Giù nel blu. Dalla superficie agli abissi: viaggio sottomarino sfogliabile (Down in the blue. From the surface to the depths: a browsable submarine journey) is an illustrated book on the underwater world. Published by the Italian publisher Nomos, the book is written by Gianumberto Accinelli and illustrated by Giulia Zaffaroni.

The book is leafed through vertically and this action together with a metric scale and the color of the pages, gradually darker, gives the readers the idea of descending into the depths, encountering many animals especially in the first pages, leaving room for emptiness and darkness as you go further down, to the depths of the ocean.

The editor also published a sequel called Su nel blu (Up in the blue) which applies the same idea with a different navigation direction: you'll go from the ground up to the space.

Table of contents is organized as a preview of the descent into the sea

Some animal have a small presentation text

The final animal index

The cover of the sequel: Su nel Blu (Up in the blue)

The cover provides a table of contents, with an outlined letter a from each of the 16 featured typefaces.

CAST Foundry loves to spread the typographic word. This is why we have partnered with the independent Italian publishing house Lazy Dog Press to produce Cast It, a periodical publication that discusses the history and culture of type together with CAST’s digital fonts. Half magazine, half specimen.

Cast It #3, “Der Schriftgiesser” (“The typefounder”, by Johann Samuel Halle) is a description of typefounding included in Werkstäte der heutigen Künste oder die neue Kunsthistorie – a virtually encyclopedic series concerning crafts originally published in Leipzig between 1761 and 1779.

Thanks to Dan Reynolds, we now have Halle’s text for the first time in English. His translation comes with a foreword (also by Reynolds) which is also the only commentary on its contents ever published in any language.

The fonts used for the title page are, from top to bottom: Macho Modular, Rialto dF (“An Essay”), Voland Italic, Sempione Grotesk (“Typefounding”), Capraia Italic, Sole Sans, Saffran (“Werkstäte …”), Dic Sans, Valnera Italic (“Werkstäte”), Neon Nbl, Arzachel Italic, Voland (“Dan Reynolds”), Valnera Italic, Macho Moustache, and Rialto dF.

The opening page of the essay is set in Valnera Monster and a type weight gradient from Arkit.

Spread with Zenon, Gramma (left), and various styles from Neon Nbl (right).

Spread with cross-page text set in Macho Moustache.

Detail.

Sempione Grotesk and Sempione Modern.

English translation with two-column text set in Capraia, Gramma, Rialto dF, Divenire, Fulmar, and Arkit.

Starting from issue N° 11 (June 2017), Pulp features Sole Serif for headlines and text.

Originally designed in 2010 by Luciano Perondi for Italy’s leading financial paper Il Sole 24 Ore, Sole Serif has all the attributes of a newspaper face: big x-height, short ascenders and a roundish and wide italic for text and titles. Nonetheless, details like the inclined axis, calligraphic terminations, Renaissance proportions and a refined but slightly mannered design, all evoke the book rather than the daily paper.

Pulp is a ‘quarterly journal of people and paper’ produced for Fedrigoni in two editions (Italian/English and French/Spanish) by Eye magazine’s editorial staff: John L. Walters, editor, Simon Esterson, art director, Holly Catford, art editor, Sarah Snaith, assistant editor, and Janet South, business manager. Printing techniques, fonts, layouts, graphic and editorial projects, illustrations, photographs, archives, swapping ideas with the people who get all this on the move and all the paper they use for their projects: these are the topics that Pulp has been covering since its first issue (March 2014).

In Signs of Italy, the Italian-based British designer, teacher and writer, James Clough, examines Italian signs within a historical perspective and from many standpoints. From the ornate Tuscan style of the 19th century to the eccentric letters of Art Nouveau, from the grandiose architectural lettering of the 1930s to the exquisite surviving examples of the old signwriters, from fascist ghost signs to lettering on manhole covers, Clough points out the highs and lows of this artistic expression as he takes readers on a fascinating lettering tour of Italy.

The text of this book is composed in Zenon, while titles and captions are in Zenans (later renamed to Arzachel). Both font families are courtesy of the type designer Riccardo Olocco, who kindly allowed Bunker to use them prior to the release. The cover and foreword are by Luca Barcellona, co-founder and partner of Lazy Dog Press. The book is available both in Italian and English version. Book design by Bunker.