Slow Violence is a 16mm music video created by director Anna Heisterkamp in 2024 to accompany a single release by Louise Gaffney. The film was captured in the West of Ireland with movements by artist Cian Handschuh, dancer Rebecca Hurson and Luke Smyth.

The graphics were designed by me, Louise Gaffney, a Dublin based artist and film editor. The title is set in Romie by French type designer Margot Lévêque, alongside the artist’s own handwriting using sumi ink in expressive, signature strokes.

Cover pages (detail) of the Switzerland and Norway travel guides by Lonely Planet, set in Pangea SemiBold

The story of the travel publisher Lonely Planet begins in the summer of 1972. The newly married Australian-British couple Maureen and Tony Wheeler had just completed a trip to Asia that lasted several weeks. Black in Melbourne, their circle of friends kept pestering them with questions about their trip, so they decided to write a book about it and publish it themselves. The success of Across Asia on the Cheap laid the foundation for what was to become Lonely Planet.

Today, the Australian publisher claims to be the world’s largest provider of independent travel and language guides. They publish 650 titles with a total print run of around 55 million copies. The company employs over 400 people in its offices in Melbourne, Oakland, London and Paris and has a staff of around 150 authors.

In 2022, Lonely Planet commissioned the New York creative studio Garrett Elizabeth Office with a comprehensive redesign of the brand. The aim was to modernize the travel guides and website and make them more attractive to both long-time users and a new generation of travelers.

Following the relaunch of the brand, the internal design team set out to find a new corporate typeface. They came across Fontwerk’s multilingual Pangea Collection via an internet search and were fascinated by the story of an “adventurous” font that goes on a world tour with extensive language development. Ultimately the decisive factor in the decision was Pangea’s sustainable licensing model: 25 percent of Christoph Koeberlin’s designer royalties go towards rainforest conservation and large-scale reforestation projects.

Shortly afterwards, Lonely Planet began the complete redesign of all printed materials. For this purpose, the publisher licensed Pangea and Pangea Text Regular, Italic, SemiBold and Bold. In order not to delay the new editions of the travel guides, city maps and maps, the design team even received some Pangea Condensed weights before their official publication. The serif used for body copy is Matthew Carter’s Miller. The Lonely Planet website was also refreshed and – until recently – was set in six Pangea styles.

The Lonely Planet travel guides are aimed at individual travelers who want to get off the beaten track.

Lonely Planet’s updated city plans and maps have been using Pangea and Pangea Condensed for years.

Lonely Planet’s international website has also been converted to the Pangea font family.

Prophet Song is a dystopian novel by Irish writer Paul Lynch. It was published by Oneworld in August 2023, with a jacket design by Jack Smyth who used Orleans for both title and author’s name. His design was also adapted for the US hardcover by Atlantic Monthly Press, (December 2023) and, in red, the paperback edition by Grove (October 2024).

The book won the 2023 Booker Prize.

Text on the inner flaps and the back is set in Theinhardt.

From the About page:

The Stripe Young Scientist & Technology Exhibition has been a launchpad for Ireland’s brightest young minds for half a century. It’s where one year’s frontier research becomes next year’s student project. It’s where you discover an island-wide community that shares your passion and curiosity.

The website for the Stripe Young Scientist & Technology Exhibition ’26 is using Melange Grotesk Regular in combination with Tiny 5×3 160 and Söhne for its website typography.

Curl Maven is a holistic hair, beauty, and wellness brand founded by Gabriella Strano, a globally recognized expert in wavy and curly hair care. The platform offers personalized consultations, educational resources, product recommendations, and expert guidance to help people embrace and care for their natural curls.

The identity for Curl Maven uses Red Moon Rising for the logo. Orange Squash is the primary typeface for headlines. The website additionally features Outfit for navigational elements and selected subheadings. Occasional handwritten accents are rendered in Constane, adding a personal, crafted feel to the brand experience. Smaller type is rendered in the visitor’s default system font. In the screenshots here, that’s Segoe for body text, while Arial is used for the footer.

Retirement Plan (2024), directed by John Kelly and voiced by Domhnall Gleeson, is a critically acclaimed animated short that took home both Best Animated Short and the Audience Award at SXSW Festival.

Daly & Lyon contributed supporting typography, including the film credits and select promotional materials, using Symbol Bold by British Standard Type.

Now making its way through the international film festival circuit.

Out of the Ashes. A Photographic Account of Shelbourne FC’s 2024 Title-Winning Season is a self-initiated project published by 53Six in collaboration with Póg Mo Goal. 53Six is a sports marketing agency based in Dublin. We work with clubs, leagues, federations and brands to help them connect with fans. Póg Mo Goal is a football magazine published in Ireland exploring design, culture and the lesser-known aspects of the game.

With Shelbourne FC chasing down their first league championship in 18 years, we wanted to document the historic occasion and tell the story of the run-in. When we witnessed this incredible story unfolding, we knew it was a moment worth capturing.

