The third issue of the Transnational Social Strike Journal documents the wave of women’s strikes in 2018. The booklet is printed A5 on a relatively transparent stock to make the purple spot bleed through the pages whenever possible.

Messer carries the design with its confident clarity. It pairs with Riviera Nights, then a single-weight lab font, matching its resolute, sharp edges with the knifes edge serifs.

The journal is available as a download from the Transnational Social Strike website.

Looking for Direction: Rethinking Theatre Directing Practices and Pedagogies in the 21st Century contains articles by 17 authors from all around the world. This book was published by University of the Arts Helsinki in collaboration with a network of North European directing programs – Alexandria Nova. It was designed by Vilmantas Žumbys.

The publication was set mostly using Suisse Works and Suisse Int’l by Ian Party. 18 other typefaces by various creators were used for details (complete list below).

Excerpt from the annotation:

The position of a director is a hot spot in theatre today. We need to confront the new questions of power and hierarchy in our work in a very concrete way, as well as the questions of representation and interpretation. How can we create shared meaning on stage when the metanarratives are losing their universality and the audiences interpret meaning more diversely than ever before?

Authors: Milda Al-Slamah, Mareike Nele Dobewall, Kristina Hagström-Ståhl, Runar Hodne, Pauliina Hulkko, Kevin Kuhlke, Saana Lavaste, Mika Leskinen, Egill Pálsson, Yana Ross, Riko Saatsi, Johannes Maria Schmit, Robert Schuster, Anja Suša, Una Þorleifsdóttir, Loreta Vaskova, Rodolfo García Vázquez

Editors: Ramunė Balevičiūtė, Saana Lavaste, Anja Suša, Una Þorleifsdóttir

The typefaces used in this book include (in alphabetical order): BadDog (by Ethan Dunham), Brevier (by Riccardo Olocco), Custard (by Rian Hughes), Dico (by Pieter van Rosmalen), Euclid Flex (by Emmanuel Rey), Filmotype Western (digital by Charles Gibbons), Flower Power (by Pat Scanlon), Hobeaux (by James Edmondson), LiebeLotte (by Ulrike Rausch), Lo-Res (by Zuzana Licko), Messer (by Inga Plönnigs), Nimbus Sans (by Eduard Hoffmann, Max Miedinger), Omnium (by Robby Woodward), Pauline (by Jeremy Dooley), Recherche (by Laura Worthington), Separat (by Gunmad), Stick (by Fontworks), Suisse Int'l (by Ian Party), Suisse Works (by Ian Party), Triplex Serif (by Zuzana Licko). Those that are shown in the images are listed under “Typefaces”.

The table of content pages use various typefaces for the author’s names. In page order: Messer (Una Þorleifsdóttir); Omnium (Milda Al-Slamah); Recherche (Riko Saatsi); Stick (Mika Leskinen); Nimbus Sans (Anja Suša); LiebeLotte (Rodolfo Garcia Vázquez); Dico Monospaced (Johannes Maria Schmit) and Bad Dog (Yana Ross).

Spread with a diagram; the author’s name uses Pauline (by Jeremy Dooley).

The name of author Rodolfo García Vázquez is set in LiebeLotte (by Ulrike Rausch).

The name of author Johannes Maria Schmit is set in Dico (by Pieter van Rosmalen).

The name of author Saana Lavaste is set in Flower Power (by Pat Scanlon).

Pastabos apie teatrą (“Writings on Theater”) was published by the Scenos meno kritikų asociacija (Association of Performing Arts Critics) and designed by Vilmantas Žumbys. The entire publication was set using Messer by Inga Plönnigs.

This book is a Lithuanian translation of the anthology Schriften zum Theater, containing selected texts by one of the most influential theater creators and thinkers of the 20th century, Bertolt Brecht. It was originally published by the German publishing house Suhrkamp in 1957.

De facto is an agency based in New York, representing artists in the categories Photo & Motion, Styling, Sets & Props, Makeup, Hair, and Manicure. For the website, art director Chase Hostler exclusively used the Messer family by Inga Plönnigs, black on white, in all of its three styles*; Regular, Italic and Display (see Messer Condensed). The logo uses Neue Helvetica Bold or similar.

*) Messer is still work in progress. An additional condensed style with high contrast has been announced already.

The items on the homepage pair Messer Italic in mixed case with Messer Regular in all caps for the names.

Messer’s Display cut here ironically is used for the smallest type.

Messer comes with lining and oldstyle figures. De facto uses the latter ones.

Tonal is the blog of Goodhertz, makers of audio plugins such as “Megaverb” that was introduced with a video previously shown on Fonts In Use. Another Goodhertz product is the “Vulf Compressor”, named after the band Vulfpeck - which in turn was the namesake of OH no Type Co’s Vulf Mono.

OH no’s James Edmondson also designed the typeface used for for links and emphasis on the Tonal blog. Hobeaux was started during his TypeMedia year at the KABK in The Hague. The headlines and body text of the blog are set in a design by another TypeMedia graduate from a few years later: Messer (incl. Messer Condensed), a reinterpretation of Weiß-Antiqua by Inga Plönnigs. To complete the circle: Messer was among the first typefaces available at Future Fonts, the font-in-progress platform created by Scribble Type with assistance of, you guessed it: James Edmondson.

While the blog itself uses Hobeaux and Messer for all typography, some videos and interactive plugins are inserted, using more type. Here, a tutorial pairs Messer with Export Stencil, Vulf Mono and Metallophile Sp8, among many other fonts.

Messer Condensed is used for headings, with Messer Regular and Italic for text. Author names, date, and drop cap brought to you by Hobeaux Bold and Black.

Interactive example of a plugin that mimics hearing loss, with typography set in Covik Sans Mono, a typeface that evolved from Edmondson’s graduation project at the KABK.

Some of the blog posts (and plugin interfaces) have been translated to Portuguese.

In summer 2019, on the occasion of the Bauhaus centennial, the Museum of the Printing Arts Leipzig will show an exhibition about the Bauhaus and its precursors in the graphic arts industry, titled Druckkunst 1919 (“Art of Printing 1919”).

The invitation is set in Messer, a typeface designed by Inga Plönnigs based on Weiß-Antiqua (1928). A first version of Messer was made available via Future Fonts in early 2018. Messer is here used in regular and italic styles. It’s paired with what looks like a version of Akzidenz-Grotesk or similar. The cover of the folded card shows a detail from an ad for Roeder fountain pens from around 1914.

With a cross-section through the year 1919, the exhibition uses the example of posters, printed advertising materials, company logos, (trade) magazines, books, typefaces and product designs to show how innovative the printing industry and commercial art in Germany were shortly after the end of the First World War. Even before the founding of the Bauhaus, the art of printing shaped and decisively influenced the view of modern design.