes, which I assume is partly due to the low resolution of computer screens and the different ways browsers are rendering it. Finding an accompanying display typeface came easier. I played with Morgan Knutson’s Mensch for a while, which looks particularly nice in white with inlines applied on a color background. Its regular style didn’t appeal to me, though, so I looked for an alternative condensed typeface with a similar “decorated” feature. H&FJ’s Cyclone had me convinced straight away. In its regular uppercase style, Cyclone feels calm and bold yet still subtle, and transforms into a more embellished typeface with its inline.

In use, both typefaces find a nice balance between contemporary modern and a more traditional magazine look. There was a conscious decision to only have two typefaces throughout the magazine and have the text only black on white or vice versa.

From the interview at I Love Typography

A screenshot from my blog.

The site uses the exljbris Font Foundry’s Calluna and Calluna Sans, delivered by Typekit. A redesign is under way, so I’m posting a screenshot here for posterity as much as anything else.

Alex Girón’s Neography is a perfect example of how a typeface alone can distinguish a layout. The content types are no different from any designer’s personal site — blog posts, photos, links, a portfolio — but these pages feel fresh. The well considered grid is obvious, even modernist in places, but Girón eschews the expected Helvetica for an old style serif, and an underused one at that. Calluna (2009) appears older than it is, partly because of its angled ‘e’, a nod to Venetians.

We can thank the recent webfont breakthroughs for Neography’s use of Calluna, served by Typekit. Otherwise it would one of the few dull serifs installed on our computers. (Though Coudal has proven you can still do good things with Times.) Text is in Neue Helvetica — Calluna isn’t optimized for web text yet. The only piece that feels out of place is Museo Sans for other labels. It seems unnecessary when Helv would do. Even better, I’d love to see Girón take the humanist approach all the way and replace those with the newly released Calluna Sans.

And now for a welcome detail that goes unnoticed: Girón uses Calluna Bold for main titles but wisely shifts down to Semi Bold for subheads. This move is imperceptible but important to Mac users (likely Girón’s main audience) because OS X’s Quartz antialiasing tends to add a few pixels of weight to fonts of any size, especially when type is white on black. The harmonious effect is that H1s and H2s are optically the same weight and Calluna’s smallish counters are never clogged.