In an increasingly digital world, creating a photography book felt like the perfect way to preserve the emotion, energy, and history of this title—something tangible that would stand the test of time. This book showcases the beautiful photography of two of our favourite collaborators, Simon Crowe and David Sexton. We approached them both to shoot the fans, the players and the action as Shelbourne sealed their first league triumph since 2006. It also brings the 100 year old stadium on Dublin’s north side, and the characters who flock there, to life on the page in all its gritty beauty.

When we began thinking about this project and how to document a potentially historic league-winning run-in for Shels, with one of Irish football’s most talked about and enigmatic managers, Damien Duff, we knew there were only two people who we wanted to capture it. We’ve worked with David and Simon on many of our favourite projects and knew they were in a unique position as fans to get right into the action.

The finished book went on sale in Shelbourne’s club shop in Tolka Park in February 25 with all proceeds going to the club’s Football For All programme. Led by dedicated coaches and community leaders, the Football For All programme caters to adults with intellectual and physical disabilities, ranging across a wide spectrum of capabilities. From individuals with Down Syndrome to those with Autism and other intellectual disabilities.

Clodagh O’Leary is a photographer documenting the Irish republican tradition of internment bonfires in Derry. This photo series focuses on the experiences of young people from the areas of the Bogside and Creggan, exploring the politics shaping their lives and identities.

The republican symbol of the Easter Lily is woven throughout the publication. Abstracted into a topographical map, the Easter Lily begins to mirror some of the physical and ideological boundaries in Derry.

Two alternative half covers were created for the publication – a tricolour and a gold version – both adorned with the Lily and a map of Creggan. The creep and bind stitching have been intentionally left untrimmed. For the publication and exhibition launch, a series of promotional posters were also created.

Riso printing by Way Bad Press, with digital printing by Plus Print. The display typeface is Medieval Edition by Elias Hanzer. It’s supported by Founders Grotesk for text.

Who Fears to Speak is available from Clodagh O’Leary / 1eurofiddy.

This is the official matchday programme cover for the UEFA Nations League fixture between the Republic of Ireland and England, held in Dublin in September 2024.

Feirste, the primary typeface, is part of the Farset + Feirste type family by MuirMcNeil,
a Belfast-based type foundry. The typeface is inspired by Belfast’s distinctive tiled bilingual street signage, which displays both Irish and English translations of street names. Feirste reflects the Gaelic version of this iconic signage. IBM Plex Mono is used for the matchday details.

Cumann Peile na hÉireann, the Irish translation of the Football Association of Ireland, is featured as a tribute to historic programmes.

The football pitch design draws inspiration from ancient Celtic patterns. The centre circle is influenced by the geometric patterns found at the Ancient Irish Passage Tomb of Newgrange, while the pitch markings take inspiration from Celtic knotwork seen in the legendary Book of Kells.

Concrete poet Dom Sylvester Houédard coined the term “verbicovisual” in the first article published on concrete poetry in Britain (in Typographica 7, 1963). It seemed like an appropriate title for this book.

This project, created for the ISTD ‘Sound Bites’ brief, typographically explored a collection of sound clips recorded across Britain between 1950 and 1965. The unique focus was on capturing dialectal words and phrases rarely seen in print, emphasizing their oral origins.

The research led to inspiration from 1950s England’s artistic movement of concrete poetry, where typographic arrangement visually conveys meaning usually expressed through speech. Sofia Pro was integral to the design, offering clarity and versatility to represent the interplay between spoken language and visual typography. The project earned the designer honorary membership in the ISTD.

Different weights of Sofia Pro were used in some poems for emphasis.

The orange pages indicated different speakers and sections, and from the transcriptions the designer made a series of concrete poems whose forms were determined by the voice of the speaker.

Besides functioning as dividing pages, the orange sheets added to the aesthetic quality of the book, creating unexpected typographic forms.

Gods and Fighting Men by Lady Augusta Gregory was first published in 1904. In 2022, New Island issued a new hardback edition as volume 1 of Irish Myths and Legends. A second volume, Cuchulain and the Red Branch of Ulster, followed a year later. Both books use Almost Gothic, with graphic design by Niall McCormack.

Umbel is a Detroit-based acoustics studio that “approaches acoustics through the lens of shape,” creating acoustically superior spaces by intelligent deployment of the structure’s own materials and elements. The mark is formed entirely of typographic elements and can be typed at a keyboard; slashes and backslashes represent sound waves. Logo and branding by Signal Type Foundry, featuring Signal’s own Reckham and Ballinger Mono typefaces. Website designed and coded by Post Studio.

From Wikipedia:

“Linger” is a song by Irish alternative rock band the Cranberries from their debut studio album, Everybody Else Is Doing It, So Why Can’t We? (1993). Composed by band members Dolores O'Riordan and Noel Hogan, and produced by Stephen Street, “Linger” was first released as the second and final single from the album on 15 February 1993 by Island Records. It was later re-released on 31 January 1994.

