A small sampling of the brilliant work by designer Anton Ioukhnovets for the Manual section of GQ magazine, circa 2005–2009. Under the direction of magazine legend Fred Woodward, the GQ design team of that period included, among others, Ioukhnovets as well as Thomas Alberty, both of whom would go on to top positions at W and New York respectively.

Manual was the first editorial section to greet the reader within each issue of GQ. A surprising aspect of the Manual section was the total reliance on a single typeface, the versatile FB Titling Gothic designed by David Berlow (Font Bureau). The strict adherence to a single family for such a dense section of diverse content might seem like a dubious approach but the results speak for themselves. In describing Manual, designer Anton Ioukhnovets says he often “likes to embracing limitations” and therefore opted for a minimum of elements in the section, a typeface, a few line rules, and the images. Anton explains, "the editorial requirement for this section was that it needed to be very utilitarian and purpose driven—and I wanted the design to reflect this.” “The beauty of the layouts should come from the actual structure, and one thing I was inspired by was the modularity of Excel docs.” added Ioukhnovets.

Often the first sections of magazines (called the FOB or Front of Book) are somewhat compromised in terms of their design. Layouts will appear adjacent to ads which can compete visually, and the smaller budgets for the FOB pages might rely on “pick-up” art rather than custom commissions. What made GQ’s Manual section so special was that it made these dense pages as visually appealing as features, and did so largely through the attention to detail of the typography and the dynamic compositions.

Although I can't prove it, I always suspected the Manual section likely had a wider impact on the magazine design world—shifting the paradigm towards structured grids. Manual predates other notable examples, (Monocle and Francesco Franchi's work at Il) by several years and might possibly have had some influence on them.

Dweller 2 poster, February 2020, with artwork by Hassan Rahim. The wordmark in Rapid is accompanied by FB Titling Gothic Extended Medium.

Dweller, started in February 2019 and founded by Frankie Decaiza Hutchinson, is a festival celebrating Black electronic artists. The logotype set in Rapid was designed by Hassan Rahim, using the Black Extended with an upside-down M for the W.

Dweller 3 poster, Feb. 23–27, 2022. The bitmap font is S4QUFX.

Dweller 4 poster, Feb 22–26, 2023. The font used for the date and the small text at the bottom is Cygnito Mono. Artwork by Hassan Rahim, Bryant Wells, and David Lee.

The Dweller website was launched in January 2022. It uses Neue Haas Grotesk Text and Menlo for text.

A $leazy special at Bravó.

The lettering is based on the Lamebrains typeface. It is paired with FB Titling Gothic, Utah, and Eurostile.

Goodbois Gallery is a space for creativity, the community and culture that opened on the 17th of October in Munich. Concepted with more courage to creative freedom and embodies the highest quality.

The design of the gallery and the clothes are strongly influenced by old-fashioned galleries, which are presented here in a sporty way, as can be seen from the atlas or the swirl logo, which is intended to reflect the Olympic logo of Munich 1972 in a modern way.

Recoleta, with its blend of classic and modern looks, has become the brand quote typeface at Goodbois. Alongside bolder fonts like Tina and Ben, which evoke the gallery’s main G logo, it appears to be very strong. In between you find as well the wide version of FB Titling Gothic representing Goodbois Studios – the Creatives Services Network of the brand. On the flag and invite, CA Slalom is used for information.

With the invite, everyone received a handmade personal G invitation emblem (made together with Atelier Maria Cepissakova) as an example for future concepts to foster the neighborhood community and inspire creativity through craftsmanship.

Crack is an independent music magazine known for its photographic quality. Started in Bristol in 1999, the magazine released a book for its 10th anniversary. The Crack Magazine Archives: A decade of shoots & the stories behind them is a collection of shoots as much as memories, told by different members of the team. It focuses on the peculiarity of the collaboration between the magazine, the photographers, and the musicians.

Using several fonts as a parallel to the diversity of photographers involved in the magazine, designer Manu Rodriguez chose Cardinal Fruit (Production Type) for titles and for text. The association between this elegant yet edgy font and FB Titling Gothic (Font Bureau) all set in caps gives the book a dynamic, a somewhat punk-like effect, where the narrow dancing lines of Cardinal Italic contrast with the very much structured layout of the page. Eventually, the book is a good mirror of the alternative music scene, always moving and challenging its boundaries, as much in its content as in its design.

Libby Connolly –

is an independent brand designer and art director crafting thoughtful identities & branded content for conscious brands that push boundaries.

Whether it’s brand ideation and development, web layout and functionality, or a conceptual digital experience, true harmony is achieved in my daily practice with equal parts experimentation and strategic thinking. I seek to work with like-minded people: endlessly passionate about what they do.

The studio's website is mainly constructed with a duo of typefaces, Apoc (Blaze Type) for the headings and sections, and Space Grotesk (Florian Karsten) for the text and descriptions. Next to this duo, we find an extended version of FB Titling Gothic (Type Network) for the menu and occasional presence of Ogg Italic (Sharp Type) for emphasis.

