Scott Boms published a second expanded edition of I Take Full Responsibility, a small book produced and assembled by hand. From his description of the project:

I Take Full Responsibility collects fourteen of the most significant communications from technology company CEOs since November 2022, who, during that time, have reduced their employee bases by huge swathes. Accompanied by a personal introduction, photos, and artwork from more than ten years in tech, it’s intended to be a time capsule circumventing Silicon Valley’s short-term memory and a clear statement of fact that work will not love you back.

Risograph printed in black, bright red, sunflower, and metallic gold inks on 5 different paper stocks, its urgent message arrives enclosed within a redesigned and screen-printed closed-spine format along with laser-cut accessory prints delivered in a personalized Inter-office envelope.

Scott shared also some notes about the typography by email:

I chose Bennet Text 2 as the main typeface used throughout the book for practical reasons, such as its character set, which includes small caps and a solid range of figures. It’s also one I’ve used before with the Riso and has proven to work well with that process. As I started setting the text, I experimented with other options but kept coming back to Bennet because of its solid, authoritative feel and consistently even color. It’s made for editorial uses like this but also works well at larger sizes where its subtle details become more apparent.

Gridlite PE was originally only going to be used for the “Approved” stamp on the pink slip card because it could look authoritative while also solving a practical need when run on the laser cutter. As the design of the cover evolved and I added the original acetate layer in the first edition, it became an obvious choice as it worked really well against the other imagery and helped then connect the various pieces together.

When I was designing the pink slip and Tech CEO Bingo cards, Aglet Mono just felt right. I was going for something that wouldn't feel out of place on a business form but could also hold its own visually and pair well with type used elsewhere in the book.

The monospace form of both Gridlite PE and Aglet just seemed to make sense. I believe an early version of the cover was set in Aglet which led to me to try Gridlite PE, which ultimately stuck in the end.

The book also includes appearances by Knockout, Champion Gothic, Fern Micro, Rhody, and San Francisco. The accompanying prints add to the eclectic mix with Displace Cut and an early use of Regrets.

Cover detail

The title page, set in Bennet Text.

Pink slip and Tech CEO Bingo card, primarily set in Aglet Mono, with die cut in Gridlite, small text in Fern Micro, and heading in Champion Gothic.

Pink slip detail

An interior spread (with the first edition’s staple binding)

Interior excerpts (San Francisco used for the email text)

Interior excerpts (Rhody featured on the first page)

Bonus print, featuring Regrets and Displace Cut

Bonus print, featuring Champion Gothic. (The Risolute Press logo is Banque Gothique.)

A typographic cover design for the latest novel by Hugo Award-winner Ted White, combining contrasting weights from two slab-serif typefaces by David Jonathan Ross, Job Clarendon and Rhody.

From the back of the book:

There I was in a beat-up 1981 Chevy Cavalier with twenty pounds of marijuana, cruising up I-95, and behind me, all too visible in my rear view mirror, the flashing lights of a state trooper…

He’d been set up. Someone (and “independent consultant” Ray Phoenix was pretty sure who) had filed a phony stolen car report. When a freak bus accident allows him to escape into the woods, Ray lands in an entirely new world of trouble – small-town cocaine dealing, counterfeit money, and a web of strange and violent relationships that will take all of Ray’s considerable skills to unravel.

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.

Bic Vu heads the Design for Democracy initiative for AIGA DC. For this presentation to the board, she combined two fonts which both are punchy and fresh: Halyard Micro (Darden Studio, 2017) and DJR’s Rhody (Font of the Month Club, 2018). The former is a lively yet robust Grotesque, optimized for smallest sizes and distinguished by peculiar ink traps. The latter is a condensed mechanical face that has “a slab at every possible opportunity”. Together, Halyard Micro and Rhody make for a crisp and appealing typography. Vu uses no photos or illustrations, only type and a few geometric shapes, in two colors. The result is a compelling slide deck with great visual impact.