This book written by Maurice Darmon and published by the Bordeaux-based publisher 202 éditions is about the films made by Anne-Marie Miéville between 1976 et 2002. It is the first monograph devoted solely to her own work. As Jean-Luc Godard’s partner since the 1970s, her collaborative work with the filmmaker has been more widely distributed and recognized. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Punto (by Arne Freytag, Fontador).

Villa Libertad, Une communauté italienne en Argentine is the title of my Master’s degree project made at ÉSAD Pau. It is the result of a graphic and historical investigation initiated from genealogical research conducted in the northeast of Argentina. In the parish archives, I encountered a forgotten priest called Pedro Cisamolo who was living in a town named Villa Libertad and populated almost exclusively by Europeans. Between 1895 and 1901, this individual drew more than a thousand illustrations in those registers: animals, plants, landscapes, people, religious iconographies, buildings, smiling suns, etc.

This discovery was the point of entry into the history of the migratory and colonizing policies of 19th century Argentina. The law of 1876, in particular, is considered a turning point because it allowed, at the expense of the Argentinian Government, the coming of thousand Europeans who upon arrival were offered land to cultivate. Thus, in many provinces, colonies – as an artificial urban centers – were established. Villa Libertad is one of them, the first national colony of the Entre Ríos province.

This editorial project is made up of two complementary books. The first relates a historical study rooted in 19th century archives and more recent works conducted by Alejandro Fernández, an Argentinian historian. This book, through the faithful translation of these documents, contextualizes the founding and development of the Villa Libertad colony from 1872 to 1901. The second book compiles the huge amount of illustrated signatures made by Pedro Cisamolo in the parish archives. From scribble to calligraphy and finally to a whimsical bestiary, the evolution of his signatures eventually builds a singular repertoire of scriptural and figurative forms.

To emphasize the historical link between Italy and Argentina, typefaces from both countries were used. Titles and section markers are set in Borges Gris from the Argentinian foundry PampaType, and the body text in Etrusco Now, from the Italian foundry Zetafonts.

GODARD AVERTY. Petit et grand écran is a pretty book authored and designed by Paule Palacios-Dalens for the small French publisher Les éditions de l’œil. In this new essay the author reveals unexpected relationships of influence between these two creators who never formally met though they walked the same époque and scenaes.

From the publisher’s website:

As inventors constantly on the alert, the two men followed each other at a distance. Children of the letter and the book in the century of the image, they have in common the qualities of the printed word in their relationship to history and memory, and the permeability of media that is the norm today.

The book makes use of Borges (by Loche, PampaType) for the main texts, Borges Título Blanca for the headings, and Berthold’s Akzidenz-Grotesk (1896) for the pagination, footnotes, headings, and the like.

This book written by Vincent Amiel and published by the Paris-based publisher 202 éditions is about the film Andrei Rublev, made in 1966 by the then still young film legend Andrei Tarkovsky. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Bite Hard Wire (by Gleb Guralnyk).

This book recounts an interview that Jean-Luc Godard gave to film historian Michael Witt back in 2005. Its title translates to “Our music is everyone’s music”. Godard talks in depth about his then new film, Notre musique, which “explores the prospects for building bridges —both material and metaphorical, in Bosnia-Herzegovina, then recently ravaged by war. Referring to the violent history of Europe, the Amerindian genocide, and the Israel-Palestine conflict, the film offers a brilliant demonstration of the ‘principle of cinema’ outlined by the filmmaker in his fictional conference in Sarajevo: “go to the light, and direct it on our night. Our music.”

The book was edited in Paris by 202 éditions, and was designed by Paule Palacios-Dalens using Akzidenz-Grotesk (Berthold) in cover titles and interior subtitles, Borges for the main text and Borges Título Blanca for the interior headings (both by Loche, PampaType).

This beautiful book written by Jean-Michel Frodon deals with the work of the Japanese filmmaker Yazujiro Ozu. Treize Ozu. 1949/1962 was published in 2019 by 202 éditions, the Bordeaux-based independent boutique publisher of books on cinema. It was designed in Paris by Paule Palacios-Dalens. The typography is set in Borges for the main text and Borges Título Blanca for the section titles (both by Alejandro Lo Celso, PampaType) and Akzidenz-Grotesk (Berthold, 1898) for page numbers and other details.

