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Minnie ’n Me: Songs Just for Girls album cover (1990), ft. the italic and roman styles of ITC Century Bold Condensed for secondary text

From The Disney Wiki:

Minnie ’n Me was a 1990s merchandise branding program from the Walt Disney Company featuring the comic character Minnie Mouse in her childhood days. Her youthful companions include Daisy Duck, Clarabelle Cow, Penelope “Penny” Pooch, Patti Pony, T.J. Turtle, Heather Hippo, Lilly Lamb, Minnie's dog, Fifi, and Daisy's kitten, Trixie. Later on, Disney added Figaro, Mickey Mouse, and Donald Duck to the mix. On the whole, this line of merchandise was mainly targeted towards elementary-aged girls ages 4–9.

There was a wide variety of Minnie ’n Me products, including dolls and other toys, trading cards and stationary, perfume and jewelry, luggage, bedding and more. The logo used for this brand is based on Sweetheart, and some of the merchandise, mostly books, actually uses the typeface.

Similar in design to Photo-Lettering's Bonaparte and Lettergraphic's Spring, Sweetheart features terminals and tittles decorated with hearts and an alternate B with a heart-shaped counter. Additionally, its f, t and ! have arrow-like qualities that suggest Cupid and his bow.

Source: www.etsy.com License: All Rights Reserved.

My Favorite Book: A Book of Verse (1990)

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Where's Fifi? book cover (Little Golden Books, 1992)

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What Will I Wear? book cover (Little Golden Books, 1991)

Source: www.etsy.com beanandbearstoreUS. License: All Rights Reserved.

Minnie’s Slumber Party (Little Golden Books, 1992)

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Spread from Cooking Together: A Book of Recipes (1990). The text typefaces are Century Schoolbook and Helvetica.

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Toy china tea set

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Audio cassette that came with the book When We Grow Up (1990), additionally featuring ITC Century Bold Condensed Italic and Helvetica (incl. Helvetica Condensed)

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Trading card packs with card pack box

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Paper plate

Hahaha. The humor of Art, a collaboration between KANAL-Centre Pompidou, the Centre Pompidou and ING Belgium, was one of Brussels’ flagship exhibitions in 2021.

Re-opening after 18 months of closure, the ING Art Center presents more than 200 works, selected by Nicolas Liucci-Goutnikov, curator of the Centre Pompidou and Anne Petre, head art curator at ING Belgium. The eclectic and wide-ranging collection – separated into eight themes – reveals the overlooked role of humour in major art movements from the 19th century to the present day.

The accompanying bilingual exhibition catalogue by Huz & Bosshard is typeset in multiple widths and styles of Klub designed by Pierre Pané-Farré.

Klub is used in all its capabilities to its full extent: from straight body copy, visually-loud chapter openers and for typographical hierarchies like footnotes. Throughout the catalogue Klub 04 Medium, Klub 06 Bold, Klub 08 Medium as well as all styles of Klub 11 are paired with ITC Century. The result is powerful and strong design on the basis of a strict book architecture. In addition the catalogue comes with a booklet with English translations in which the typographic motive is repeated.

Cover for the 1991 Accolade, Inc. computer game software catalog, featuring a mix of seemingly incompatible fonts, which was a popular post-modern trend in the late 1980s and early 1990s. From Wikipedia:

Accolade, Inc. (later Infogrames North America, Inc.) was an American video game developer and publisher based in San Jose, California. The company was founded as Accolade in 1984 by Alan Miller and Bob Whitehead, who had previously co-founded Activisionin 1979. The company became known for numerous sports game series, including HardBall!, Jack Nicklaus and Test Drive.

Other type treatments found in the catalog’s interior pages can be seen at the Internet Archive.

Example of the Interior pages of the catalog. The justified, multi-colored text on the left page is Neue Helvetica 55 Roman. On the right page, “Golf” is ITC American Typewriter Medium Condensed, “NEW” is Compacta Light, the body and caption text is a mix between Neue Helvetica 57 Condensed and 77 Condensed Bold. (The text of the game – over the image of Jack Nicklaus – is Cheltenham Condensed, in caps with small caps.)

Source: www.amazon.com License: All Rights Reserved.

From Wikipedia:

The Shadow of Your Smile is the debut album by the American alternative rock band Friends of Dean Martinez, released in 1995. The band included members of two Arizona bands: Joey Burns and John Convertino, of Giant Sand, and Bill Elm, Tom Larkins, and Van Christian, of Naked Prey. The band changed their name from Friends of Dean Martin right before the album's release, after threat of legal action by Martin’s representatives.

