The white envelope, precious and still to be written, contains two volumes full of content.

The annual report 2019 for the Rome University of Fine Arts (RUFA) was designed by Intorno Design (Guido Lombardo, Roberta De Cristofaro, Tommaso Salvatori). This edition is dedicated to the memory of the first twenty years that have passed since the foundation stone was laid to build the creative melting pot that today is the Academy. The intent is to celebrate the continuous renewal of the original impulse, narrating the main projects and events of the past year.

The design uses several members of the Sang Bleu series by Swiss Typefaces, namely Empire, Sunrise, and Kingdom. The typography brings elegance and delicacy to a design with an almost nostalgic appearance.

In 2020, this edition of RUFA Annual Report won a Silver Award at the European Design Awards.

The first volume, in pocket format, includes in a single collective voice twenty testimonies of some of the protagonists of the years from 1998 to 2018.

The second is developed horizontally and evokes the old family albums, both in format and in visual content. The photographs also refer to the traditional albums through the shots of the “professional families RUFA”, from the schools of the different departments to the staff of the Academy.

The central insert is dedicated to the RUFA Contest and is printed in monochrome on Favini Crush Kiwi recycled paper.

The book is printed in five colors (CMYK plus Pantone silver) and uses six types of paper. The use of typography and the layout of the book is a mixture of elegance and experimentation. Taking risks to generate innovation is one of the characteristics of the Academy. The same can be said of the annual report.

From Pentagram’s case study:

lululemon athletica is one of the world’s leading activewear brands, defining the athleisure category with its high-performance, yoga-inspired technical athletic apparel for women and men. The company goes beyond retail to function as a holistic lifestyle brand for a devoted following of consumers who apply its vision of wellness to their everyday practice of yoga, running, working out, self-care and mindfulness.

This is captured in the lululemon manifesto, a graphic representation of the brand’s core values.

According to lululemon:

The newly designed manifesto showcases Lululemon’s long-standing brand values across nine themes, including: integrity, personal responsibility, social impact, honesty/authenticity, overcoming fear, greatness, purpose, elevating the world (even on hard days), fun + laughter, sweat + the practice of yoga.

The manifesto in itself is designed with no less than four contemporary typefaces, namely: SangBleu Empire, Druk, Messina Modern, and Cut. Calibre, lululemon’s brand font, is also used sporadically in smaller sizes. All those typefaces are combined in Tetris-like playful composition, creating a type-filled pattern. This pattern has been applied on many products from the brand, ranging from retail ones (yoga pants, sports apparel, sports bottles, etc.) to promotional ones (shopping bags, shipping boxes, shop window fronts).

Learn more about the project and see more applications on Pentagram’s website.

SangBleu Empire is part of the SangBleu family, available from Swiss Typefaces. Druk is available from Commercial Type. Cut is available from Muir McNeil. Messina Modern is available from Luzi Type. Calibre is available from Klim Type Foundry.

A manifesto flag in front of Berlin’s lululemon shop

“It’s the manifesto—IRL. To celebrate our 20th birthday, we partnered with artist Shawna X to bring one of our most iconic manifesto lines to life in Brooklyn, NY.”

SangBleu Empire (Swiss Typefaces) and Maison Neue (Milieu Grotesque) are the brand typefaces for the new visual identity of Régoa.

Régoa is a local Spanish wine company with a national and international expansion. Its red wines are made with a flavory and tasty raw material from one of the most enchanted places in the north of Spain. Régoa wanted to update their brand to better express the essence of their unconventional product. The territory of their vineyards is so unconventional that the grape harvest is called heroic, for the difficult conditions in which producers collect grapes.

The new visual identity is based on 80° corners that make the new logo structure and the main composition; plus we decided to rename some wines to better enhance the essence of the Régoa brand: made by risky choices mixed with geographical elements.

We designed the new brand to enforce the high quality of each wine according its quality level. The cheapest one is Régoa, made using minimalistic composition and solid colors on the background.

From the record trailer on YouTube:

Deutsche Grammophon releases the long-awaited recording of Jóhann Jóhannsson’s Drone Mass, performed by the ACME, Theatre of Voices and conducted by Paul Hillier. Described as “a contemporary oratorio” by Jóhann himself, this exceptional work, written for voices, string quartet, and electronics, was inspired by The Coptic Gospel of the Egyptians, one of the codices in the Nag Hammadi library, discovered in 1945 and written in the 1st or 2nd century AD.

