Sébastien Lordez selected Arteria Compress for the layout of Mowno, a “noisy and passionate magazine” published by the specialists in new music, from indie rock pop to hip-hop and electro.

His design combines different typefaces including Futura, PMN Caecilia (paired with the italic of Louize) and Arteria. We like the typographic treatment of the cover on which the vignettes-stickers announce the summary of the issue. But also, of course, when Arteria is used in large sizes in the introductory double spreads. We spot a wood type appeal in the way the typeface is used, which was a major influence in the design of Arteria.

We asked Sébastien to tell us more about his choice and art direction:

Regarding the recently purchased Arteria, I have been using it for more than a year for all the article headlines in the independent music magazine Mowno, and sometimes for the names of the groups. At times also for the article highlights. I licensed the fonts because I initially used Arteria via Adobe Fonts but experienced activation problems. As I’m travelling, I preferred the security of having the files on my computer.

I use more than a dozen different typefaces for titling, in a “fanzine” spirit. The recurrence of these titles invariably composed in Arteria Compressed Extra Bold creates a common thread and contributes to creating an identity. This brings back a little order, and allows follies elsewhere. I was looking for a narrow typeface, very black, like the small dark rooms, that marks the page, that has a lot of aplomb but with a subtlety in the design that has a certain character. It was love at first sight when I saw a Typofonderie post on Instagram with this typeface. The R caught my eye with its slightly venty jamb, the curves of the tail of the Q, the high transverse of the G. Everything is beautiful when set in Arteria, I love it.

“Vielförmig” is the name of the bachelor’s thesis and a collection of zines from Sandra Rothenberg. It discusses the varieties and diversity of the society we live in.

Although there has been a number of positive advances and changes in the last years in the various areas of equality and approaches to sexism, it is not without reason that a ‘backlash’ is being discussed and many topics are being regarded from only a very narrow point of view. Gender equality and self-empowerment are being talked about and met with thunderous applause; but why remain challenging topics like intersectionality and inclusion only on the forefront of the minds of those primarily impacted?
How are the aforementioned challenges perceived by people and their daily lives? What is seen as a positive development and what improvements could be made from their perspectives? What might even be considered a major setback?

“Vielförmig” addresses these questions within a series of zines and forms a thesis advocating the diversity in our society and raising visibility. Each individual edition first invites the viewer on one person’s personal journey and then unfolds into illustrations, designed to support and further explore each topic. The individuals who form our society are given a voice to make themselves and their life’s story heard.

Concept, Editorial & Illustration by Sandra Rothenberg
Pictures by Jören Zimmermann

When I picked this book up and started reading it, I was very impressed by the readability of the type (PMN Caecilia), and the layout of the entire book. Hugh Syme designed the cover featuring Mark Simonson’s Mostra, and Tania Craan did all the text design and typesetting.

From NeilPeart.net:

Whether navigating the backroads of Louisiana or Thuringia, exploring the snowy Quebec woods, or performing onstage at Rush concerts, Neil Peart has stories to tell. His first volume in this series, Far and Away, combined words and images to form an intimate, insightful narrative that won many readers.

Now Far and Near brings together reflections from another three years of an artist’s life as he travels roads and trails, receives honours, climbs mountains, composes and performs music, and celebrates seasons, landscapes, and characters. With passionate insight, wry humour, and an adventurous spirit, once again Peart offers a collection of open letters that take readers on the road, behind the scenes, and into the inner workings of an ever-inquisitive mind.

These popular stories, originally posted on Peart’s website, are now collected and contextualized with a new introduction and conclusion in this beautifully designed collector’s volume.

From May 1940 to May 1945, the Netherlands were occupied by Nazi Germany. The Dutch Resistance Museum documents how Dutch people responded to the increasing oppression of the occupying power.

The museum’s logo is set in Mark van Bronkhorst’s MVB Magnesium Condensed, an uncommon font whose thick-thin strokes and angled terminals do a decent job of emulating the hand lettered or painted signs and advertising of the 1920s–40s.

