From Thames & Hudson:

At the suggestion of Picasso’s widow Jacqueline, the distinguished art historian Pascal Bonafoux began researching Picasso’s self-portraits more than forty years ago. This meticulously researched book presents the fruits of his decades-long project. From the first attributed painting in 1894 as a thirteen-year-old boy, until Picasso's final self-portrait in 1972, a year before his death, Bonafoux charts the evolution of the artist's life and art.

Alias Harbour is used for the title with Portrait used for the subtitle and author’s name.

Chrám umění: Rudolfinum is a book dedicated to the history of the Rudolfinum, a building located on the bank of the river Vltava in Prague. Opened in 1885, the neo-renaissance building has always been associated with music and art. It has been the home of the Czech Philharmonic Orchestra since 1946, and also contains the Galerie Rudolfinum, an art gallery that focuses mainly on contemporary art. The Rudolfinum’s Dvořák Hall is one of the oldest concert halls in Europe – the Philharmonic Orchestra played its first ever concert here in January 1896, conducted by Antonín Dvořák himself.

Over 500 pages and 270 illustrations, the book covers the history of the Rudolfinum through photographs, drawings, plans and posters. The book was edited by Jakub Bachtík, Lukáš Duchek and Jakub Jareš. The design is by 20YY Designers who used Berthe (Abyme, 2018) for the typesetting. Published by the Czech Philharmonic in collaboration with the National Heritage Institute and the National Technology Museum.

Rudolfinum received a Bronze medal at the Stiftung Buchkunst’s Best Book Design from All over the World award 2022.

Loquat is a new bakery and café located on a picturesque corner in the Hayes Valley neighborhood of San Francisco. Named after the trees found throughout the city that are beloved for their sweet and tangy golden fruit, it’s a joint venture from the team behind The Mill and Four Barrel Coffee and an alum of another local gem, Tartine. Loquat sets itself apart from the myriad other bakeries and cafes in San Francisco with a focus on classic Jewish and Levantine pastries and opened in autumn of 2022.

House of Gul was hired to design Loquat’s brand identity, visual system, and print assets. Forgoing any visual association with its sibling businesses, Loquat is defined by a selection of vibrant and warm earthy tones to reference the color of its pastry selection, and the design studio also makes prominent use of Sharp Type’s blackletter revival, Respira Black.

The design direction was built from the idea of modernizing classical illuminated manuscripts and imagining how the ancient coffee houses of Europe and Asia would show up in a modern society. Respira was inspired by a particular style of Spanish blackletter often found in illuminated manuscripts of Andalusia, making it a perfect candidate for Loquat's branding. Used for the main logotype, the blackletter's gothic elements and ornamentation are tastefully balanced for contemporary applications, imparting a timeless elegance. The bold gold logotype set in one of Loquat's windows is particularly fun.

With this comprehensive guide book, Heike Schnotale and Michael Wörgotter have presented a long overdue compendium on the subject of lead typesetting and letterpress printing. The book contains technical information, the historical background, practical tipps as well as anecdotes and stories of and around the craft.

The design of the book itself also alludes to the subject within: The book is largely typeset in Michael Wörgötter’s own LD Genzsch Antiqua – a revival type family that was created as the summation of his large scale research project into the original lead type Genzsch-Antiqua by Friedrich Bauer.

Bleisatz. Ein Werkstattbuch was published in Rheinwerk’s Design series.

Interferences was an exhibition held by the MAAT, curated by Carla Cardoso, António Brito Guterres and Alexandre Farto, dedicated to different expressions of urban culture, their underlying narratives and how they contribute to the design of the city of Lisbon. The exhibition was integrated in the commemorations of the 50th anniversary of the Carnation Revolution.

Designer Ana Teresa Assensão used two styles of Flecha for headlines – mostly distorted, sometimes outlined or set on a curve. Body copy and secondary information is set in Roboto Mono.

Tanatopedia is an encyclopedia with entries on death, with illustrations by Caroline Murta. The crowdfunded project was designed to make the book sumptuous, a physical object that does not go unnoticed due to its size or theme. Sober, elegant and dark – words that define the aesthetic used for the design of the cover and inside.

The design includes illustrated drop caps and column-organized entries. The flickering terminals of VVS Nobleman, a typeface family chosen especially for the entries, refer to the mystery that the book evokes. The text is set with Adobe Jenson, with Cloister Initials. The cover additionally features Orpheus and Mrs Eaves.