The posthumous recording of the late composer’s 2015 piece has been published by the legendary Deutsche Grammophon label in March 2022. The cover and packaging design has been handled by their frequent collaborator Florian Karg. Echoing the Egyptians’ influences from the composition, the cover is depicting a winged scarab and two-dimensional figures and imagery associated with Ancient Egypt, printed with golden foil on a black background. All titles and texts are set with SangBleu Empire.

SangBleu Empire is part of the SangBleu family, available from Swiss Typefaces.

Extract from the CD insert

Track listing on the back cover of the CD

Extract from the vinyl record insert

From Tanzhaus NRW:

Situated in a former Düsseldorf tram depot, tanzhaus nrw turned into a centre for international dance with its eight dance and rehearsal studios and two stages. It acts as a staging and production venue and also as an academy with more than 4,000 weekly visitors, on 4,000 square metres. Arising from the “Werkstatt”, founded in 1978, and having been under Bettina Masuch’s direction since 2014, the house has become a highly acclaimed international cultural institution.

The institution’s new website and visual identity have been designed by Running Water combining two different styles of the SangBleu family, namely SangBleu Kingdom and SangBleu Empire. The Tanzhaus custom typeface is used sporadically on the website too.

SangBleu Kingdom and SangBleu Empire are part of the SangBleu collection, available from Swiss Typefaces.

The Angkor Révélée exhibition, lasting from June 2019 to January 2020 at the Musée Georges-Labit in Toulouse, was dedicated to photographer Jacques Sierpinski’s Angkor Wat body of work.

Toulouse-based studio Vif Design designed the poster and signage for the exhibition with SangBleu Empire and Sharp Grotesk. The predominant red color is an echo to the darkroom ambient light where the photographs are developed.

SangBleu Empire is part of the SangBleu family and is available from Swiss Typefaces.

Diário (“Diary”) presents a selection of entries written by the Goncourt brothers between 1860 and 1896. The visual choices alude to elements of 19th century Paris: metallic structures, boulevards, parks and public works carried out by George-Eugène Haussmann’s renovation program for the city.

Internally, the text was structured to emphasize the diary’s singular format, differentiating writing by the Goncourt brothers from the organizer’s interventions by using two text colors: black and copper.

A2 Antwerp is used for body text and subheads; the bigger point size text on the cover and in the interior are set in SangBleu Empire. The book was published by Editoria Carambaia.

One Night Only was a retro American diner on River Valley Road, in Singapore, serving comfort American food. On the menu, you used to find the typical dishes like chicken fried steak, cheeseburger sandwich, buffalo wings and milkshakes. Unfortunately the restaurant has closed down only eight months after its opening.

Singapore-based studio Foreign Policy designed the identity for the restaurant using a combination of Swiss Typefaces’ designs. TheW Clan RZA is used for the diner’s logo and storefront sign. The menu is a combination of different sheets from various colors and sizes assembled in a binder, making it unexpectedly practical and readable. It is composed with two distinct members of the SangBleu series (SangBleu Empire and SangBleu OG Sans) and a yet unidentified grotesque. The type combination and the different graphical elements result in a striking and consistent branding for the place.

TheW Clan RZA, SangBleu Empire & SangBleu OG Sans are available from Swiss Typefaces.

Less than 2 months after their original release, SangBleu Empire & SangBleu Sunrise, from the SangBleu family, made a stunning debut in the in December 2017/January 2018 issue of the US edition of men's magazine GQ.

On it introducing issue, SangBleu Empire is mostly featured in playful and colorful compositions on opening spreads. It will then be steadily used as the main titling face across the magazine, alongside SangBleu Sunrise. Other recurring typefaces are GT Pressura and Miller, that are used to set body text and captions. Every issue is also bringing a fistful of titling typefaces that'll remain exclusive to this issue. Among them, Euclid Flex was featured in February 2018 issue.

After the departure of Andre Jointe in March 2018, the magazine started to be slowly redesigned by its new art director Justin Patrick Long. Unfortunately, the SangBleu family didn't made the cut into the new design layout and last appeared in the July 2018 issue.

SangBleu Empire & SangBleu Sunrise are part of the SangBleu family. Euclid Flex is part of the Euclid family. Both families are available from Swiss Typefaces.