Written by Michel Vianey, edited by Maurice Darmon and designed in Paris by Paule Palacios-Dalens, this is another little gem of a paperback book produced by the small independent publishing imprint 202 éditions. This book is part of the series dedicated to cinema, in particular to Jean-Luc Godard and the Nouvelle Vague movement.

The typography combines lettering from Godard movies with two period correct typefaces and a contemporary serif type family. Peignot (Cassandre, 1937) and Antique Olive Nord (by Roger Excoffon, Olive, 1962) are both used for section titles, subtitles, and other details. Borges (Alejandro Lo Celso, PampaType, 2002, revamped in 2022) are used for body copy.

Hiroshima dans la Blanche. L’introduction de Marguerite Duras au cinéma is a nice, little book authored by Paule Palacios-Dalens and published in 2015 by the French independent imprint 202 éditions. Part of a series dedicated to cinema, this text highlights Marguerite Duras’ first film script (Hiroshima mon amour) and the publication of its screenplay under Gallimard’s famous Blanche collection, which marks the beginning of a new literary genre.

Designed by the author using Architype Renner (The Foundry’s revival of Paul Renner’s Futura from 1927) in titles and subtitles combined with Borges (Alejandro Lo Celso, PampaType, 2002, revamped in 2022) for all main texts. Book interior photos by Nathalie Guyon.

Milieux & créativités presents an analysis of new collaborative artistic practices interconnecting artists, designers, graphic designers, architects and researchers with different social and economic backgrounds, outside the strict boundaries of the art world.

It was published by ENSA Nancy and Les presses du Réel, as part of a collection under the direction of Jehanne Dautrey. Designed by Eloïsa Pérez using various weights of Borges by Alejandro Lo Celso, PampaType. The image captions use a yet unidentified monospaced typeface.

The Parque de la Memoria – Monumento a las Víctimas del Terrorismo de Estado, also known in English as Remembrance park, is a public space situated in front of the Río de la Plata estuary in Buenos Aires. It is a memorial to the victims of the 1976–83 military regime, a period of unprecedented state-sponsored violence in Argentina.

In addition to being a monument and a place for education, the park is also devoted to art. The Sala PAyS, or PAyS Gallery, (“Present, Now and Always”) is an exhibition space where various cultural activities take place. The program includes temporary exhibitions, workshops and conferences. It prioritizes “proposals that address the problem of political memory in a broad sense, generated from non-dogmatic perspectives and that have indispensable ethical and aesthetic qualities”.

This post shows images from Destierro, an exhibition by artist Anish Kapoor. Curated by Marcello Dantas, it was on display from May to August 2017. The exhibition design follows the visual identity developed by Estudio Lo Bianco, Buenos Aires, using Perec and the stencil styles from Perec Ludique (PampaType, 2010–2020). The exhibition booklet (pdf) additionally uses Borges (PampaType, 2004) for some of the Spanish and English texts.

See also the previous post about the park’s overall visual identity, including the wayfinding and the website.

The Parque de la Memoria – Monumento a las Víctimas del Terrorismo de Estado, also known in English as Remembrance park, is a public space situated in front of the Río de la Plata estuary in Buenos Aires. It is a memorial to the victims of the 1976–83 military regime, a period of unprecedented state-sponsored violence in Argentina.

This post shows images from the park’s general catalog, or catalogo institucional. Just like the visual identity, the bilingual publication (Spanish and English) was designed by Estudio Lo Bianco, Buenos Aires, using Perec and the stencil styles from Perec Ludique (PampaType, 2010–2020). Perec serves in several of its ten styles, supported by Perec Ludique Pochoir for chapter titles, headings, drop caps, and other display use. Some of the longer texts are set in the seriffed Borges (PampaType, 2004). First published in 2010, a second edition of the catalog was issued in 2017. You can download a pdf from the official website, or flip through it on Issuu.

See also the previous post about the park’s overall visual identity, including the wayfinding and the website.

Text in Borges is paired with a heading in Perec Ludique Pochoir

The English texts are set in Borges, in three ragged-right columns.

A few interior pages and details from the magazine Dinero (“Money”) published in Mexico by Grupo Expansión. Art directed by Óscar Yáñez, it used Borges in the main text, Borges Poema for special titles, Fedra Sans for intros and other details, and Stag for key numbers. The cover likewise features Stag, together with Auto and Futura.

