GOG – Gäste Ospiti Guests – is an exhibition of the projects developed by the students of the Faculty of Design and Art of the unibz – Bolzano, South Tyrol, Italy. At the end of each semester, the work produced by the students in the fields of visual communication, product design and art is displayed in the spaces of the Italian university.

The visual communication developed for the winter semester 2022/23 edition of GOG uses the Baustraße font designed by Fantasia Type. It’s supported by Folio. The unibz logo uses FF DIN.

Postcards designed by Anna Toussaint for delpire & co, a publisher and bookshop specialised in photobooks in Paris.

This poster is the finalist of the TEDA 2021 International Youth Design Competition. The film festival name is set in Ondréj Job’s Klimax Plus, each word set as large as possible. The information is set in a small size using November Stencil by Peter Biľak. Both typefaces are available from Typotheque.

Duo is a brand by Cisco, providing two-factor authentication, endpoint remediation, and secure single sign-on tools. The logo uses caps from Baro Black, featuring the alternate O with horizontal bridge and a customized D that follows suit. It’s combined with typography in Neue Haas Grotesk. From Duo’s brand book:

Cover of the Duo brand book, 2018

Logo expressions and remixes as shown in the Duo brand book

General Elektriks is the musical project of French keyboard player, composer, singer and producer Hervé Salters. This song book traces the project’s history through scores, tabs, lyrics, photos, various archives and unpublished comments by Salters. It was published in a limited edition of 300 copies. The book is in French and contains 22 tracks. It has 72 pages, measures 20 cm×6 cm, and was offset printed in two Pantone spot colors.

The design is by Jérémy Barrault, who used Gikit. by Benoît Bodhuin and Method Mono by Fabien Coupas

Poster for the 1975 East German re-release of Planet of the Apes (USA, 1968), printed in fluorescent day-glow colors. The unknown designer didn’t revert to the original logo drawn by Ed Benguiat (see the House Industries page about their Simian for more info). Instead, they went with tightly spaced caps from Dynamo. This display face doesn’t have the unusual extenders to the top and bottom, but rather features some laterally protruding bits, or semi slab serifs. Accompanying text is set in a bold condensed weight from Gill Sans – incidentally, a similar style was used for road signs in the GDR, likewise in black on yellow.

Detail

Detail

Azo Sans and Azo Super from R-Typography are paired with FK Grotesk by Florian Karsten and a yet unidentified Gothic typeface from Founder for the visual identity of game developer Nuverse. From Pentagram’s case presentation:

Pentagram has created an inspiring and imaginative identity for Nuverse, which is designed to appeal to the games developer and publisher’s global community. The identity needed to reflect the excitement and escapism that games can bring, offering windows into virtual worlds and creating lasting memories at every stage of our lives. […]

The clean, primary colour palette consists of an electric blue and a bright leafy green combined with black and white. The primary Latin typeface is Florian Karsten’s FK Grotesk, which is paired with the Bold and Black versions of Rui Abreu’s Azo Sans as the secondary typeface. These are used alongside an extended width sans-serif Chinese type family by Founder Type, the combination adding to the sense of joy throughout.

Every year, the Catalan Film Weekend shows the latest films in Catalan language in the Kino FilmGalerie im Leeren Beutel in Regensburg, Germany. The poster for the fourth edition uses Noka for the Catalan title. It’s paired with Sans Shaded (specifically HiH’s Thorowgood Sans Shaded) for this year’s motto “De Bon Rotllo” (“in a good mood”), with additional info set in GT Pressura.

La Red Ibérica en Defensa del Patrimonio Gráfico (“The Iberian Network in Defense of Graphic Heritage”) is an association in charge of the collection of information, documentation, cataloging, dissemination, and where appropriate rescue and preservation of signage, signage, commercial and urban graphics of all kinds, considered as graphic heritage and visual of the entire community.

We have had the pleasure of designing the identity for the first La Red event to present the association, its activity, the members, etc.

For the graphic development we use different R’s of several signs of Spanish cities together with different very predominant colors in commercial signage. Some of these R’s are derived of lettering; others can be found in typefaces such as Jackson and Stripes. We propose an animation simulating the movement of a clock, which leads us to reflect how these signs over time, which La Red adds value, they are disappearing little by little.

FH Oscar, a sans serif typeface with gestural details in its characters, gives identity and proximity to all the project.

From NWB:

Piou Piou! is a chicken rotisserie located in Paris in the 9th district. At the counter, you'll find a 100% take-away service and eco-responsible offer. On the menu, French chicken, free range, quality, well cooked and well presented. We supported the PiouPiou! team in the definition of their brand platform and the design of visual expression territories ranging from the logotype to outdoor signage.