Euclid Flex was featured exclusively in the February 2018 issue. Note the modified lowercase g, shortened to fit into the ribbon frame.

Type Life #1 was the first edition in a series of printed publications about design, typography and lifestyle, presented by Swiss Typefaces. Published in June 2017, it was soon sold out. Letter lovers who missed out on securing a copy can now rejoice: Type Life #1 is available again. The new edition is not just a reprint, but an enhanced update. It boosts four more pages and a revised design with new colors. The content was extended, too. In addition to new images, version 2 features several new typefaces that were created in the past months.

Type Life is packed to the brim with letterforms, and yet it is not a specimen. It’s a celebration of style and a wellspring of inspiration. Instead of long texts, there are lots of images, including photography, illustration, lettering, and exclusive previews of upcoming typefaces, forming a highly visual experience. Each issue is devoted to one chosen theme, and is made in collaboration with guest artists, illustrators, and designers. The printing process along with the use of metallic and neon colors is a key aspect. Apart from the format of a newspaper magazine, the identity of Type Life changes with every issue, depending on the topics and the guests.

The inaugural issue is about the Lab. In this Research & Development department, the designers of Swiss Typefaces explore new ideas for future fonts. Two of the Lab fonts are showcased in detail: BRRR is a playful wide Grotesk with a great deal of disruptive details. A spin-off from Simplon Mono, it was initially created to design a poster series for Swiss artist Simon Paccaud. KRSNA started out as a custom version of NewPanam Skyline, made for two vinyl record sleeves by Geneva-based musician Grace Core. This experimental typeface abandons the convention of a continuous baseline and introduces a three-storey space where the letters can sit at the top, center or bottom, with the remaining space filled by bars and spikes. The resulting word images are captivating patterns with logo-like qualities. Type Life reveals how BRRR and KRSNA came into being by depicting preliminary sketches, evolutionary steps, and photos of experiments made during trips. Reproductions of the very first applications show the fonts in context.

The updated edition also provides a glimpse into two upcoming Lab releases. KOPYME is a brutalist typeface with monospaced characters of extra wide proportions. Its horizontal nature is offset by diagonals that shoot across the glyph space like laser beams. They crash through the baseline, extending the underlying grid by a fourth underground level, and adding to the KOPYME’s kinetic energy. Black Mamba is an offshoot of the SangBleu series. Its swash letterforms are melting and churning as if they were drawn under the influence of the intoxicating Aztec elixirs mentioned in “The King, His Court, The Explorer & The Gift”, the essay included in the SangBleu Book.

Guest contributor is Thomas Louzoun aka Zombie Tears, a French art director, illustrator and tattoo artist. His whimsical drawings and handmade letterings were created specifically for Type Life. They are complemented by samples of recently released fonts like the fat display serif IKANSEEYOUALL and the bonkers Euclid Stencil, and previews of fonts that were in the making at the time of the publication, like new styles for TheW Clan (ODB & GZA, in addition to already released RZA).

An underlying theme in Type Life #1 is the confrontation of opposites. Systematic typography is interspersed with footloose lettering, accurate vector shapes are shown side by side with drippy comic blackletter. Highbrow clashes with subculture when an icon of the Swiss International Style gets remixed with street art. Past meets present also in the typeface designs that always and inevitably are contextualized in history. The digital is contrasted with the analog, the local with the cosmopolitan, the abstract with the personal. On a formal level, all of this is represented by the combination of uncoated newsprint and glamorous spot colors. The unique color palette featuring Pantone neon colors along with silver and black is a defining element of the publication’s identity.

Type Life issue #1 v2 was printed in an edition of 1,500 copies. It is now available exclusively from Physical Company. Fonts are available on Swiss Typefaces.

Cover, with magazine logo set in Ikanseeyouall. The theme is set in SangBleu OG Condensed, with showings of Krsna and Kopyme underneath.

outlined Krsna used as a frame.

Type amidst lettering by Thomas Louzoun: “Type Life Choose Us” is set in Black Mamba.

Capital K’s set in Euclid Stencil and Krsna. The font names are set in Brrr .

