Nassim was used for this visually striking set of postcards and posters, contributing towards intercultural exchange, and showing its display qualities. The Austrian project was born from the refugee movement that is taking place in Europe since 2015. Many of the people fleeing from war speak Arabic, a simple “Thanks” or an invitation to a coffee could be the first step towards a better understanding between the different cultures and languages.

Awarded at the European Design Awards 2017, all proceeds donated to “Kulturen in Bewegung” (cultures in motion).

This 300-page, bilingual collector's item about the famous large Hermes head stamps exhibits the strengths of a well-developed type system with extensive language support. Skolar PE, and Skolar Sans PE are used for headings, body-copy, and footnotes throughout the Greek, and English edition. The publication is very technical and full of micro-typographical details, an ideal environment for the Skolar family.

This hardbound book, published by Wydawnictwo Naukowe WSPiA, contains essays on contemporary German literature since 1989. The authors seek answers to the question: did the union euphoria, the association disappointment, the East German “ostalgia”, the western apolitical, sometimes defeatist attitude, a retreat into the personal sphere of the 90s, give way to newer perspectives? Book design by Bartłomiej Bączkowski.

Victor Mattos designed a book with a bilingual version of the well-known Indian text. He used Skolar for both Portuguese in Latin script and Sanskrit in Devanagari.

Skolar Sans takes a key position on the website of the Växjö Lakers, a team of Sweden’s top-level ice-hockey league, SHL. The typeface is employed throughout the site in body text, and game statistics. The design utilizes two of Skolar Sans’ strongest qualities, versatility and language support. A real advantage for the typographic complexity of sports sites.

The website for the law firm Vangard uses Skolar and Calibre, the colour yellow, and black-white illustrations to great effect. The identity was designed by Labor B, and won the iF communication design award and the DDC Award in 2014. See also the post about the stationery and other printed matter designed for Vangard.

Commissioned by the Government of Mauritania to broaden awareness and understanding, and to help promote commerce and tourism, this trilingual, large format, coffee-table book was designed by John Hubbard and published by Ewrks Media Inc. It uses Nassim by Titus Nemeth for Arabic and English and Le Monde Sans by Jean François Porchez for French.

The corporate identity for the law firm Vangard uses Skolar and Calibre, the colour yellow, and black-white illustrations to great effect. The identity was designed by Labor B, and won the iF communication design award and the DDC Award in 2014. See also the post about the Vangard website.

Neacademia shows its affiliation for letterpress applications in this chapbook by Nova Scotia’s Gaspereau Press. Fricatives, by Gillian Sze is part of the Devil’s Whim Chapbook series, focusing on Canadian authors from various fields. Printed in a limited edition of 300 copies. Designed and typeset by Andrew Steeves.

Cover lettering by Mr Rajeev Prakash Khare

Skolar Devanagari in use for the Gandhi Peace Foundation, designed by Indian studio By Two Design. The book, Jal Thal Mal by Sopan Joshi, was written with the intent of explaining the concept of sanitation in its entirety. It introduces the subject through cultural, political and social contexts. The texts are accompanied by intricate black and white illustrations by Rajeev Prakash Khare.

Ahmedabad/Bangalore, India.

Grüße aus Lappland (Greetings from Lapland) makes extensive use of Skolar in this 180-page statement against the homogenization of Nordic countries by Nils-Aslak Valkeapää. The title is the first within Samica, a series of multilingual and interdisciplinary books with contributions to the languages, literatures, and cultures in Sápmi, the settlement area of ​​the Saami between Finland, Norway, Sweden and Russia.

Design and illustrations by Philipp von Rohden. Typesetting by Iris Perkmann, Joshua Wilbur. Published by the Scandinavian Institute of Freiburg University.

Andrew Steeves relied on Neacademia for the heavy-lifting in John Steffler’s 333-page strong novel German Mills, the story of an 18th-century fortune-seeker, who’s leaving behind his German home to embark on a journey into the American wilderness. The typeface is used for the jacket and throughout the book, where the skilfully placed typography is accented with woodcut illustrations by Jack McMaster. The composition of the cover is based on a woodcut title page from a 1788 German-language almanac printed in Halifax, with title and author in Lucida Blackletter.

Designed and typeset by Andrew Steeves in Neacademia by Sergei Egorov. Jackets printed on a Vandercook press using St. Armand Canal paper. Gaspereau Press, Kentville, Nova Scotia.

Neacademia carries the punchy rhythms and visceral imagery of Robin Dunford in her latest poetry collection, Half Rock. Andrew Steeves of Gaspereau Press chose the typeface, which he considers to be “hands-down the best Griffo/Aldine digital revival” in his toolbox, to be printed from photopolymer plates, and used throughout the book. A love-letter to the art of traditional printing.

Designed and typeset by Andrew Steeves, printed on handmade paper at Gaspereau Press, Kentville, Nova Scotia.

Arek was chosen for a leading role in the visual identity for Brno-based theatre Divadlo Polárka. Aiming at young audiences, the theatre uses a colourful array of printed and digital ephemera; posters, programs, leaflets, and graphics.

Divadlo Polárka was established in 1999. While the plays are primarily written and directed to appeal to children, it also has something in store to entertain (the often accompanying) adults. Suitable for ages 3 to 103.

Concept and design by design studio Atelier Simpléz, Brno.

Inker linker is a web listing of various printing establishments. It claims to help in finding “printers based on what they do best or what’s most important to you”. Designed by Jessica Hische, the website uses our Skolar for text, combined with Cooper Black by Oswald Bruce Cooper for the logo and various captions.

Detail

NOUS magazine is a Manchester based publication dedicated to conversations about mental illness. With each issue NOUS is taking its readers on a journey in three parts featuring short stories, interviews, poetry, and essay exploring one chapter of our mental health. Published biannually with changing topics related to mind culture, philosophy, mental illness, and the everyday. The magazine is printed by Team Trident Press in everchanging dualcolour variations. Issue No. 6 comes in blue and red and is set in Arek by Khajag Apelian.

Designer, speaker, and author Elliot Jay Stocks is a long-time fan of Skolar, hence it comes as no surprise he uses it on his personal blog.

This issue of the typographic magazine Typo attempts to present a broader perspective of typography and lettering arts in India, its history as well as some recent design projects. The magazine presents articles and essays from renowned designers, a widely published scholar and historian, and many other type designers both from India and abroad. Skolar is used for several articles, in addition to one by its designer David Březina.

The Visual Schoolbook (Elementarz Wisualny) is an educational material for youth, high-school students in particular, about the subtleties of graphic design. Both the book and its content have been designed and written by the author, Paulina Urbańska, in an attempt to fill a gap among the educational publications for the young—it was made for people that do not receive design education in art schools.

The use of Skolar typeface is deliberate, because it was designed for use in educational materials.
The book was selected among the best 40 graduation projects from Poland, Czech, Slovakia, and Hungary.

Typopassage is an exhibition venue in public space, dedicated to type and lettering. It is hosted by the MuseumsQuartier in Vienna and the shows are curated by renowned Austrian design office bauer Konzept und Gestaltung. For the exhibition of typopassage no. 2 by German designer Ariane Spanier, Nassim was chosen for the accompanying catalogue. The titling typeface is a custom font designed by Erwin Bauer for Typopassage.