The main typeface for the graphics for the permanent exhibitions is PMN Caecilia by Dutch designer Peter Matthias Noordzij. FF Trixie, by fellow Dutchman Erik van Blokland, is used in the Junior section of the museum.

2015 annual report. Design: Jarno Aafjes Concept & Design. DTP: Zwaar Water.

Interior page of 2014 annual report showcasing the museum’s outdoor advertising.

Student visitor workbook.

One of my favorite brand identities ever was the original Tazo line, designed in 1994 by Sandstrom Partners. Starbucks purchased Tazo in 1999 and did a full, in-house rebrand that was launched in 2013.

The newer look is minimal and modern, optimized for shelf visibility. The crossbar through the Z nods to the original design, though most of the mystical quality of the original Tazo design is gone. Still, a lovely and enduring approach that still feels more poetic than generic.

The Dieline has additional information.

Relief Sari is Herbana's first product, a range of herbal supplement that helps maintain a healthy lifestyle in a simple way. The 1984 developed branding and packaging for Herbana.

Maison with Maison Mono is selected as the primary typeface, whilst Caecilia is used only for secondary font in the packaging. Relief Sari’s range uses orange and pale teal as its identity color, including the color on its capsules. Amber glass is chosen as the bottle’s material to inject a rustic, apothecary look.

“First published in German in 1804, under the nom de plume ‘Bonaventura’, The Nightwatches of Bonaventura is a dark, twisted, and comic novel, one part Poe and one part Beckett.”

An intriguing cover by Matt Avery alludes to the macabre and voyeuristic themes. The atypical Blackletter, Fakir Display, blurs into the shadows as seen through a window.

“Food Made by Mothers” is the brand message of Saarioinen, a convenience food manufacturer from Central Finland. In the course of 60 years the company grew from a small lakeside manor to one of Finland's major food makers. It has production sites in six different parts of the country. While various international food products are offered, orientation on homemade-ness and home country-ness (“kotimainen”) and traditional Finnish food culture have always been major feature. On the occasion of the 60th aniversary of Saarioinen Espoo-based agency Remes & Packart did a redesign for the packaging which stresses the point.

The new packaging design follows a clear concept with simple structure and the main typographic elements positioned on a compact lable area. This makes navigation easy and leaves ample space for illustration on the surroundings. An important brand feature is the use of Finnish script font ALS SyysScript (“Script of Autumn”) in brightly colored headlines paired with elegant slab serif PMN Caecilia for content information and Swedish translations. As a rule, the production site within Finland and the Finnish quality logo are placed prominently and thus confirm the brand message.

“Spinach soup prepared with Finnish spinach” and “Rice mash – A new recipe, still more tasty than before” – Finns love their traditional food.

Even in Finland somewhat exotic: Smoked reindeer meat–cheese soup.

Yesterday is a photo printing service, making it easy to print photos directly from the iPhone.
Can be downloaded from the App Store.

The new Kindle Paperwhite, announced today, adds a bundle of font options for an e-ink display device that previously offered only PMN Caecilia. But most welcome to me in that list of options is "Publisher Font", which lets book designers make their own typographic choices (and embed their own fonts) just like they would in a book’s printed edition. I assume this equivalent to the “Original” option in Apple’s iBooks app. From the product page:

Hand-Tuned Fonts
All six fonts on Kindle Paperwhite have been hand-tuned at the pixel level for maximum readability and comfort. Higher resolution allows for unprecedented sharpness. The new high-resolution display allows for elegant typeface options including Baskerville and Palatino.

These are pretty unimaginative choices, (in contrast to the latest book-friendly fonts added to iBooks), and Futura is an especially odd selection for long reading, but perhaps they are indeed well tuned for this particular display. I’ll write a more detailed report once I see the device in person.

Supershapes:

Supershapes played an integral part in the repositioning and rebranding of the SVT (Swedish Television) News. This project spans the 26 current news departments from local to national level covering everything from general news to culture, sports, business, weather and news for the hard of hearing.

FontShop News:

There are few magazines that live up to their titles as well as this one. The design of Real Simple is as straightforward and clear as its content. The clean and open PMN Caecilia marries well with FF Meta to make otherwise mundane tips surprisingly inviting.