Ça ira (1): Fin de Louis is a play by French theatre director Joël Pommerat, created in 2015 at Le Manège theatre in Mons, France. According to the New York Times:

The more than four-hour-long play, written and directed by Joël Pommerat, is an exploration of the early years of the French Revolution dating back to 1788. The characters speak in contemporary language, are dressed in clothing from the 1970s, and are led by a king who poses for a selfie. […]

French critics have compared the theatrical experience to watching a “revolution live,” and the honors for “Ça ira” come as demonstrations against an overhaul of the labor code have swept across France. […]

The play — the first in a series that eventually will include a version that addresses the “Reign of Terror” in France after the revolution — is told from the viewpoint of ordinary French citizens rather than leaders like Robespierre and Lafayette. The main historic characters are King Louis XVI and Marie-Antoinette, with the monarch issuing familiar demands for fiscal reforms to tame his nation’s astronomical budget and offering reassurance: “Ça ira” — or, in English, “It Will Be Fine.”

Since 2015, the multi-awarded and acclaimed play has been touring the world. For its premiere at the Théâtre de la Porte Saint-Martin in Paris, Pierre Jeanneau continued his colourful series of posters.

The use of SangBleu Empire as the main typeface is interesting in several ways considering the subject of the play:

– Although many styles from SangBleu are inspired by the French King’s commissioned type Romain du Roi, Empire, with its lineal serifs and dramatic contrast, owes more to the Didot genre, a style appearing in France circa 1790: at the same timeframe as the French Revolution events.

– The typeface could also have been chosen because of its name, as the play depicts the turning point of the end of the Kingdom of France (also the name of one of SangBleu style) with the execution of King Louis XVI, and the proclamation of the French Republic which will quickly turn into the French Empire, declared in 1804 by Napoleon. This could technically be considered as a very subtle LTypI.

SangBleu Empire is part of the SangBleu family and is available from Swiss Typefaces.

The teaser video (below) adds the narrow caps (actually the lowercase set) of Anisette to the mix, used for newspaper quotes.

The Match Book showcases a collection of over 150 matchbooks collected by Randy Shaw, founder of the Tenderloin Museum [in San Francisco]. Mucho designed the book to showcase the fronts and backs of the collection at actual size. The cover is constructed from craft paper, foil stamped and blind embossed with a typical matchbook shape. The spine of the book is created from strike material so it can be used to light a match.

Rather than attempt to mimic the vintage lettering or typography of the matchbooks featured within the book, Mucho opted for a purely contemporary approach for the cover and typeface choices. The title is set in SangBleu Empire, whose sparkling contrast and angular details play up the foil stamping. The plainspoken Suisse Int’l, also from Swiss Typefaces, is used throughout, allowing the imagery to take center stage and not competing with their own eclectic letterforms. I like the choices — the only thing that could improve them is if they sourced typefaces made in the San Francisco Bay Area.

Overall, the book is a beautiful thing, with a great lay-flat binding that you really need to experience in person.

“Rebelle” is a project which was born from the Experimental Type class at ArtCenter College of Design. “Rebelle” can be understood as exploring and practicing typography through fashion and clothing. From a more macro standpoint in the fashion industry, “Rebelle” is a graphic designer’s response to the wide-spread notion of breaking the boundary between high fashion and streetwear. It is essentially luxury streetwear created by a generation Y designer, revealing the will to be part of other existing luxury streetwear brand explorers.

The project contains clothing designs, fashion photography, a promotional video, stationery, the brand catalogue with a line-sheet, a brand manual, a packaging design set, and collateral.

The core design philosophy of Rebelle is using typography as the primary approach to deliver direct and indirect communication. One major design approach is to use words, sentences, and paragraphs along with powerful imagery to directly present Rebelle’s audience with seasonal themes. The logo is based on SangBleu Empire Black. Using the thick-and-thin characteristic from SangBleu Empire to bring the qualities of Rebelle, as a Millennial's rebellious fashion brand. The modification on few letters on the logotype is mimicking the silhouettes of urban cities as well. For all other typography, a selection of two other type collections from Swiss Typefaces is used: NewParis from the NewParis collection, and Suisse Int’l, Suisse Int’l Condensed and Suisse Works from the Suisse collection. The combination of the serif and san-serif intents to reveal a sense of duality, being classic and contemporary.

Using imagery is the secondary approach for Rebelle to communicate with its audience. For Rebelle’s first season (“Rebelle Collection” and “Ré•volution” Collection), it is applying paintings and visual elements from the Romanticism period to imply that rebellions have occurred throughout human history. Each period has its own type of rebellion.

