Recuperando historias 2 is a collection of short stories written by children for children. It has been independently published by the Don Orione Special Institute, an educational center that is part of the renowned Cottolengo Don Orione network of residential centers for people with disabilities.

The illustrations were also created by the children themselves. The book design was handled by Ivana Myszkoroski, who used Perec (PampaType) for the main text, Perec Scripte for the chapter titles and the beginning of paragraphs, and Perec Lunatique (not yet published) for the cover title.

This book written by Maurice Darmon and published by the Bordeaux-based publisher 202 éditions is about the films made by Anne-Marie Miéville between 1976 et 2002. It is the first monograph devoted solely to her own work. As Jean-Luc Godard’s partner since the 1970s, her collaborative work with the filmmaker has been more widely distributed and recognized. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Punto (by Arne Freytag, Fontador).

Poster and flyer series for the successful dance theater production Ascochinga. La vida todavía (“Ascochinga: life still goes on”) staged by the municipal theater company Teatro Comedia in Córdoba, Argentina. Illustrated and designed by Santiago Guerrero, using Reforma 1918 (PampaType), part of the tailored type family originally made for the National University of Córdoba.

Le Jouet Enragé, 2nd edition, 2011, translated by Isabelle and Antoine Berman

Rouge Gorge is a series of books by Parisian publisher Cent Pages, designed by SpMillot. It includes several books written by Roberto Arlt (1900–1942). Shown in this posts are:

• Le Jouet Enragé, a short novel first published in 1926 as El juguete rabioso (Mad Toy)
• Le Petit Bossu, a short novel first published in 1933 as El jorobadito (The Little Hunchback)
• L’éleveur de gorilles, a novel first published in 1941 as El criador de gorilas (The Gorilla Handler)

Cover titles are set in a modified version of Matthew Carter’s Skia. In the latest editions, the interior pages were redesigned to be set in Arlt (by Loche, PampaType), a type family that is inspired in Roberto Arlt's literary works.

See also the previous post about Greguerías by Ramón Gómez de la Serna, published in the Rouge Gorge series in 2005.

Le Petit Bossu, 3rd edition, 2012, translated by Jean-François Carcelen and Georges Tyras

L’éleveur de gorilles, 3rd edition, 2013, translated by Jean-François Carcelen and Georges Tyras

Villa Libertad, Une communauté italienne en Argentine is the title of my Master’s degree project made at ÉSAD Pau. It is the result of a graphic and historical investigation initiated from genealogical research conducted in the northeast of Argentina. In the parish archives, I encountered a forgotten priest called Pedro Cisamolo who was living in a town named Villa Libertad and populated almost exclusively by Europeans. Between 1895 and 1901, this individual drew more than a thousand illustrations in those registers: animals, plants, landscapes, people, religious iconographies, buildings, smiling suns, etc.

This discovery was the point of entry into the history of the migratory and colonizing policies of 19th century Argentina. The law of 1876, in particular, is considered a turning point because it allowed, at the expense of the Argentinian Government, the coming of thousand Europeans who upon arrival were offered land to cultivate. Thus, in many provinces, colonies – as an artificial urban centers – were established. Villa Libertad is one of them, the first national colony of the Entre Ríos province.

This editorial project is made up of two complementary books. The first relates a historical study rooted in 19th century archives and more recent works conducted by Alejandro Fernández, an Argentinian historian. This book, through the faithful translation of these documents, contextualizes the founding and development of the Villa Libertad colony from 1872 to 1901. The second book compiles the huge amount of illustrated signatures made by Pedro Cisamolo in the parish archives. From scribble to calligraphy and finally to a whimsical bestiary, the evolution of his signatures eventually builds a singular repertoire of scriptural and figurative forms.

To emphasize the historical link between Italy and Argentina, typefaces from both countries were used. Titles and section markers are set in Borges Gris from the Argentinian foundry PampaType, and the body text in Etrusco Now, from the Italian foundry Zetafonts.

GODARD AVERTY. Petit et grand écran is a pretty book authored and designed by Paule Palacios-Dalens for the small French publisher Les éditions de l’œil. In this new essay the author reveals unexpected relationships of influence between these two creators who never formally met though they walked the same époque and scenaes.

From the publisher’s website:

As inventors constantly on the alert, the two men followed each other at a distance. Children of the letter and the book in the century of the image, they have in common the qualities of the printed word in their relationship to history and memory, and the permeability of media that is the norm today.

The book makes use of Borges (by Loche, PampaType) for the main texts, Borges Título Blanca for the headings, and Berthold’s Akzidenz-Grotesk (1896) for the pagination, footnotes, headings, and the like.

Cuánto te pesa tu peso. Libérate de prohibiciones y etiquetas y sana la historia con tu cuerpo (“How much your weight weighs. Free yourself from prohibitions and labels, and heal your history with your body”) is a book on health and nutrition by Virginia Busnelli, published in Buenos Aires by El Ateneo, and designed by MilPalabras Estudio.

Alegreya and Alegreya Sans (Huerta Tipográfica) were used for the main text and as a secondary display type, while Margarita (PampaType) was used for the title on the cover as well as for all chapter headings in the interior.

This book written by Vincent Amiel and published by the Paris-based publisher 202 éditions is about the film Andrei Rublev, made in 1966 by the then still young film legend Andrei Tarkovsky. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Bite Hard Wire (by Gleb Guralnyk).

