Redesign of the book Johann Sebastian Bach. Leben und Werk in Dokumenten (“Documents of the Life and Work of J. S. Bach”) by Hans-Joachim Schulze, a German musicologist and Bach scholar, first published in 1975 and translated into Russian in 1980.

The book presents a translation of an extract published in Leipzig from a three-volume academic edition of all handwritten and printed texts related to Johann Sebastian Bach from 1685 to 1800. In the layout, Bach’s documents are separated from all the others by a different type of spread.

The edition is supplemented with engravings, letters, musical manuscripts, financial documents and other images from the collection of the Bach Archive Leipzig.

Made as a non-commercial student project at HSE Art and Design School.

Бела Тарр: время после is the Russian translation of Béla Tarr, le temps d'après, first published in French in 2011 and known in English as Béla Tarr, the Time After. It’s the second edition in the Garage Screen series dedicated to film. The book is a unique retrospective of the work of the outstanding Hungarian director and a manifesto of the theory of cinema of Jacques Rancière.

The compiling editors were Marina Sidakova and Daria Loginopulo
. Konstantin Eremenko and Julia Boitsova 
provided the book design, using William and Suisse Int’l. Vladimir Semenkov 
took care of the pre-press. The book was printed by Imprint Lab.

The MARCH Architecture School specializes in an international education in the field of architecture and urbanism. Every year students have an opportunity to show their project works at the MARCH Show exhibition.

In 2022, the exhibition was dedicated to the 10th anniversary of the school, and was named МАРШ X (MARCH X). We created a set of designs, set in William (designed by Maria Doreuli and available from Typotheque) and Panama (designed by Roman Gornitsky and available from his foundry, The Temporary State).

From Copyright Slow Publishing:

The Belgian architect Marie-José Van Hee (1950–) takes a special place in contemporary architecture. She is best known for her residences and renovations. Her own iconic house has been published in numerous books and magazines. The Momu Fashion Museum in Antwerp is also a well-known design of hers.

In 2017, Van Hee received the biennial Flemish Culture Prize for Architecture and the prestigious RIBA Award (British International Fellowship from the Royal Institute of British Architects). In 2018 she was invited by curators Yvonne Farrell and Shelley McNamara (Grafton Architects) to participate in the Venice Architecture Biennale.

Van Hee is doubtless an architect for architects – her work is greatly appreciated by Belgian and international colleagues. But her oeuvre is also very attractive for a wider audience that is interested in architecture and lifestyle.

The book is conceived in such a way that it offers the broadest and most comprehensive overview of her oeuvre: sketches, renovations, new constructions, competitions, furniture and bridge designs. [It] introduces an extensive series of sketches because the drawings embody her first powerful ideas for a design. Next to the introduction by Katrien Vandermarliere, essays by architects/critics Helen Thomas, Javier Fernandéz Contreras and Christian Kieckens were included.

The architect pays a lot of attention to the implantation of her buildings in the local context and nature plays an important role in her private homes (inner gardens). That is why this aspect was illustrated richly with photos.

To emphasize the human aspect – after all, a house is inhabited by people – three testimonials from residents were recorded. They explain why they deliberately chose this architect, describe their experiences during the construction process and why they are so satisfied with their new home.

Photographers Michel Hendrickx and David Grandorge give a personal impression of Marie-José Van Hee’s architecture, artist Kris Martin and photographer Dirk Braeckman also made a special contribution to the book.

A project list of the realized buildings forms the final piece of this monograph.

304 pp., 220×300 mm.

William in use on a billboard (7.3×5.7m), as part of an ongoing series. This edition, on view in May and June 2022, was designed by Inge Ketelers. From 019:

This billboard is a collaboration between Design museum Gent and 019. It functions as an alternative exhibition platform for (graphic) designers. [...]
This billboard is a copy of the Billboard Series framework that has been hanging at 019 since September 2015. (A project by artlead, All Things Contemporary Vzw & 019).

From basyrov.com:

Artist and illustrator Garif Basyrov (1944–2004) was born in ALZHIR (the Russian acronym for the Akmolinsk Camp for Wives of Traitors of the Homeland), aka Point No. 26 on the Karlag map. In the 1960s, he studied in Moscow, first at the then well-known art high school (MSKhSh) under the Surikov Institute and then at the Art Department of the Institute of Cinematography (VGIK). His graduation project was a set of illustrations to Bulgakov's Master and Margarita, which is now mandatory reading on the school curriculum but in those years was virtually forbidden and mostly available in samizdat form. One of his early exhibitions took place in 1970 in the editorial office of Yunost' (Youth) magazine, another legendary place of the period. Many people first came to know him as an illustrator of the magazine Khimia i zhizn (Chemistry and Life), which was an island of liberal thinking in vast marshes of cultural stagnation that characterized the Brezhnev Era.

Garif Basyrov. Total Inventory consists of eight volumes in a cardboard slipcase. Seven of the books are dedicated to individual series or cycles of works. A separate biographical volume includes photographs and materials from the family archive that give the most complete picture of the artist’s life. The monograph is published by Mardjani.

Formular is paired with William.

Maria Doreuli’s William (Typotheque, 2016) is the primary typeface family used for the proceedings of /gʁafematik/ 2018 —

the first conference bringing together disciplines concerned with writing systems and their representation in written communication. The conference aims to reflect on the current state of research in the area, and on the role that writing and writing systems play in neighboring disciplines like computer science and information technology, communication, typography, psychology, and pedagogy.