By placing the word “Re•volution” up-side down shows a parallel with many Renaissance paintings used, indicating information could only be seen by God.

Rebelle also inspires, presenting its own attitude and raising specific social topics through indirect communication like using subtexts conveyed by paralanguage. This can be largely found in Rebelle’s “Ré•volution” campaign posters, such as “This Is Not a Rebellion” and “This Is Not an Execution”.

BDA London were approached to redesign and reinvigorate the biannual View Two magazine, bringing the publication up to date and in line with industry needs to deliver the most relevant and inspirational content across denim, casual, athleisure, active and performance sportswear each season.

We chose GT Walsheim as the leading font, because it is such a strong versatile font, which already looks beautiful alone, before adding context. Aperçu is the supporting character for body copy and call outs (as well as the logo), with SangBleu Empire and Kingdom scattered throughout a few sections offering a strong stylistic contrast to GT Walsheim.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Lovers of type, rejoice! The second issue of Type Life brings a cornucopia of visual inspiration that will warm the cockles of the typographer’s heart. On 36 pages – a whopping 16 more than in the inaugural issue – Swiss Typefaces presents insights into their cosmos of style, fonts, and fashion. Type Life is the only place where you’ll find both Rihanna and Rudolf Koch, where social media snippets are framed by engravings from the Caslon type foundry, and where a douk-douk knife ends up next to a 15th-century Danse Macabre. As usual, Type Life doesn’t make many words, and instead shows plenty of letterforms. Printed in no less than seven Pantone spot colors, the publication features rotated and mirrored words, slanted roman page numbers, radial gradients and all the other things your design prof wouldn’t approve of.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: Sang Bleu magazine issues Zero (2007), III/IV (2009), 5 (2010), 6 (2012). Sang Bleu Uniqueness, limited edition project for My Design District (2008).
Right: SangBleu Sex (private) and an early version of SangBleu Kingdom typefaces. Spreads of Sang Bleu magazine issues 5, III/IV and 6.

At the center of issue 2 is Sang Bleu. That’s the name both of a typeface from Swiss Typefaces, and of an independent multi-disciplinary media platform and creative agency. The two were initiated together and share a common history. From the very first incarnation in 2007 to the new SangBleu typeface completed in 2017, the SangBleu typographic identity has built a legacy for itself. Many SangBleu fonts debuted in the Sang Bleu magazine, a publication about fashion, tattoo culture and more. Some of them later made their way into the Swiss Typefaces catalog of retail fonts, others remained private, like the runic-looking SangBleu Sex. Yet others were at one point available for licensing, but now are retired, like the supertight SangBleu G-String.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: Vogue Türkiye cover using SB Vogue Turkey (custom typeface) and BRRR, September 2012 (SWTY remix). Right: Vogue Brazil cover using SB Vogue Brazil (custom typeface), June 2011 (SWTY remix).

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: SB Vogue Brazil and SB Vogue Turkey (custom typefaces).
Right: Rihanna by Mariano Vivanco and SB Vogue Brazil (custom typeface), Vogue Brazil, May 2014.

Since 2010, Vogue Magazine commissioned several custom versions of the SangBleu typeface from Swiss Typefaces, for their Brazilian and Turkish editions. SangBleu Vogue Turkey is based on the Sans, with the dots of Ü vertically arranged within the interior shape, so that all-caps headlines can be set big, with minimal line-spacing. SangBleu Vogue Brazil is derived from the Serif, with longer serifs and luscious swash capitals. Type Life shows reproductions of covers and feature pages, next to remix versions that give a hint what Vogue would look like if Swiss Typefaces were in charge.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

A preview of an unreleased script typeface [edit: this typeface was released in 2022 as Raskal Oner]

Swiss Typefaces doesn’t do scripts, right? Wrong! SangBleu Snakes is a script variant of SangBleu, or, more precisely, a partly connnected cursive, with swash alternates, crazy ligatures, and twitchy strokes that look like the typographic equivalent of static noise. This experimental font is here shown in detail for the first time, together with an in-use example from 2014, when it appeared on a limited-edition series of skateboards. [edit: this typeface was released in 2022 as Raskal Oner.]

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Contribution by Studio Jimbo

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

KRSNA vs. Caslon.

