Several weights of Sub Sans (early version) are used throughout the website Migrant Journeys, in combination with Bistream’s Schneidler. Designed by Filip Despotović, Sub Sans emerged from research dedicated to exploring new shapes for a subtitling typeface tailored to the demands of the streaming services era, particularly for the fields of film and television. It’s set to be released in early 2024 by Out of the Dark.

The site was designed by Offshore Studio and launched in 2022. From the information page:

“Migrant Journeys” draws on the research undertaken by Alice Hertzog in the context of her doctoral thesis “The Lagos-Abidjan Corridor – Migration Driven Urbanisation in West Africa” defended in 2020. The research was conducted under the supervision of Christian Schmid, Pius Krütli and Armelle Choplin at the Swiss Federal Institute of Technology in Zürich, in partnership with the SDC Global Programme for Migration and Development.

The title is set in Sveva Light by Andreas Seidel (Astype), making use of its alternate characters for variation and some ornamentation. All other texts are set in LunchBox Regular by Kimmy Kirkwood (Kimmy Design).

The Riddle of the Sea by Jonne Kramer was published by Piccadilly Press in 2022.

A wonderful story of friendship and overcoming fears, translated from Dutch by Laura Watkinson—Carnegie-Medal 2020 short-listed translator of Lampje by Annet Schaap. Featuring stunning illustrations by acclaimed illustrator Karl James Mountford.

The artwork was done in 2019, for the original Dutch version, Het Raadsel van de Zee, published by Billy Bones.

The cover of the original Dutch version, Het Raadsel van de Zee, shown here for reference. Unlike the English version, the title is hand-lettered, while the author’s name seems to be set in Heller by Angin Studio.

The pages of the book are set in Schneidler in roman (1936) and italic (1956) by F.H. Ernst Schneidler, supported by Sveva for chapter titles.

The back cover features Sveva Light for the phrase “The sea knows more than you think...”, while the book description is again set in LunchBox Regular.

Emit is a collection of luxury Swiss made watches that pays homage to the timeless design and craft of a past era with the reliability and precision of modern manufacturing. The name EMIT is ‘TIME’ spelt backwards, which plays on the idea of looking back in order to move forward.

This project took us from conception to completion, naming to narrative and from identity to reality. The customised logo (based on Tautz) mixes the traditional typographical details with modern sharp serifs. The unique logo has a larger T which sits bigger than the other characters, as a subtle nod to its flipped name. The photoshoot was traditionally styled and in contrast shot by contemporary fashion photographer Sarah Piantadosi.

The watch faces use a mix of ITC Blair and Vidilex. Print and packaging use Schneidler and LL Circular.

Schneidler and LL Circular in use for print collateral.

Ad for graphic design software – Adobe Illustrator 3.0, Adobe Type Manager (ATM) 2.0, and Adobe Photoshop 1.07 – by reseller MacConnection, from MacWorld, 1992.

The headline uses tightly spaced Barnyard Bold, one of the four styles of Les Usherwood’s expansion of his earlier Graphis (1971). While the lighter weights named Barnard have proportions for text, the heavier weights named Barnyard are intended for display. Beckenham (Red Rooster, 1992) is a digital version.

The copy is in Helvetica Condensed. Gill Sans was chosen for the call to action (“Buy Illustrator and get Adobe Type Manager for free!”). The MacConnection logo uses Baskerville Old Face, with Schneidler for the contact info below.

Schaf und Mensch (“Sheep and Man”) is a magazine about the complex relationship between mankind and its earliest farm animal. The publication features stories about conservationists, shepherds and textile designers and explores the meaning of sheep and landscape in modern Europe, from Rococo paintings to today’s nature protection.

Inspired by old history books, the magazine's typography is mostly set in Schneidler. Its elegant features reminded me of sculptures from Ancient Greece as well as sheep hooves (if that is even possible). Suisse Int’l Mono appears for captions. Made as Master thesis project at HfK Bremen.

IETM is the international network for contemporary performing arts. “Can we talk? Art in the age of populism” is the theme of this year’s IETM Brussels Plenary Meeting.

Albers in Command is a small site with a very unusual type choice – Stempel Schneidler Mediäval – in an even stranger combination with ITC Bodoni; a small site for an event in memory of a series of album covers for Command Records by Josef Albers and others from 56 years ago. (You see that I didn’t fully understood myself what it is. I just wanted to post this because of Schneidler.)

Concept and art direction: Werner Moron (asbl Façons de Voir), Dorothée Luczak (asbl Les Ateliers d’Art contemporain)
In cooperation with asbl Théâtre en animation
Printed by AZ Print, Liège, on Cyclus Print paper