Per Spelmanns Comeback is the parallel release to Postreptilia by Norwegian artist and poet Ivar Orvedal. His spoken poetry — excerpts from the Postreptilia book — are paired with a varied soundscape ranging from controlled minimalism to eclectic jazz improvisation.

Referring this wide scope of expressions, the album cover was designed by Modest [Rune Døli] using The Pyte Foundry’s Overdose and Errata, as well as gestural calligraphy done by Ellmer Stefan.

During Halloween 2016, The Hague based indie band Vuigtuig released their second album, full of macabre and morbid humour and haunting fictional horror sound tracks. The album artwork uses the recently released Krana Fat for its band logo, and the album title is rendered in Nihilist (released just in time for finishing the artwork). Information is set in a mix of Sentinel, Venus Condensed and Errata.

First opened in 1902, Irvington Theater has become one of the cultural hearts of the Hudson Rivertowns. In 2019 the theater commission built new ambitions for their programming. The aim became to showcase the diverse range and wealth of events produced by the theater and their artistic partners, revitalize and centralize their brand identity in a way that could be executed by their newly assembled internal team.

The new brand identity designed by Andrea Trabucco-Campos and Pràctica Design should capture the cultural energy flowing through the theater: inspired by the visual language of 19th century playbills and theater ephemera, the system is based on two main elements: 1. The layering and stacking of elements and colors, giving a sense of the passage of time and a continuity in the output of the theater. 2. The use of vernacular typography, acting as a metaphor for the diversity of the programme as well as the varied cultural personalities passing through Irvington Theater.

Besides the custom drawn typeface Irvington Modern Gothic (based on Modern Gothic by Barnhart Brothers & Spindler, 1897) the abundant typographic palette joins a dozen of typefaces by The Pyte Foundry with David Jonathan Ross’ Roslindale, Nickel Gothic and Rhody (all issued through the infamous Font of the Month Club) as well as Roba by Franziska Weitgruber and Blitz by Out of the Dark.

Since the identity’s launch in 2019, the pantheon of typefaces in use has been constantly expanded in tune with the theater’s aim for diversity and change, dynamically reacting to the current programming.

Logotype in the custom Irvington Modern Gothic by Andrea Trabucco-Campos.

Poster for Women Take Action in Octango.

Seasonal programs featuring a different typeface for each title.
Fall 2019: Errata, Kink, Moloch, Cuneiform, Nickel Gothic.
Winter 2020: Blitz Script, Rhody, Roba, Octango, Alcove.
Spring 2020: Henry I, Galore, Routine C, Roslindale Italic.
Summer 2020: Houdini, Overdose, Syzygy (Inner 1), Potpourri.

Poster for The Lavender Scare in Routine C.

Tickets for Tree of Life ft. Cuneiform.

Poster for Supernatural On The Hudson in Errata.

Ilisarniq, designed by Montréal-based type foundry Coppers and Brasses and a selection of fonts by The Pyte Foundry in use for the 9th edition of Pica magazine, which is centered around the theme of risque / risk.

Pica is a student-run project that celebrates the vitality of UQAM’s multidisciplinary artistic community and encourages hybrid collaboration. Its aim is to promote the development
of local talent and connect with an international audience with educative talks, workshops and an annual publication. Pica is a playground where errors are encouraged and boundaries pushed.

Images from the Kickstarter crowdfunding campaign for issue 09 of Pica magazine, using a number of Pyte Foundry typefaces to present the pledges. The logo of Pica magazine seems to use Alto by Thomas Thiemich.

Risk brings us back to the very sources of creation. To create is necessarily to put ourselves in danger, to take a chance. Creatives fail, and the really good ones fail often, writes Neville Brody. Indeed, taking a step towards the unknown allows you to see new perspectives, to leave your comfort zone and to explore new avenues. In the margin, there is a world of possibilities often forgotten, reduced to self-censorship. But to dare is also to risk losing. The risk is ambiguous, since it is always hypothetical, its product results partly from chance. The line is sometimes very fine between failure and success. –– Pica Mag

Memórias Póstumas de Brás Cubas, often subtitled as the Epitaph of a Small Winner, is a novel by the Brazilian writer Machado de Assis. Published in 1881, the novel is narrated by the dead protagonist Brás Cubas, a wealthy nineteenth-century Brazilian who examines—in 160 short chapters—his own life story from beyond the grave, noting his mistakes and failed romances filled with philosophical digressions and exuberant insights.

Susan Sontag wrote this novel is “probably one of those thrillingly original, radically skeptical books that will always impress readers with the force of private discovery.” It is considered the first romance of the realist movement in Brazil.

The process of designing this book began in April 2017 paying a visit to two different cemeteries in São Paulo. I remember during that same week I read an interesting article by Paul Barnes about English vernacular type [several photos of gravestones in the Southwest of England] on the occasion of Chiswick release.

The illustrations were made using Heloisa Etelvina’s collection of type ornaments. Since her Fine Art studies in Belo Horizonte (BR), Heloisa collects typographic ornaments and combines it with different print techniques: woodcut, linocut, etc.

The titles are set in several typefaces from amazing Ellmer Stefan’s The Pyte Foundry. The rest of the text is set with Chiswick Text from Commercial Type.

On the spine: TPF Dosage, Houdini, Errata, Plumb A, Cuneiform, Nihilist.

The half-title combines Dosage, Houdini, and Errata.

Title page featuring Plumb A, Dosage, Cuneiform, Nihilist, and Errata. In the first two lines, Pyte’s confident accents were tamed down.

Chiswick and TPF Routine B.

Chapter heading in TPF Moloch.

Moloch and Mortar for headings. The swashy numerals are included in Chiswick as titling alternates.

TPF Nihilist.

TPF Flounce and Moloch.

Moloch and Nihilist.

TPF Plumb A.

TPF Overdose.