Each issue of Type Life features a guest artist. This time it’s Studio Jimbo from Paris. In their contribution, letterforms from the SangBleu and KRSNA typefaces dissolve in a blizzard of halftone dots, with a death’s head staring at you from the eye of the storm. This leads to an introduction of the all-new SangBleu typeface, released in October 2017 in five full-featured collections – Empire, Kingdom, Republic, Versailles, and Sunrise – each in a range of weights with matching italics, in Latin and Cyrillic, spanning 45 styles in total.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Left: Engraving found in Caslon Old Face Roman and Italic, published by H.W. Caslon & Co., 1924.

The fonts are accompanied by a prestigious book release. SangBleu Typeface: The King, His Court, The Explorer & The Gift is more than a formidable printed specimen: It includes a short novel by Daniela Party, specifically written for this purpose. Set in the 17th century, it narrates the story of Metzli, an indigenous Mexican woman who is captured and sent as a gift to Louis XIV, the Sun King – a gift that would set off a series of macabre events involving witchcraft, lust, envy, and death. The book is available in a limited edition of 1,000 copies.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

Source: www.swisstypefaces.com Photo: Swiss Typefaces. Swiss Typefaces. License: All Rights Reserved.

SangBleu Typeface book, SWTY Publishing, 2017

Finally, the back cover offers a glimpse into Euclid, which has been expanded with four new collections. Chances are that this typeface will be featured in depth in an upcoming issue of Type Life. For more info and availability, visit Swiss Typefaces.

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.

Catalogue by Alexandre Edenne for Ensad Paris fashion show “Mode & Sens 2018”. Printed by Imprimerie de Paris. Photography by Louise Desnos. The typeface in use is a chopped up SangBleu Empire, from the SangBleu collection available on Swiss Typefaces.

Cover

Suiza is a cultural guide for Switzerland issued by the Swiss tourism agency in Spain. It was first shown at the art fair Arco Madrid 2018. The text typeface is Suisse Int’l, here used with the alternate monocular a. It’s paired with SangBleu Empire (also by Swiss Typefaces) for headlines, quotes, and page numbers.

Art direction and design by Luis B Hernandez. Illustrations by Blastto (Carlos Llorente), David González and Buba Viedma (Mentecalamar). Client: Suiza Turismo. From the agency Brands & Roses:

Swiss nature, its chocolates, clocks, and banks are well known ... But the country has also a rich history of art, culture and great geniuses of humanity that sought inspiration in this country.

Switzerland Tourism approached us to create a guide for people interested in graphic design, art and culture. In addition to showing the museums and centers of cultural interest in many of its cities, this guide talks about the great works made by Swiss artists and those from all over the world who traveled to Switzerland to develop their works.

Infographics, illustrated maps and images present important contributions that Switzerland has given to the world in the fields of art, architecture and industrial and graphic design, such as the Swiss Army knife, the Swiss typography or the figure of Le Corbusier.

Art & Architecture

Graphic Design & Industrial Design. Carlos Llorente’s illustration on the left shows posters with letterforms from Neue Haas Grotesk AKA Helvetica, New Alphabet, and Univers.

The Frutiger quote on the Graphic Design page is set in the Regular and Medium weights of SangBleu Empire. The two-headed arrows in the last line are from Suisse Int’l.

Zurich

Each of the featured cities has its own color: blue for Zurich, salmon for Winterthur, purple for Lucerne, pink for Lugano, yellow for Bern, violet for La Chaux-de-Fonds, and grey for Basel.

Lugano

The page about the Swiss Army knife by Victorinox is set in Suisse Int’l (Book and Bold).

Radość creative agency designed their new own branding with SangBleu Empire and Sharp Grotesk.

SangBleu Empire is part of SangBleu collection, available from SwissTypefaces.

“Melt!” is set in Eksell Display The Japanese glyphs on the banderole are from SanafonMaru.

Melt! is a monthly music journal dedicated to experimental music, underground producers and events. Regarding design, it’s a mixture of eclectic typefaces and alternative layouts because that’s what music inspires in me. A combination of things: sometimes surreal, sometimes sharp, sometimes clean and other messy as hell.

Front page without banderole. The issue number is in Roboto Mono, the contents in Futura.

Section with italic caps from SangBleu Empire and Roboto Mono for the page numbers.

The text is set in Roboto Mono, with a drop cap from Georgia Bold.

The horoscope on the back cover combines TheW NYC and Georgia.