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From Mike K on Flickr:

Set of Twelve Penguin Books devoted to new short stories by new writers as well as by established practitioners of the genre. Series published quarterly between 1969 and 1972. Series edited by Judith Burnley. Cover design by David Pelham.

Holiday card for San Francisco Public Library, designed by Li Jiang of Lemoncheese Press, Berkeley, California.

Invisible Beauty Makers is Fundación Puig’s programme to support social projects led by young people.

In Makers program's VI Edition, due to the COVID-19 crisis, we turned the teams presentation into a digital event. Based on the format of a talent show we created Got a Chance, a television program where Puig employees could meet and choose their favourite projects.

In this proposal we used Saol Text with frugal 3D effects and motion graphics to identify the main SDGs (United Nations sustainable development goals) of each project, an inclusive agenda that inspires IBMakers to promote projects in this direction.

The combination of the 3D SDGs with Migra, a contemporary typeface that suits the austere and elegant anchoring of Fundación Puig’s brand, and GT America for running text allowed us to develop a content-oriented communication needed for this live stream event.

The event was broadcast from a microsite in which all Puig workers, from all of its worldwide delegations, could interact with by asking questions, selecting and voting their candidates while watching the show.

Gotico-Antiqua, proto-roman, hybrid, 15th-century types between gothic and roman. Conference papers & exhibition catalogue. Edited and designed by Jérôme Knebusch. Co-publication Poem & Atelier National de Recherche Typographique [ANRT].

The bilingual publication (English and French) brings together researchers from the fields of typography, palaeography and incunabula studies, with a particular focus on type and letterforms. The relatively understudied period – after Gutenberg and before the consolidation of Jenson’s model – extends from the earliest traces of ‘humanistic’ tendencies to ‘pure’ roman type, including many cases of uncertain or experimental design, voluntary hybridisation and proto- or archaic roman. In 1459 in Mainz, Johann Fust and Peter Schöffer printed the Rationale Divinorum Officiorum by Guillaume Durand, using a typeface (now known as ‘Durandus’) that looked like no other before. From that point, we can follow a wide variety of developments, partly related to the travels of early printers from the Rhine area to Italy and France. By extension, the private press movement initiated by William Morris and Emery Walker at the end of the nineteenth century in England, revived some of those typefaces before they were once more largely forgotten.

Essays by Olivier Deloignon, Riccardo Olocco, Martina Meier, Nikolaus Weichselbaumer & Mathias Seuret, Dan Reynolds, Christopher Burke, Ferdinand Ulrich, Rafael Ribas & Alexis Faudot, Jérôme Knebusch. Foreword by Christelle Kirchstetter and Thomas Huot-Marchand.

The primary fonts used for typesetting the book are Almost Roman and Almost Gothic. Almost is complemented by Adobe Jenson, Alte Schwabacher, DTL Flamande, Jenson Rotunda (not pictured here). The book additionally showcases all 16 digital fonts (15 typefaces and one set of initials) made as part of ANRT’s Gotico-Antiqua project, produced by Rafael Ribas and Alexis Faudot and released in 2019 under the SIL Open Font License. Finally, the book has images of many other related typefaces which are discussed in the essays. These include Unger-Fraktur, Centralschrift, Morris Troy, ITC Golden Type, or Fanfare, to name but a few.

More information on the website of Poem editions

Spread with glyph sets of the 15 digital Gotico-Antiqua revivals. Not shown here are the Zainer Initials.

Marcie Bower—

‘Fingers Crossed’ is a collaboration project by graphic designers @olihudson94 and @marciebower.

This year has been a difficult year for everyone, so when I had to come back from travelling and Oli unfortunately got made redundant the answer seemed obvious. We wanted to create something with a positive effect, so the idea of the lucky Calendar ‘Fingers Crossed” was born! It was to be something beautiful and light-hearted that should bring some luck – and if not, at least some positivity into the homes of people next year.

We used our hand-printed designs to focus on stories of superstition, cultural traditions and old wives’ tales that bring us some much needed luck for 2021. We researched high and low and across the world to find out what people do to give them good luck and avoid the bad kind! Each month brings something new to the table, to help you along your way in 2021. Through the Kickstarter campaign we launched other rewards including a soft enamel badge and some quirky A5 prints.

It was a positive success, with more than 140 Calendars sold, going out to 14 different countries! We were featured on social media by G.F. Smith paper, Inspofinds, DesignFeed, DesignPals, PressingMatters and People of Print featured us in their top 20 Calendars for 2021!