The script is Just van Rossum’s FF Justlefthand (1990), used with faux-bolding for the titles. The band name, also in all-lowercase letters, looks like it’s autotraced. Repeating letters aren’t identical, suggesting it’s not a font (anymore).

Photography by Andy Earl. No designer is credited.

[More info on Discogs]

Titled Vertices, this publication accompanies an exhibition of the same name featuring works by Olga Balema and Anne Tallentire at Lismore Castle Arts, running until August 18, 2024. Edited by Mark O’Gorman with an introduction by Paul McAree, the book includes texts by several contributors: Mitch Speed, Lisa Panting, Sam Keogh, Anne Tallentire, Sarah Browne, and Francis Halsall. The compact volume measures 215×280 mm and contains 36 pages completely set in Label (Medium with Medium Italic). It employs a saddle-stitched binding and is encased in a distinctive polyester film jacket. For protection and presentation, each copy is packaged in a glassine envelope.

A decent example of Miller & Richard's Grotesque No. 4 Italic, which, for all its quirks, looks perfectly at home on a no-nonsense government notice. I particularly like the flinching f, echoed in Fred Smeijers’ vintage-inspired Ludwig, which uses it—quite pragmatically—in ligatures.

The other typefaces are mysteries to me, and I would appreciate any help in identifying them—especially the interloping 3s in “30th SEPTEMBER” and “3 a.m.” and the O in “On and after,” which differs a bit from the others.

Ludwig Black and Black Italic by Fred Smeijers. The f flinches à la Grotesque No. 4 Italic to make way for l, f, t, and i, but stands (or leans) straight next to o. (The second f in “off” flinches in solidarity with the first, I suppose.)

The June 1977 issue, featuring ITC Souvenir Medium contrasted with Orator (IBM) as its secondary typefaces.

Class Struggle was a publication by the Irish Workers Group that focused on political issues from a socialist point of view. Shown here is the run from the first to seventh issues; the subsequent issues switched to a Balloon and Flash-based layout.

The name of the publication is the compressed Compacta Light, with the Irish Workers Group logo set in Kabel Black. The accompanying typefaces depend on the individual issues, many of which were available from Letraset at the time.

The first issue uses ITC Souvenir Medium and Orator (IBM).

The November 1977 issue. ITC Souvenir Medium, Clarendon Medium, and an outlined version of Egyptienne Bold Condensed are the secondary typefaces.

The May 1978 issue stands out by using three colors: red, white, and black. Here, Kabel Black is brought to the forefront and is accompanied by ITC Souvenir Medium and Optima Bold.

The Spring 1979 issue. The outlined version of Egyptienne Bold Condensed is paired with Univers 75 and Optima Bold, with the date and price set in ITC Souvenir Medium.

The Summer 1979 issue, which features the bold weight of Compacta, Futura Bold (and Futura Condensed Bold, with wonky t’s that were likely repurposed from a different letter), Optima Bold, and Univers 75.

The November 1979 issue, featuring Futura Condensed Bold, Compacta Bold, Univers 75, and Helvetica Inserat.

The June–September 1980 issue. The cover features ITC Clearface Heavy, Windsor, Helvetica (in addition to an outlined version of the same face), and Univers 75 for the price.

NN Nouvelle Grotesk is used for the website of Payzone:

Payzone is a leading multi-channel service provider, backed by AIB and Fiserv.
For over 20 years, we have been connecting people to payments, processing millions of transactions through our payments network every year.

Payzone builds technology for all. We provide a range of services and solutions for consumers, businesses, and not-for-profit organisations.
We are not just about making payments easier; we are about making every day easier.

Tines is a no-code automation platform that liberates security workers from repetitive, unfulfilling work and empowers them to focus on more meaningful tasks that utilize their true potential.

Led by the brand narrative “A tool for every story”, the new identity system is formed around the idea that an empty page represents the unlimited potential of automating everything you can imagine. The resulting brand is an expression of playfulness, creativity and the endless possibilities that are waiting to be unlocked with Tines. This freedom is also mirrored in the typeface choice for the project.

Tines’ typographic system is composed of two typefaces by Displaay Type Foundry: Roobert and Reckless. The primary brand typeface is the sans-serif Roobert. Its geometric construction communicates simplicity with a tech-native sentiment, while its rounded square features mirror the character of the brand’s layout style and usage button shaped control elements.

For larger display headlines, the brand deploys the humanist but sober-looking serif typeface Reckless. Its sharper features contrast beautifully with Roobert while still sharing a similar x-height so they can be paired and exchanged seamlessly within headlines.

By carefully mixing these two contrasting typefaces in a single headline, we are able to express the magical connection of two independent actions that start speaking to each other in harmony.

An e-book cover for a short murder mystery from bestselling author Ian Rankin, designed for Amazon Books by Jack Smyth using Pressio №23 and №34.

A guide to the life, times, and work of William Butler Yeats, Ireland’s national poet, published on the centenary of his Nobel Prize. and the changing Ireland he lived through. Designed for New Island Books by Jack Smyth using Mortise Medium and Bold.