Written by Jacques Aumont, edited by Maurice Darmon and finely designed in Paris by Paule Palacios-Dalens, this is another little gem of a paperback book produced by the small independent publishing imprint 202 éditions. This book is part of the series dedicated to cinema, this time on Godard and the Nouvelle Vague movement. It uses Antique Olive Nord (by Roger Excoffon, Olive) on the cover and for interior subtitles, Borges (Alejandro Lo Celso, PampaType) in the main text, Borges Título Hueca in the section titlings, and Akzidenz-Grotesk (Berthold) in the footnotes.

This book gathers the final selection of texts from an essay contest organized in 2011 by the Government of the Province of Córdoba in Argentina. The essays were written by women researchers and cover the life and work of exceptional female figures who contributed substantially to the history of the region in various aspects, social, political, artistic and scientific. Edited by Reyna Carranza and illustrated by Cecilia Berry, the book was designed by Santiago Guerrero using Borges in the main texts and Borges Poema for the titles and selected verses (both types by Alejandro Lo Celso, PampaType). You can flip through the book on Yumpu.

El Gran Libro del Teatro Colón (“The Great Book of the Teatro Colón”) is a collection of fine books edited in Buenos Aires by the media group Clarín, in commemoration of an anniversary of the main drama theater of Argentina, also considered one of the best opera houses in the world. The book collection was designed by Marca studio and was art directed by Jorge Doneiger. The entire Borges family was used for composing all pages: the text version of Borges in the main texts, captions, footnotes, etc, Borges Poema in the main titlings, Borges Título Hueca in the section names.

WOZ Die Wochenzeitung is a Swiss weekly newspaper in German language, published in Zürich since 1981.

In 2010, Helen Ebert redesigned the newspaper, using Delta by Gustav Jäger (Berthold, 1983) for the titles, and Borges by Alejandro Lo Celso (2004–2022, PampaType) for all main texts. Ebert left the newspaper in 2012, but her design templates are being used to this day. While most of the images shown here are from 2022, you can see layouts from 2010/2011 on Ebert’s portfolio website.

The angular WOZ logo was drawn by Ian Party and Ludovic Balland.

This is a very interesting book: a French essay that explores the relationship between graphic design and film editing, particularly within the works of Jean-Luc Godard. It also puts JLG’s graphic consciousness in relation to the inescapable figure of Maximilien Vox, who happened to be related to him. Researched, written and designed by Paule Palacios-Dalens. Edited in Paris by Maurice Darmon, 202 éditions. Set in Borges and Akzidenz-Grotesk.

Series of books written by Maurice Darmon dealing with the cinema of Marguerite Duras (1914–1996). The book interior photos belong to the first volume, La forêt des dames. Le cinéma de Marguerite Duras. 1964–1972. The five books were designed in Paris by Paule Palacios-Dalens and published by 202 éditions between 2015 and 2017. Section titles and quotes set in Margarita, immersive texts set in Borges (both typefaces by Alejandro Lo Celso, PampaType). Subtitles and footnotes set in DTL Nobel (originally by S.H. de Roos, digitally revived in 1993 by Dutch Type Library).

French activist magazine Prostitution et Société, nº 162, designed in Paris by Paule Palacios-Dalens, using Barnum Block (Dave West, Photo-Lettering) with P.T. Barnum (ATF) for the titles, Borges (by Alejandro Lo Celso, PampaType) in all main texts, and Antique Olive Nord (Roger Excoffon, Olive) in captions, phrases and other short texts.

The sans serif used in the footnotes is DTL Nobel (Andrea Fuchs, Fred Smeijers, Dutch Type Library).

The enlarged open quote marks are from Margarita Luce.

The monolinear script used for “citation” is Greyhound (Dave Farey, Panache).

Edited by Silvia Fernández and Gui Bonsiepe in Argentina and published by Blücher in Brazil, Historia del diseño en América Latina y el Caribe is the main reference book for the history of industrial and graphic design in Latin America. It includes essays on the history of these disciplines in Argentina, Brazil, Colombia, Cuba, Chile, Ecuador, Mexico, Uruguay and Venezuela, by local researchers, as well as contributions by several European authors. Designed in Buenos Aires by the Marca studio and set in Borges including Borges Título Blanca (Alejandro Lo Celso) and Univers Condensed (Adrian Frutiger).