The STMatilda superfamily was designed for the Austrian daily newspaper Der Standard, and is the largest custom type project the country has seen.

The design of STMatilda addressed the newspaper’s needs and previously existing issues from the start. The result is a set of typefaces highly optimised for cross-media newspaper publishing, and the German language.

You should think that German is a language well supported by modern fonts. Yet, the fonts in use before did not properly account for its typographic problems.

In STMatilda, however, typical letter pairs such as f with a following umlaut (äöü) read smoothly and without any collisions, and a cap height slightly lower than usual addresses the high frequency of uppercase letters in German. Needless to say, the design team also included the German cap ẞ (sharp S) in all of the five font families, which in turn consist of a total of 53 static and 7 variable fonts.

The design team comprised Marcus Sterz (FaceType), Miriam Surányi, Lisa Schultz and Rainer Erich Scheichelbauer (Schriftlabor). STMatilda received a Silver Award at the Joseph Binder Award 2020.

FaceType’s Motto in use on the typographic cover of the debut single by Tove Styrke, released in June 2010. The singer and songwriter finished third on the Swedish talent show Idol 2009. “Million Pieces” is included on her self-titled album.

Last night I said I was fine but I lied / My heart in thousand pieces / Million pieces tonight

The words have been deconstructed into pieces, too. Designed by Marcus Sterz and released in late 2009, Motto comes in two Bicolor styles that can be combined in layers for chromatic effect. The uncredited designer of the cover used this feature to full capacity.

A set of small format language guides, developed in collaboration with Te Taura Whiri (The Māori language commission) to engage people with Te Reo Māori (Māori language) in a practical setting, during the 2017 and 2018 “Te Wiki o te Reo Māori” (Māori Language Week).

The posters and cards were distributed at café counters and public transport stations around Aotearoa, designed to make it inviting, clear, and easy to practice Te Reo in your everyday routine.

Te Taura Whiri were open to these resources having their own look and feel, and didn't specify any typefaces as a mandatory. Egyptienne Bold Condensed was chosen for its bold retro charm, and Publica Sans for its classic futura/avant-garde feel. Basic Sans has a nice cheery character and refinement that worked perfectly at the small sizes required.

Both Egyptienne and Basic Sans were used in a new typeface combination for another booklet for Te Taura Whiri.

Photo: Threedotstype. License: All Rights Reserved.

Żoliborz by Marian Misiak / threedotstype

MAMSAM mugs —

are associated, first of all, with an aesthetics of PRL (People’s Republic of Poland), although they were also inspired from the German design of 1960s. The first patterns referred directly to the Polish applied graphic design of 1970s. However, with time the designers cooperating with us started to treat them as a medium of comments towards the present days and to make reference to the current events or texts of the culture.

MANSAM Mugs, are first and foremost good Polish design as well as the gallery presenting the works of Polish graphic artists and designers distinguishing themselves.

They are formed as limited series, not exceeding 100 pieces (there are mostly 30 pieces of them of one pattern). Each series is an unrepeated collection of logotypes, which are not produced more by us in case if they have beeen already sold.

The MAMSAM shop currently lists 979 different designs submitted by 173 designers, sorted in 12 categories like cities, sport, animals, objects, words. This post shows a selection of mugs with typographic designs. Unless otherwise noted, all depicted mugs were designed by Janek Bersz, one of the most prolific contributors. The selection also includes mugs by Polish type designers who have used the MAMSAM mugs as a platform to showcase their typefaces.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

´

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

אהבה by Mixcolour

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Śląsk by Marian Misiak / threedotstype

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Singiel by Tomasz Tkaczyk

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Source: mamsam.pl License: All Rights Reserved.

Służew by Szymon Sznajder

Source: mamsam.pl License: All Rights Reserved.

Bielany by Joanna Angulska

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Żoliborz by Zuzanna Rogatty

Source: mamsam.pl License: All Rights Reserved.

Ursynów by Rafał Buchner

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Bemowo by Mateusz Machalski

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Śródmieście by Mateusz Machalski

Source: mamsam.pl License: All Rights Reserved.

Saska Kępa by Ludka Niezgoda

Source: mamsam.pl License: All Rights Reserved.

Wilanów by Anna Wieluńska

Source: mamsam.pl License: All Rights Reserved.

Mokotów by Robert Jarzec

Source: mamsam.pl License: All Rights Reserved.

Żerań by Maciej Połczyński

Source: mamsam.pl License: All Rights Reserved.

Praga by Maciej Włoczewski

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Białołęka by Beata Kurek

Of the many dubious uses of Zapfino, I contend that this is the Worst Of All Time.

Zapfino is paired with another typeface by Hermann Zapf, Optima Bold.

The website uses Supernett cn for most text. The photograph in the middle shows a sign in Optima with stacked glyphs.

Supernett cn is paired with Brandon Printed and Thirsty Script.

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

Posters for Action Replayy, an Indian romantic comedy film involving time travel, directed by Vipul Shah and starring Akshay Kumar and Aishwarya Rai. I haven’t seen this film, but judging from the reviews quoted on Wikipedia, it’s not exactly a must-see.

The typographic choices are more interesting: The logo uses Tutti Paffuti NF, a digital interpretation of Stymie Black Italic (in or before 1973), which in turn appears to be a copy of Dave West’s Behemoth Italic Swash (Photo-Lettering, c. 1967). The version by Nick Curtis (2007) adds diacritics and ligatures, but doesn’t include all of the alternates of Stymie Black Italic.

