Pinto aims to “relieve digital money’s core tension: stability without surrendering control”. As a project, the Pinto team is trying to redefine both stablecoins and money ready for transactions and suited for yield. Through autonomous rates and non-custodial systems, they aim to ensure price stability while preserving user sovereignty.

We translated Pinto’s crypto complexity into a clear visual identity and user interface principles that resonate with hardcore Discord lurkers and curious normies alike, turning the arcane into the irresistible.

Working within an fundamentally new economic paradigm, it was critical to illustrate an entirely possible, but currently theoretical future of money. All visuals were generated using several diffusion models.

Vew the full case study at newapology.com.

Perfora in use for the issue theme on the cover of Atmos #8, “Rhythm”.

For every issue, Atmos prints several cover artworks around the issue’s theme. For this one, there are five cover versions by Daniel Shea, Théo de Gueltzl, Stefanie Moshammer, Daniel Obasi and Nikki McClarron. Print design by Actual Source, digital design by Hugo & Marie.

From the issue description:

Nature is an elaborate orchestra of interconnectedness, in which timing is everything. Atmos Volume 08: Rhythm dances with sound and synchronicity, cycles and circularity, patterns and pacing. How do we reconcile slow living with a climate of urgency? In what ways have our circadian rhythms been disrupted by artificial algorithms? How do we reconnect with the cycles of the natural world? Featuring contributions from adrienne maree brown, Théo de Gueltzl, Prentis Hemphill, Tricia Hersey, Nikki McClarron, Bill McKibben, Stefanie Moshammer, Daniel Obasi, Raveena, Claudia Serrato, Daniel Shea, and more.

Atmos is a nonprofit media organization focused on the cross-pollination of climate and culture, delivering award-winning journalism and creative storytelling through a biannual print magazine, daily digital features, original newsletters, and more.

Joggy formulates a dynamic range of plant-based energetics designed to provide steady energy throughout the day, maintain focus and find center during the stressful moments in between, and bring you a sense of calm right before bed.

The brand was founded by Ty Haney with Tiffany Wilkinson as in-house creative director. The visual identity was designed by Actual Source including letterings by Nejc Prah and type from Dinamo: Synt and Diatype Mono – plus a few snippets of Diatype. The wordmark was designed by Nolan Paparelli based on an early version of his typeface TWK Burns. All packaging sourcing and testing by the Joggy team.

This is a screencast of the website from 2022. It has been updated since then.

Collector’s edition of David Lowery’s The Green Knight by A24. Design by Actual Source (Davis Ngarupe and JP Haynie) using Weiß-Gotisch (Delbanco’s digitization) and Almost Roman (Poem). Drawings by Sophy Hollington. Creative direction with David Lowery.

The tenth issue of Shoplifters is titled “New Type Design Vol. 2”. Designed and published by Actual Source, it showcases 156 typefaces by 114 designers. The main typefaces used for the book design are LL Prisma Text by Robert Huber and Tschichold Rund Mono by Ben Fehrman-Lee. The latter was specifically designed for this issue.

Among the special features are an interview by Jack Halten Fahnestock with designer and stone carver Nick Benson of the John Steven Shop, an article by Perrin Drumm about modular typeface cubes for the Bibliotèque du Luxembourg with Sascha Lobe, Elias Hanzer’s Edition typeface interpreted by Actual Source, and an interview by Wayne Daly with
Jan Novák, Malte Bentzen, Ondřej Báchor, and Sascha Bente of AllCaps.

The hardcover publication has 832 pages and measures 6.5″×9.325″. It was printed in black and brown and comes with a yellow ribbon book marker. ISBN: 978-1-7335830-7-7.

See also the post about issue 8 from 2019, with the first volume of “New Type Design”.

New England, 1630: William and Katherine try to lead a devout Christian life, homesteading on the edge of an impassible wilderness, with five children. When their newborn son mysteriously vanishes and their crops fail, the family begins to turn on one another. 'The Witch' is a chilling portrait of a family unraveling within their own sins, leaving them prey for an inconceivable evil. — IMDb

An edition of the screenplay for horror film The Witch (2015) uses period typefaces DTL Flamande (with its roman caps) and DTL GrosCanon, both based on the work of Hendrik van den Keere. They are complemented by ABC Monument Grotesk Mono. Designed by Actual Source for film production company A24. Commentary: Creative Review, company website, designer JP Haynie on Twitter (and more in response to this post).

Their religious beliefs may indirectly connect the movie characters with Van den Keere’s type: Mayflower passenger and devoted Puritan Separatist William Brewster before emigrating to Massachusetts was a printer in Leiden, printing with types from Arent Corsz Hogenacker. Hogenacker had succeeded to part of Van den Keere’s type foundry. I don’t know if Brewster used van den Keere’s types (see this extremely thorough two-part article by John A. Lane on Hogenacker: part 1, part 2, although it's focused on types Hogenacker engraved himself). Hogenacker's foundry building still stands at number 86 Haarlemmerstraat in Leiden (more photos) with a 1630 statue he commissioned of Laurens Coster.

RH Inter by Robert Huber and Simon Mono by JP Haynie and Robert Janes in use for Shoplifters 8: New Type Design.

Shoplifters is a bi-annual publication featuring the work of contemporary artists, photographers, designers, illustrators etc. Shoplifters doesn’t have a single identity, its size, paper, typography, and tone changes each time it’s published.

—100 typefaces by over 60 designers
—Facit AB–Z (Excerpt) by Our Polite Society
—Interview with Berton Hasebe (By Harry Gassel)
—“Tools” by Dinamo
—Intro written by Kris Sowersby

Detail

Birra Stout is one of the many typefaces used for the typographic illustrations that accompany Amanda Kae Fronk’s article about linguist Mark E. Davies in an issue of BYU Magazine, a quarterly published by Brigham Young University. The whimsical display typeface by Darden Studio was chosen for the words “famous” and “crisis” in the large opening spread. Birra also appears in another graphic with “words about women”. Here it’s used to render the terms “pregnant” and “adult”.

What could you do with a few hundred billion words? A BYU professor is transforming linguistics research, language learning, legal studies, and other fields all over the world.

Among the other repeatedly or prominently used fonts in this smorgasbord are Klavika/Klavika Display (“Big Lang BYU”, “inalienable”, “huge”), Bourton Hand Script (“Flow”, “friendly”), Facebuster (“obesity”), Tungsten (“recession”), Quitador (“Ideal”), Burford Dots (“refugee”), Estilo Script (“creative”), and Archer (“civility”). See the typeface credits for more identified fonts in use.

Full spread

“Using Davies’s Corpus of Historical American English to compare some of the most common adjectives that appear near the word women in two different time periods – 1810–99 and 1970–2009 – reveals major shifts in attitudes about women and their role in society.” Klavika and Bourton Hand Script are used for the title, Pompadour Numerals, Cooper Black, and an unidentified grotesque for the years [edit: Champion Gothic, see comments].

Utah’s favorite ‘fishing hole’ for more than 60 years, Strawberry Bay will be your slice of year-round outdoor paradise amid the splendor of the Uinta mountains. Whether you’re fishing for Strawberry’s famous trout, hunting Utah’s big game or upland game, or just enjoying a relaxing day on the 19,000 acres of high mountain waters, there is something for everyone at Strawberry Bay.

All of these words, and many more, are reinforced by a typographic americana directed by Number 04. The logo uses a slightly modified version of Prophet.

Identity for clothing manufacturer Untitled MFG by the design office Number 04.

The Suisse collection is available from Swiss Typefaces.