Bored Of Authority (BOA) began with Tim Gluck, an Ottawa born-and-raised ski racer, whose fascination with geography and the outdoors led him to the West Coast of Canada. BOA is a new apparel brand for total mountain. They see no divide in mountain sports and are embracing the way snowboard and ski have molded into one.

The BOA team called upon the services of Melriver to help them carry out the creation of their e-commerce store. The overall brand identity including the font choices – FB Titling Gothic and Maison Mono – was determined before, by Very Polite in Vancouver.

Marlborough Lines connects over 24,500 customers across the Marlborough region of New Zealand with electricity. The energy company partnered with Typeface to help communicate the complexity and positive impacts of their core business in their 2019 Annual Report.

The report confidently features FB Titling Gothic from large-scale to body text, to communicate the theme: “tall poppy” – being a leader in their field.

Visual identity for El Chancho (“The Pig”), a Brazilian burger shop. TT Trailers and FB Titling Gothic are paired throughout the identity, from trayliner and napkins to the menu and packaging.

In 2019 I had the pleasure to be included in a list of 30 Brazilian designers and studios that would produce authorial posters in celebration of the 30th anniversary of ADG Brasil, the graphic designers association in Brazil.

This is REVIDE (“fight back”), my contribution to the project. The piece talks about the setbacks we have been experiencing in the last two years in Brazil, illustrated by some real headlines in the lower left corner of the poster. But it also speaks of reaction, the fight back of those who resist, either through occupying the streets, or through art, through music. AmarElo, a song by Emicida inspired the title and is one of the 6 songs I chose to compose the poster.

The poster was printed on a digital printer that, in addition to CMYK, also prints white, metallic and varnish on different papers. I chose to print my poster in black, white and gold on red paper (66×95 cm).

When designing the poster, the extensive FB Titling Gothic family gave me the alternatives I needed in terms of weight and width to compose the word “REVIDE”, playing with different sizes of characters. Gimlet Display had that media outlet look I wanted to represent the news headlines and the song lyrics, balancing the weight and geometry of FB Titling Gothic. Also, Gimlet has a cool x-height and is very readable even in small sizes – I wanted people to look more closely and absorb what was being said in the news and in the lyrics of the songs.

The result could be seen in the exhibition that took place as part of the 13th Brazilian Biennial of Graphic Design, in December 2019 at the Oscar Niemeyer Museum, in Curitiba.

HWLS is the music project of artist Justin Elwin. StudioThinktank® worked with Justin and Future Classic to create an overarching aesthetic tone for the project that could be used throughout tour and release marketing.

StudioThinktank®’s Scott Mellor, already having a close relationship with Justin, was trusted to create concepts based on his intrinsic knowledge of Justin’s personal style and interests.

StudioThinktank® continue to work closely with HWLS to create consistant and foreward thinking design elements for the project.

The fonts used for the I Might Be Dead mixtape include Moore Computer (front), FB Titling Gothic (spine), and the ultra-compressed Cinderblock 400 (outlined for “1524”) The HWLS logo is custom drawn, while the Future Classic logo uses Adobe Garamond with a custom ut ligature and a c from another face.

A book by Bonnie Siegler “offering an invaluable step-by-step guide to how to talk so creatives will listen, and how to listen when creatives talk.” [Google Books]

Front cover makes use of Font Bureau’s Titling Gothic. Credits are set in Neutraface No. 2. Table of contents make use of two different widths of Rhode. Chapter body text uses Stag.

Visual identity of Sainte-Victoire, the first solo album by French singer-songwriter Clara Luciani. The font used for album cover, digisleeve, vinyl disc is Font Bureau’s Titling Gothic Wide.

Redesign of the identity for the Ghent based All Eyes On Hip Hop event agency, representing artists like Action Bronson, Ant1, Azer, Brihang, Denzel Curry, Dilated Peoples, Grazzhoppa, Homeboy Sandman, Jeru The Damaja, Krewcial, Lefto, Oddisee, Pusha T, Kojey Radical.

Designed by Stephanie Specht (2017) with ZIGZAG typeface.

A site dedicated to the paintings of Laurie Rosenwald (who also happens to be the co-creator of the typeface Loupot). The type on the last line of the homepage has its bottom chopped off – perhaps unintentionally – but it fits with Rosenwald’s paper-cut aesthetic.

License: All Rights Reserved.

In 2011 Newsweek magazine and The Daily Beast used David Berlow’s FB Titling Gothic to incorporate consistent design elements. By overlapping fonts and layouts, they were able to graphically connect their content in print to their online presence, including the iPad, shown in both horizontal and vertical formats.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Finale book for the Grand Palais competition by LAN architecture.

1Above is a drink that counteracts the symptoms of jet lags after flights. New Zealand based web design and development agency Union Digital used exclusively Titling Gothic FB in different variations for the corresponding website.