“Rewind Your Life” looks a lot like one of the styles of Bauhaus Prisma/Prisma Graphic, a series of multiline variations made at Photo-Lettering in c. 1970. This style (#8159) was digitized in the early 1990s as Prisma Graphic, but seems to be no longer available. The smaller type is in Slug Single (FaceType, 2009), the bold solid style of a font system actually intended for bicolor layering.

Source: www.flickr.com nsbollywood. License: All Rights Reserved.

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

Source: www.flickr.com nsbollywood. License: All Rights Reserved.

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

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

Source: www.flickr.com nsbollywood. License: All Rights Reserved.

Source: www.flickr.com nsbollywood. License: All Rights Reserved.

Red Rooster is an Australian fast food chain, founded in Perth in 1972 and expanding into the eastern states in the 1980s. It is a competitor to KFC.

When Red Rooster first opened, its logotype was in Helvetica, but by the early 1990s this had changed to Goudy Heavy Condensed.

The latest major rebranding was developed by Brand Council in 2014. While the rooster was reimagined and got a heart-shaped body, the wordmark remained unchanged, in all-lowercase letters featuring an ‘oo’ ligature.

Two old Red Rooster logo variants. The one on the left was in use until 2006, and the one on the right until 2010, according to Logopedia. The tagline “it’s gotta be red” is set in Mark Simonson’s Felt Tip Roman.

Logo with tagline “tender loving chicken” in Nick Shinn’s Duffy Script, introduced by Brand Council in 2014.

Logo variation featuring the rooster with heart, introduced by Brand Council in 2014.

Ad campaign featuring more Duffy Script, set reversed and on an angle.

The main typefaces used on the website (2018) are Adria Slab and Marianina FY.

This photo of a Red Rooster restaurant in Wagga Wagga was taken in 2009. It still shows the old rooster.

Wiz Khalifa profile in NYLON guys

Book cover design by Eleanor Crow for Faber & Faber

Faber & Faber:

Electric Eden documents one of the great untold stories of British music over the past century. While ostensibly purporting to be a history of that much derided (though currently fashionable) four-letter word, 'folk', Electric Eden is a magnificent survey of the visionary, topographic and esoteric impulses that have driven the margins of British visionary folk music from Vaughan Williams and Holst to The Incredible String Band, Nick Drake, John Martyn and Aphex Twin.

Eleanor Crow’s cover design for Rob Young’s book uses Ivory, paired with Electra for the blurb. Released in 2009 by FaceType, Ivory is inspired by decorated letters found in an illustrated compendium about pomology from 1882. Here, its glyphs were wired up to a power pole, making the Victorian curlicues appear energized.

Faber & Faber’s paperback version (2011) uses a less playful cover design, still with Ivory and Electra.

The accompanying double CD set (Universal, 2012) sticks to Ivory, too, now making use of its separate swashes style for a bichromatic setting. Artwork by Estuary English.

For their boxed beauty kits Benefit always throws lots of fonts into the mix. Somehow they manage to get nice looking products out in the end, though. On the front side two retro fonts — Luxus Brut and Marlowe — form an Austrian rope team.

Voubelle
A brand for young women, connected through social media, following the latest trends, in love with fashion brands, extremely original – this was the public that an entrepreneur had in mind. Her plan was to sell clothes that are in line with the latest trends, in unique designs, selected and approved by herself. She approached Anora Campo to help her with the design of the company’s brand.

Brand strategy
After knowing the plans for the company and a market study, we realized that there was a market gap for a brand that unites two aspects: the uniqueness of a large and luxurious brand with the informality and language from brands aimed at young public.

We defined four basic pillars for the brand: exclusivity, informality, status and youthfulness. These pillars have guided the whole creative process and all decision-making.

Brand identity, verbal identity and digital identity
We brought the identity exclusivity expressed in the logo and photography direction, while the youthfulness and informality are expressed by the use of typography, iconography, illustrations, verbal identity in addition to some details the direction of the model in the photos.

For the album artwork to Undercover Folk by Jason Serious, Maurice Redmond created …

hand-made 5cm heads inspired by themes going though the album of cowboys, vagabonds and handsome scoundrels, along with portraits of the band themselves. The heads are disembodied to emphasize the characters and also to be used as effective social media avatars such as Facebook.

For the type, Maurice chose the handdrawn-looking monolinear Strangelove, one of the many recent releases that are reminiscent of Pablo Ferro’s lettering. FaceType’s version is one of the more authentic and successful takes. Strangelove Next comprises three styles – Narrow, Wide and Mix, all of which have been used in the project. The accompanying website is a painful case in point that not every type style can used in any medium at any size.

Christmas was once a moveable feast celebrated at many different times during the year. The choice of December 25 for the official date of Christ’s birth was made by Pope Julius I, in the 4th century A.D., because this coincided with the pagan rituals of Winter Solstice, or Return of the Sun (on December 20–23). The intent was to replace the pagan celebration with the Christian one.
In ancient times people from all over the world celebrated winter festivals. The Romans celebrated Saturnalia festival honoring Saturn – the god of agriculture. Germanic pagans celebrated Yule or the return of sun god. Many of the modern Christmas traditions such as bedecking houses and churches with tree branches, huge gifting and arranging grand feasts are apparently derived from these pagan celebrations.

substudio.com

Advertising Agency: Cramer-Krasselt, Milwaukee, USA
Executive Creative Director: Chris Jacobs
Creative Director: Todd Stone
Associate Creative Director: Shawn Holpfer
Art Directors: Shawn Holpfer, Josiah Werning
Copywriter: Todd Stone
Photographer: Shawn Holpfer
Published: September 2011