Callus is an album by Gonjasufi (Sumach Ecks) released by Warp on August 19, 2016. It features Pearl Thompson, the former guitarist of The Cure.

The cover is based on a photo by Timothy Saccenti with a design by Hassan Rahim. The use of black and white colors with the crosses reminds of the rock culture imagery.

On the cover we can notice the texture of the printing. The cover is composed of two horizontal parts: the upper one with the title of the album in white capital letters in Druk Condensed, and the lower one with the strongly contrasted picture. The structure of the stems recalls the verticality of the crosses.

On the back of the cover, Microgramma is used for the name of the group and the tracklist.

[More info on Discogs]

Empellon Al Pastor is a cool dive bar / restaurant concept located in the East Village neighborhood of Manhattan. I was tasked with creating a new logotype and a total rebrand of the business from the ground up. Given that Al Pastor is located in the former epicenter of punk rock music in New York City (right on St. Mark’s Place across from Tompkins Square Park) I chose to deliver a concept that focused on the raw and edgy aesthetic of punk rock typography, zines and fliers. I created a 26 page digital deck offering up my vision as well as an assortment of logotype treatments and visual examples.

Once this was approved by owner Alex Stupak I proceeded to craft the rest of the assets including menus, signage, posters, stickers, apparel and anything that required a graphic or a design. Alex is a longtime fan of metal music as well, so I made sure to incorporate elements of that in the rebrand.

I did a lot of research for the project looking at archives of punk rock show fliers and ephemera from years past. Obviously given the freeform nature of the visual aesthetic and language it was an incredibly fun opportunity for me to break most traditional design rules and just sort of have a go at it. This meant lots of great fonts and lots of heavy distressing and grunge. The typeface selection for this project is seemingly endless, including some type that has not been featured on this website before, like Swiss Grit (Rafael Nascimento), Spacedock Stencil (Cumberland Fontworks), Mersey Cowboy (Chequered Ink) and Timber Wolf (Rook Design Supply).

The “empellón” wordmark is custom drawn.

Cover art for the latest single “Nonstop” by MD$ featuring Sexmane and Swedish rap newcomer B.Baby. Druk Condensed is used to headline the title with some dirty concrete street cracks that appear great on the space on this typeface. The word “Nonstop” receives a bold statement with that font. Codex, also known from Cyndi Lauper’s popular covers, however, is used for the artist names and metaphorically underlines the guests as actors in this song. Together both fonts emphasize perfectly the look of a horror movie poster.

Filippo Bello is a 3D artist, motion designer and director. His projects fully reflects his clean, precise and dynamic work. We followed our instinct by using two fonts that spoke of his personality, bold, decisive, but at the same time elegant and clear.

For the project we used Druk Condensed made by Berton Hasebe and Editorial New by Mathieu Desjardins and Francesca Bolognini.

Onze (Música Inéditas de Adoniran Barbosa) is a special edition album with eleven previously unpublished songs by Adoniran Barbosa (1910–1982). The album was released by the Eisenbahn brewery in August 2020, the year that one of the greatest artists of Brazilian music would complete eleven decades. The name “Onze” also refers to his most famous song, “Trem das onze” (“The eleven o’clock train”). Great names of contemporary MPB (Brazilian Popular Music) reinterpreted the songs and brought this tribute to life.

For the cover, the idea was to use different widths and sizes from the Druk series to translate the Paulista samba rhythm from São Paulo, which is more restrained than the Carioca rhythm from Rio de Janeiro. The 3-color silkscreen printing gave a tactile surprise to the set.

For the promotion of the ZUM 2018 Photography Grant, supported by the Brazilian contemporary photography magazine of the Instituto Moreira Salles, a large typographic poster was created with texts at different sizes, all set in Druk. On the original 88×61 cm (35″×24″) poster, a grid of perforated lines allows the derivation of pieces in various formats, from smaller posters to postcards. In each module, the information is repeated in different arrangements, so that all pieces, regardless of size or format, carry the same content as the others. The concept was a typographic scale play with the name of the photography magazine zum [already a Portuguese word-play with the English word zoom] and it was also used in digital communication, such as social media posts and even a cinema vignette.

The project won the TDC 65 (Type Directors Club New York) Certificate of Typographic Excellence.