Alias Harbour is used for headlines and the calendar tables throughout. The text typeface is ITC Avant Garde Gothic or similar.

Set of postcards

Stephen Fry—

The tale of Troy is the Big Bang of story-telling. Every story that came afterwards contains fragments of its incredible mixture of drama, tension, romance, betrayal, cunning, magic, violence, comedy, revenge, wonder, beauty, sacrifice, sorrow and triumph. The original epic, and still the best. I’ve loved it since I first heard about the matchless Helen of Troy, the noble Hector, the glorious Achilles and the cunning Odysseus. Retelling the story, getting to know the personalities, twists and divine interventions and immersing myself in the wildly exciting blend of myth, legend and real history has been one of the most completely enjoyable experiences I’ve ever had. I hope you get as much pleasure from reading it.

Alias Harbour is used for title type, paired with Futura for the author’s name. Cover artwork by Sarah Young. Published in Penguin’s Michael Joseph imprint.

Erhard Ratdolt's Index characterum, the earliest known type specimen by Riccardo Olocco.

Erhard Ratdolt was one of the most successful and acclaimed printers of the 15th century. He was also a pioneer of new techniques and in 1486 he printed the earliest known type specimen. In this essay Riccardo Olocco analyses the only surviving copy of this single sheet with a discussion on the circumstances of its production and descriptions and identifications of the roman and rotunda types according to existing bibliographical references. The pamphlet is accompanied by a facsimile of the original type specimen.

Typeset in Instant and an unreleased italic version of Almost Roman. More info at poem-editions.com.

Cover art and DIY packaging concept for Nichts Wert by punk band Leiden. One poster fits every format: CD, LP, cassette, and promo flyer. Printed lines show where to fold. The album was released by Bekassine Records in fall 2020.

LSC Caslon (later known as ITC Caslon No. 223) by Tom Carnase in early use for an ad for White Horse blended Scotch whisky by Four Roses Distiller Co., N.Y.C. LSC Caslon is here used with its alternate e and the ff ligature (unlike in a specimen showing, the crossbar here is interrupted). The decorative lines on some of the capitals are custom additions.

When most other Scotches were born, one was already a Tradition.
White Horse. The difference between ordinary and legendary.

The latest issue (summer 2020) of French cinema magazine La Septième Obsession is dedicated to sex and cinema, with a 100-pages focus on the topic.

In addition to the magazine’s standard range of typefaces, this issue features Le Murmure (drawn by Jérémy Landes, available from Velvetyne), Typefesse (drawn by Océane Juvin, Velvetyne), and Love (Violaine & Jérémy).

“Obsession Sexe”, with Gloss Drop and Love.

Section titles in Le Murmure, set in obliqued caps on an angle.

A single glyph from Typefesse, ringed by caps from Ano. The sans serif is also used for the text below the image.

Interview with questions in Ano Bold and answers in Sabon.

Alias Harbour has been used for various independent, arts-related projects in Nottingham. These include the identity for the Castle Ruins art exhibition, and artworks by Nottingham-based artist Martin Rayment.

Harbour was also used for the Notts Zine Library exhibition, 2018, which included N to M zine, by Nottingham-based studio Waste. In the booklet, Harbour is paired with other typefaces including Gza and LL Circular [see comments].

This 44-page mini-hymnal for the Christmas season is equal parts practical songbook and objet d’art. As this project was being conceived and designed, David Jonathan Ross’ Font of the Month Club delivered two typefaces (Bradley and Fern Micro) which perfectly fit the incunable/private press movement energy of the piece. Providential!

The books were risograph printed with teal and bright red inks by Clatter Press in Columbus, Ohio (a print studio co-owned by the designer). Bradley and Fern stand up really nicely to the inky and chromatic riso process.

Book covers for Biblioteca Áurea, a collection of classic novels that is (re)published by Editora Nova Fronteira in partnership with Amazon Brazil.

Document describing the process to make a small model of the Djinn Chaise Longue by Olivier Mourgue, made from wood "ribs" designed in Rhinoceros 5.0 and cut in a CNC milling machine.

Djinn Chaise Longue was designed in 1964-1965 and it is part of the Djinn set, which is known for appear in the film 2001: A Space Odyssey. The main reason because of Stanley Kubrick's set designer decided to put this furniture in the spaceship's interior is because of its futuristic aesthetics.

The print has 36 pages, its dimensions are 148×210mm and it was designed by Diego Moratalla as a part of a university project done in October 2017.