Santiago Guerrero designed and illustrated a collection of research books published by Editorial Económicas, the Faculty of Economic Sciences of the Universidad Nacional de Córdoba (Argentina). He used Reforma 2018 (PampaType), part of the custom-made family commissioned by the university to commemorate the centenary of the university reform of 1918. The fonts are freely available from the foundry.

This book recounts an interview that Jean-Luc Godard gave to film historian Michael Witt back in 2005. Its title translates to “Our music is everyone’s music”. Godard talks in depth about his then new film, Notre musique, which “explores the prospects for building bridges —both material and metaphorical, in Bosnia-Herzegovina, then recently ravaged by war. Referring to the violent history of Europe, the Amerindian genocide, and the Israel-Palestine conflict, the film offers a brilliant demonstration of the ‘principle of cinema’ outlined by the filmmaker in his fictional conference in Sarajevo: “go to the light, and direct it on our night. Our music.”

The book was edited in Paris by 202 éditions, and was designed by Paule Palacios-Dalens using Akzidenz-Grotesk (Berthold) in cover titles and interior subtitles, Borges for the main text and Borges Título Blanca for the interior headings (both by Loche, PampaType).

Labels for homemade blackberry jam with pink pepper, personal harvest. Designed in Argentina using the maker’s own Borges Poema (PampaType).

Feike de Jong. License: All Rights Reserved.

Posters made by musician Feike de Jong for a jam music fest named Azarret in Mexico City. They use Perec by PampaType as the main typeface.

The Azarret Montrose Impro Sessions used to take place at La Terraza Monstruo. The latest concerts were hosted by Oaxacan restaurant La Tehuanita.

Source: twitter.com License: All Rights Reserved.

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Nicéphore and its alternative glyphs on Fanette Mellier’s cover

Art direction and editorial design by studio deValence for the Prisme Collection, directed by Tony Côme and Alexandre Dimos. The collection gathers long-term interviews of graphic designers, scenographers, architects, typographers, object and fashion designers, who share their experiences, memories, and working process. Prisme offers fundamental sources for understanding the role of the designer, told by designers themselves.

Shown here are the first three books published in this series. The cover and headlines are set in Nicéphore, while the footnotes and captions appear in Pachinko. Additionally, each edition features distinct typefaces for the body text: Tongari for Fanette Mellier (2021), Media for Étienne Robial (2022), and JJannon with Perec for Rudi Meyer (2023).

Published by Éditions B42.

Web flyer announcing an evening of experimental music at cantina La Dominica in Mexico City’s Centro Histórico, featuring Catalan chansonero Ell Sol as well as Jonny Farr, Sam El Tranza, and Hospital de México.

Designed by Feike de Jong using the fonts Arlt Deco 1 and 2 in the titles and the Rufián Melancólico style of Arlt 7 Locos for the list of bands (all by PampaType).

The talented Korean artist Song Keong-a illustrated and designed this series of posters for the Korean Cultural House in Luxembourg, to celebrate the Korean Culture Day, in 2022 and 2023. She used the Perec typeface (PampaType) for the two posters below, and Foundry Sterling (The Foundry Types) for the one shown above.

Issue 34 of the Azimuts design magazine made at the École supérieure d’art et design de Saint Étienne, France. Edited by Constance Rubini and designed by Sébastien Dégeilh and Denis Coueignoux, the publication uses all early versions of the Perec superfamily: Perec, Perec Ludique, and Perec Scripte (all from PampaType).

This is a short novel written by Maximiliano Cárdenas, edited by Ricardo Cabral and designed and illustrated by Santiago Guerrero using Perec and Perec Scripte (both by Alejandro Lo Celso, PampaType).

Peranakan culture – famed for its colourful exuberance and hybridity – was quickly becoming a historical footnote in Southeast Asia. Many see it not as a living culture, but as a relic of the distant past. To challenge this perception, the brand refresh for the Peranakan Museum had to expand beyond the confines of history, to inspire a new generation of artists, rebels and creators.

The rebranding distils Peranakan culture’s maximalist aesthetic into a digital library of reimagined patterns, motifs and more. Our graphic system layers and blends different visuals and styles, just as the Peranakans hybridised different cultures and influences, to create a riot of audacious beauty. We created both static and animated brand patterns with imagery and references drawn from the museum's archive.

For typography, Nobel by Frere-Jones Type was utilised as the headline typeface and Arlt by PampaType for body text; both institutional and contemporary in their base forms, with slight characterful and decorated lilts, allowing the brand to speak with both the formality of a museum and the flair of a Peranakan.

This beautiful book written by Jean-Michel Frodon deals with the work of the Japanese filmmaker Yazujiro Ozu. Treize Ozu. 1949/1962 was published in 2019 by 202 éditions, the Bordeaux-based independent boutique publisher of books on cinema. It was designed in Paris by Paule Palacios-Dalens. The typography is set in Borges for the main text and Borges Título Blanca for the section titles (both by Alejandro Lo Celso, PampaType) and Akzidenz-Grotesk (Berthold, 1898) for page numbers and other details.

Written by Michel Vianey, edited by Maurice Darmon and designed in Paris by Paule Palacios-Dalens, this is another little gem of a paperback book produced by the small independent publishing imprint 202 éditions. This book is part of the series dedicated to cinema, in particular to Jean-Luc Godard and the Nouvelle Vague movement.

The typography combines lettering from Godard movies with two period correct typefaces and a contemporary serif type family. Peignot (Cassandre, 1937) and Antique Olive Nord (by Roger Excoffon, Olive, 1962) are both used for section titles, subtitles, and other details. Borges (Alejandro Lo Celso, PampaType, 2002, revamped in 2022) are used for body copy.