The album was considered part of the mid-1990s “Cocktail Nation” trend of instrumental surf and lounge music.

The cover typography brings together two extrawide typefaces that support the cinematic feel. While the band name is set in an early digitization of Hellenic Wide, a classic Western “railroad slab”, the album title appears to use Horizontal. This modernist grotesk with similarities to Microgramma was designed by Max Miedinger of Helvetica fame. It was later digitized as Miedinger (Canada Type, 2007).

[More info on Discogs]

Source: www.discogs.com License: All Rights Reserved.

The track list is set in Hellenic Wide, too.

Source: www.discogs.com License: All Rights Reserved.

The typeface used for the credits is yet unidentified.

The current exhibition Breaking News, Making News, Faking News at the Museum für Druckkunst Leipzig takes a critical look at lies and alternative facts in the press using examples from 600 years of media history. In doing so, it also hits the ‘nerve’ of our time and confirms the need for discourse and reflection.

We developed the title for the exhibition about the typographic ‘game’ — it shows the course/origin of fake news in the three stages again, also in historical perspective. For this, we conceived and designed the exhibition campaign and implemented it with print products such as posters and invitation cards and digital solutions on dCLP. The exhibition campaign was based on the catalog we designed.

Raccontare e scoprire una persona attraverso il graphic design (“Discovering a person through graphic design”) is a fanzine produced as a final assignment or the graphic design course of NABA Milano. The publication contains different graphic design projects. These projects tell about dreams and emotions of a girl: a song which she’s particularly fond of, a place she loves, a job she dreamed of as a child and so on.

Texts are composed in TWK Lausanne and ITC Century. Cover printed on Favini—Crush 180 g/m², inside pages printed on Fedrigoni—Arena Smooth 120 g/m². Staple binding, format 19×15.5 cm.

Cover for Rookledge’s International Typefinder

Rookledge’s International Typefinder is a classic and essential reference. Best known for its 1990/1991 edition, it is now getting a little bit dated, but remains beloved by typophiles and typographers.

“Rookledge’s International” and “finder” are in Caslon 540 Italic in the colour purple. “TYPE” is in a Clarendon — possibly Bitstream’s Clarendon Bold Condensed — displayed as large as possible and reversed out. The remaining text is in ITC Century Book Condensed, also reversed out.

The Caslon/Clarendon/Century combination, as well as all being typefaces beginning with the letter C, are extremely conventional choices. But, the cover designer has made good use of the typefaces to make a bold and striking design.

The juxtaposition of medium italic with bold roman feels like a 1990s thing. The British newspaper The Guardian had a masthead that was Garamond Italic and Helvetica Bold between 1988 and 2005.

According to its acknowledgements page, the book is typeset on a Linotron 202.

The title page uses the same design as the cover, but in black-on-white and with the addition of the Moyer Bell Limited imprint (with a badly kerned “York”) set in Gill Sans.

Title page for Rookledge’s International Typefinder, with publisher’s imprint (and library stamp)

Brand identity and web design for Brooklyn-based clothing designer Samantha Pleet, created by Other Means.

The primary typeface is a custom digitization of Baldur. The font as used on the website is simply named Samantha. Baldur was originally issued by the Julius Klinkhardt foundry in Leipzig, Germany in 1901. Its Art Nouveau curves are a good match for Pleet’s fantastical and feminine clothing. Generally available digitizations of Baldur include a freebie by Dieter Steffmann and Ralph Unger’s Reznicek.

In its first issue, feeels tackles the concept of “fuzzy” from a myriad of critical perspectives. Written and visual pieces explore timely and timeless topics including fuzzy politics, foggy memories, language shifts, playful interactions between strangers, and clashes between modernism and cultural traditions. Contributors hail from a range of professional backgrounds—art, design, medicine, history, and sports mascots—and seven different countries, coming together in conversation through a common lens.

In its multi-faceted framework, feeeels highlights established and rising thinkers and makers, with often surprising interjections. At a moment when tactility is disregarded in pursuit of sleek, supposedly immaterial, digital interactions, we foreground it as a necessary foundation for understanding the 21st century.

See also the “Fuzzy Buzzy” insert.

Communication Graphics is a textbook compiled by Wendell C. Crow and published in 1986 by Prentice-Hall. Cover concept by the author, with color photography by Ron Cable. The book typography pairs Eras with ITC Century for text.