The typography pairs RL Refusit from Regular Lines with the monospaced Compagnon and Compagnon Medium (available from Velvetyne).

Tržnica, or actually Nová tržnica (“New Market”) is a market hall in the new city of Bratislava, the capital of Slovakia. The mounted yellow caps are not custom made, but were derived from a typeface named Black Body. Peter Steiner designed it for Berthold Fototypes in 1973. In some regards, it’s like Kabel Black on steroids.

With mounted architectural letters, it’s often the case that the overshoots are ignored, and all letters indifferently aligned to the baseline. This seems to be the case here, too – in the image above, the round C sits a tad too high. In the images shown below, the C gets totally out of line. Maybe the letter was remounted at some point, or maybe it’s a different sign at the other side of the porch.

From Matúš Teplický’s review for Triptease:

In the early ’80s, Tržnica was a top-notch marketplace. Built in the then popular high-tech style in one of the busiest city squares, it was the place to be. A lot has changed since and modern shopping centres have mushroomed all over the city, but Tržnica has stayed the same. A kaleidoscope of workers, housewives, pensioners and winos, it’s stuck somewhere near the end of the 20th century.

Jonathan Hill made a digital interpretation and expansion of Black Body as Mekon (The Northern Block Ltd, 2010), but sadly doesn’t credit the original source.

Modern Publicity was a series of advertising / design annuals that was published for many years during the 20th century. In 1973, Modern Publicity was edited by Felix Gluck, published in London by Studio Vista and in New York City by The Viking Press, and printed in the Netherlands. The series is notable for its global scope, and includes work from Europe, North America and Asia. Each issue is divided into categories such as print advertising, packaging design, editorial, etc.

Each year's edition features a small section highlighting new typefaces. The 1973/74 issue includes an ad for Black Pepper. Designed by Peter Steiner, the display face was exclusively available for phototypesetting from Anton Herkner Graphisches Atelier Stuttgart, Germany.

Homepage header

Kozakov keeps a methodical record of his life. Starting at fifteen years of age, he writes his diary: detailed notes penned in 96-page standard exercise books, each entry beginning with air temperature and wind direction, describing occurrences at work and at home, and switching back and forth between musings on love and his place in society.

Moscow-based publishing house Gluschenkoizdat have come into possession of Nikolai Kozakov’s notebooks for the year 1962. Following extensive work on their transcription and preparation for print, the publishers present the present volume for the edification of readers, in conjunction with a radio drama. The publication of Николай Козаков. Дневник. 1962 (Nikolay Kozakov: Diaries. 1962) has been timed to coincide with the publishers’ summary exhibition Our days are rich and bright.

See the website at 1962.gluschenkoizdat.ru. There is also an extract in English, covering twelve days from the diary.

Art direction: Kirill Gluschenko
Designers: A. Glushkova, A. Moskovsky
Illustration: A. Koltchina

Chapter header (January)

English extract

Homepage footer

Chapter index

Book cover, 170 × 215 mm, 624 pages, ISBN 978-5-9906255-3-2, edition of 1,000. Gluschenkoizdat, 2016.

Cover of the radioplay, 2 LP, 88 min 41 sec, 8 pages booklet, edition of 300. Gluschenkoizdat, 2016

Paperback version, published June 5, 2012. Cover design by Jim Massey, with an illustration by Whiskytree Inc.

Ready Player One is a science fiction and dystopian novel by Ernest Cline. The extrabold type on the cover of the Crown/Random House editions appears to be Mekon Alt. Mekon (2010) is a digitization and expansion of Black Body (1973) by Peter Steiner — annoyingly, The Northern Block fails to mention this phototype-era typeface as the source of the revival.

With the tiny spyhole counters and the “eating” ‘C’, the typeface is reminiscent of Pac-Man, as Capillya AKA That Cover Girl points out. On her blog, she talked with the author about the covers designed for the various editions of his Ready Player One. Ernie Cline:

I love the hardcover design, because the design and color remind me of the cover of Vonnegut’s Breakfast of Champions, one of my favorite books. Along with the title, the 80s style font and the tiny 8-bit avatar leaping for the key hint at the plot in an alluring way. Both I and my publisher wanted a cover that would appeal to all sorts of readers and not just science fiction fans, and think the hardcover design does that really well.

Hardcover version (first US edition), published on August 16, 2011. Designer unknown.

“A happily obsessive fan’s homage to her favorite book.” — elissastein

NYT Bestseller variant cover

Het Gouden Ei (The Golden Egg) is a novel by Dutch writer Tim Krabbé. It was adapted into the film The Vanishing (1988). This is a 2009 paperback edition (ISBN 9789044613520).