The Proceedings of the 2018 Conference were edited and typeset by Yannis Haralambous of Atelier Fluxus Virus and published by Fluxus Editions in November 2019. ISBN 978-2-9570549-0-9.

The typography uses all three optical sizes of William; Display, Subhead, and Text.

William here is paired with Chinese characters from M Sung PCR.

In addition to Latin and Greek (shown here), William also supports Cyrillic characters.

In the fall of 2018, the new Flacon magazine team, led by renowned editor Aliona Doletskaya, decided on global changes in positioning and a partial transition to digital. Now Flacon is only about beauty in all its manifestations—a real center of the beauty industry in Russia, uniting bloggers, fashion adepts, content consumers and beauty brands. The team changed the visual content of the magazine. These are bold, unusual surveys for our market: non-standard concepts, rich colors, lack of a gender framework, interesting presentation forms and not perfectly polished images.

The task of the ONY branding team was to develop a design system that would complement and play along with the new content.

ONY proposed a bold typeface selection as a solution: Druk and Druk Wide for headlines, and the transitional serif William Text for body copy. This contrasting combination created a fresh and dynamic image, with the fonts offering high flexibility in assembling interesting typographical compositions.

This book is a collection of essays by John Berger, named after one of them: ‘Art and Property Now’. It is the first Croatian translation of Berger published in book form. It is also the first book in a newly founded series called ‘Tendencija’ (eng. tendency) which will deal with topics like art in the real world, the political aspects of art and the potential of the artist as an activist. The book was published by BLOK with support from the Rosa Luxemburg Stiftung.

The layout and type choice are a contemporary interpretation of pocket-sized books printed in Europe (more specifically Yugoslavia) during the 1970s and 1980s. The book uses bolder weights of Druk for titles, a rigid sans serif that combines very nicely with the delicate and balanced curves of William, a modern Caslon interpretation used for body text and the cover.

The design contrasts the full color coated cover with the more rough interiors printed in Berger’s tradition, only in black on uncoated paper.

11×18.5 cm, 94 pp, stitched and glued in Otabind style.

William Display and Aktiv Grotesk in use for the corporate identity and website of Adell Advocats, a law firm in Barcelona. The positioning of the words and phrases on two sides at different levels suggests the scales of justice. A different tone of grey is used for each item in the stationery set which conveys the idea that their work is about nuances and distinctions rather than being simply black and white.

Educational program at Strelka Institute, Moscow. The programme focuses on research and design for the city and explores the opportunities posed by emerging technologies for interdisciplinary urban design practices. The New Normal is a speculative urbanism think-tank, a platform for the invention and articulation of a new discourse and new models.

Website: https://thenewnormal.strelka.com

Fugue appears in its “Tails” style, featuring many unusual letterforms. It is paired with William, which is used with activated discretionary ligatures for ct or sp. Both typefaces support Latin and Cyrillic scripts.

The date on this poster is set in Lazurski.

Karabas’ spam. Observations of Alexander Livanov

Alexander Livanov was born in Moscow in 1938. In 1955 he attended the institute of cinematography, graduating in 1961 with a degree in arts. Livanov was exhibiting his works since 1960s. In 1983 he started teaching at the Moscow Institute of Graphic Arts and Publishing.

He picked up the name for the book himself. “Spam” is easy to explain. He watches a lot of TV, and shares his observations, which have nothing in common except for everything. He teaches his students to observe and draw, and to draw what they see. Any story he shared for the book could be paired up with any illustration in it. There would be no difference. They’re all random and yet united.

His method of constant observation has a lot to do with his education in cinematography. On the edge of two different arts Livanov picked everything that they had in common to distill the art of observation, depiction of shape and nature.

He inspired several generations of artists. Some of his works are stored in Tretyakovska gallery. His approach to storytelling and cinematographic dynamics is incredibly influential in Moscow. He draws a lot from the TV.

Catalogue for The State Tretyakov Gallery accompanying the Sculptor Paolo Troubetzkoy exhibition. About 80 works will be shown: 20 will be contributed from the State Tretyakov Gallery collection, and a number of significant pieces executed in Russia will come from the State Russian Museum. Nearly half of the exhibits, or 40 portraits, statuettes, compositions, will be contributed by Moscow collector D.M. Yakobashvili.

The typography uses William, with footnotes and captions set in Fedra Sans, both available from Typotheque.

Tretyakov Gallery hosts the most cherished and the most celebrated collection of artworks in Russia. It covers almost a millennium of Russian art and history. The gallery today is evolving: the change is meant to bring it closer to the public. It moves from the traditional format of classical art-museum to the the new modern space that is filled all kinds of activities. The new image of the gallery, that would span over museum's venues programs and activities, required the new universal sign. It could not be entirely novel, yet it had to bear the modern spirit and be comprehensible not only to Russian public, but also internationally.

The typographic style of the gallery rests upon two carefully selected typefaces that exist in true harmony. The traditionalistic character of the Tretyakov Gallery at Lavrushinsky Lane is mirrored by the academic William, the typeface that feels as though it was intended to tell about the wisdom and depth of Russian art. The new and progressive spirit of Tretyakovka is expressed by the Gerbera typeface.