Spread from Chapter 3, Typographic Images. The Fundamental Graphics Tools. The figures on the left show Shannon, a typeface designed by Janice Fishman and Kris Holmes at Compugraphic, using the Ikarus program, and the letter a from Demos, a typeface designed by Gerard Unger for cathode ray tube (CRT) typesetting on the Hell Digiset composing machine.

Appendix B. Per-Pica Character Count for Fifty Popular Typefaces.

Really delightful interior graphic, featuring many of the mid-80s’ greatest typographic hits, like Balloon Drop Shadow, Crillee, Baby Teeth, Stack, Superstar Shadow, Sinaloa, Shatter, Harlow, or ITC Neon.

These posters by students at School of Visual Arts were made in response to President Gerald Ford's initial outlook on New York City's financial crisis in 1975. Ford was against offering the city any bailouts. A Oct. 29, 1975 speech to the National Press Club was summarized by New York Daily News with the headline, “FORD TO CITY: DROP DEAD.” (Ford actually never said those words in his address.) These posters seem to parody the design of the NYDN headline with Railroad Gothic used in place of the newspaper’s custom typeface Daily News Gothic.

Photographs of the original posters, as shown by the Glaser Archives on their Instagram account, September 2018.

With truly singular mash bills, signature malted grains and hand selected toasted and charred barrels, Rabbit Hole is the best example of innovation and craft distillation in the States. — Rabbit Hole Distillery

Identity, signage and packaging for Kentucky-based distillery Rabbit Hole using the same set of typefaces throughout. From the XXL lettering on the brewer’s premises to the nutritional facts on the bottles, Geogrotesque and its narrower styles from the Geogrotesque Condensed Series are paired with ITC Century – Tony Stan’s 1970s cut of Century Expanded.

Is reading tweets different when they are part of a book? Does context change the tone and scope of your ideas? Explore what happens when content that is ephemeral by nature is preserved in printed form. This book is both an archive and an irony; an object that quickly becomes obsolete, given the exponential speed on which online content is generated every day, but also an artefact that is always there to remind you of your brief passage on the overwhelming flood of information.

“A tweet history” is a mechanism for frustrated writers to have a published book with their names on the cover, a way for narcissists to encapsulate their own thoughts in a physical object and a strategy to fill that empty space in your modest library. Shown here is a tweet history for President Donald Trump, but anyone with a tweet history could have their personal tweet history bundled through Odd Publications.

This randomly generated “book contains two months of Donald Trump’s tweets (which comes down to about 450 tweets) and is almost 600 pages thick. All the loaded content is chronologically ordered, but processed with aleatoric combinations, which leads to unexpected and interesting results. It contains tweets, quotes, photos, stats, a hashtag index and a reference index.

Throughout the book we did not want to show the hashtag # and at @ symbols in front of words. We want that the user engages with the content more as if it were literature than a transcription of internet language. Every hashtag and reference is henceforth shown in Italics. When there is a reference, a small @ symbol is shown at the end of a tweet. The hashtag index at the end of the book shows which hashtags were used and the references show whom the user reached out to.

The line that goes through the book is a compound element between retweets and likes, and shows the reach of each tweet in terms of popularity. The higher the line goes, the more reach and popular a tweet is.

Designed by Jaap Smit and coded by Darien Brito

ITC Century (Light Condensed and Italic) is used throughout.

Geographic North:

Originally released in 2012 by the now-defunct Atlanta imprint Double Phantom, “Blood” b/w “Black Eunuch” marks the seething, debut transmission from avant-gospel-punk provocateurs Algiers. This critical, now-out-of-print 7″ has been reissued on blue vinyl with alternate artwork by Geographic North to commemorate the band’s 2017 European dates supporting Depeche Mode.

The main type nearly matches Helvetica Inserat, but there are differences such as a longer middle bar on the ‘E’, a straighter ‘R’ leg, and a closed ‘S’. This could be a wood version of the face.

Animated graphic on the record label’s website

Hum:

Cornish is nationally recognized as a premier arts college, and one of only three fully accredited private colleges in the US dedicated to both performing and visual arts. Facing declining enrollment, the head of institutional advancement tasked Hum with increasing prospective student enrollment, retaining current students, and guiding Cornish to a new market position.

While the printed matter (and even the website mocks found on Hum Creative’s site) use Eames Century Modern, the actual website reverts to ITC Century.

Neutraface and Century Old Style strike the perfect tone for this book of domestic tips that hearken back to the “simpler times” of early to mid 20th century America. ITC Century is used for large type, like chapter heads, presumably because it has a lighter touch, but it feels newer and thus slightly out of place.