At Berger & Föhr, we see our work as a critical exploration of identity at the intersection of conceptual and commercial art. Principally informed by our backgrounds in Swiss, modernist graphic design theory, we employ a research-driven methodology steeped in meaning-making, and materiality yielding what we often consider meta-recursive minimalist works. Our practice aims to critique, recontextualize, and subvert the familiar to question its very nature while presenting new, varying perspectives. Work includes paintings, prints, sculptures, brands, visual identity systems, zines, books, environmental graphics, murals, internet experiences, and digital and physical products.

In this manner, ZHĒKLĀ is a meta-recursive commentary on the state of the giclée as both a highly valued contemporary, artistic medium, and what could be considered low-grade, digitally reproduced junk. The work hinges on a dynamic, abstract expressionistic painting atop a store-bought giclée by a well-known, famous artist. The conceptual background painting follows the flow of the artwork printed beneath, but only loosely with hand-set, painted type in Druk Condensed Super declaring the phonetic spelling of this often misunderstood, misconstrued, and mispronounced medium.

In the wake of the USPS potentially going bankrupt and subsequently affecting the 2020 Presidential Elections, I decided to buy stamps and send postcards to friends and family. Almost 300 people shared their addresses with me on Instagram (way more than I had anticipated) so I decided to create my own set of nine postcards.

Designed during one late night after work, printed by Moo on an impressively strong and durable paper with silky, soft touch, matte coating finish on both sides; and using nine completely different and unique typefaces, the set has resulted in an elevated but clean design. With the core message of letting you, and the world know, that while we are going through difficult times at the moment, it will be okay in the end. And it is equally fair to not be okay at this time. You do you.

“Okay”, set in Miniature Display, Druk Condensed, Opposit, and Migra, latter with a mix of roman and italic glyphs.

“OK”, set in Parabole Display, Pilowlava, Kernit, Hatton and Nostra Sett.

Lemans70.com is a website to commemorate the 50th anniversary of Porsche winning their first 24 Hours of Le Mans title in the 917 in 1970.

Dramaturgias #1 is a publication about contemporary Brazilian theatre, a record of several activities held at Sesc Ipiranga throughout 2019.

Sesc is a non-profit institution that has 43 units in São Paulo alone, and around 600 across all 27 Brazilian states. Providing health assistance, leisure, sports, culture and education services for all age groups and social strata, that are often free or inexpensive.

While artists in Brazil are under severe attack by the current right-wing government, it was both a big responsibility and a privilege to work on such a project. The main attraction of the publication would be the exposed binding, matching the cover's bright-red 032 U Pantone. Everything was printed in CMYK + one spot color.

Type-wise, we went with Druk for all titles, Lyon Text for running-text and Graphik for dialogues, all available from Commercial Type. Maison Mono appears on page numbers and running titles.

“Read Me!” is set in Druk Condensed X Super, with Spectral for the body copy and Stratos Bold and Graphik Medium for the table of contents.

Read Me! is a new series of editorial templates introduced by Readymag. From an article for type.today’s journal:

Readymag has lately been extending its template set; well, now is the time to offer you some new templates for long reads. As we discussed this, our team got an idea to present something bigger than just a plain template: a full-featured material on the evolution of on-screen reading, issues of legibility, certain details related to web layouts and web-based representation of contents. Welcome our editorial long-read essay on editorial long-reads: it is somewhat of a recursion, right.

We provide users with an opportunity to use each chapter of this article as an independent template with its own style and typographic solutions. Apart from various approaches to layouts, we are most definitely focusing on type, and all possible kinds of ways to make use of it. Since Readymag has an extensive Russian-speaking audience, we decided to address the typefaces that support Cyrillic; our choice was largely determined by this consideration. Eventually, the thing has turned out to be very rich in terms of type, in large part thanks to type.today library.

This project by Readymag exemplifies the template in use. Contentwise, it explores how the notion of readability has evolved over years and offers designers some ideas and tools on how to create a readable text.

“Define and conquer” mixes Druk Wide and Druk Condensed. Text is rendered in Graphik.

Part 2 features more Stratos and Spectral, both by Jean-Baptiste Levée. The letter a in the illustration is from Charter.

For part 3, the typography switches to Pragmatica and Times New Roman.

Part 4 opens up with Graphik Super and uses Georgia for text, with one paragraph in Pragmatica. The samples present Matthew Carter’s Georgia alongside its sans-serif cousin Verdana.

The concluding tips section combines numerals from Pilowlava with Karloff Negative for the heading, Kazimir Text, and Graphik.