Beach House, a dream pop duo from Baltimore, has been around releasing ethereal tunes since the early 2000s. The duo’s 2018 album 7 puts Centra No. 1 front and center, using it as the focal point in the website, printed ephemera, and merchandise. On the concert posters, Centra is paired with what looks like Times New Roman Extra Bold. The poster for the Oakland show adds another – yet unidentified – sans serif to the typeface palette.

See more images at Sharp Type News.

For our moving to Europe Garage Sale, Frank and myself set to do a different flyer every day of the leading week of the grand event. We would post these digital flyers in our Instagram Stories. We ended up not following through and did only four flyers.

We did the first one together, the second and third one are from me and the last one is from Frank.

For the first one, we used Nostra because it had just come out in Future Fonts and it’s awesome!

The second one I decided to play with as many typefaces as possible from the Pyte Foundry.

The third one is an ode to the female type designers present in Future Fonts.

The fourth one is an accurate description through the display of emojis of everything that we had for sale. :)

Women type designers at Future Fonts, starring from top to bottom: Inga Plönnig’s Messer Condensed; Pauline Fourest with Giboula, Sun Helen Isdahl Kalvenes with Ricochet, and Daria Petrova's Zangezi.

Apple Color Emoji and Daria Petrova's Zangezi.

Images from the Kickstarter crowdfunding campaign for issue 09 of Pica magazine, using a number of Pyte Foundry typefaces to present the pledges. The logo of Pica magazine seems to use Alto by Thomas Thiemich.

Risk brings us back to the very sources of creation. To create is necessarily to put ourselves in danger, to take a chance. Creatives fail, and the really good ones fail often, writes Neville Brody. Indeed, taking a step towards the unknown allows you to see new perspectives, to leave your comfort zone and to explore new avenues. In the margin, there is a world of possibilities often forgotten, reduced to self-censorship. But to dare is also to risk losing. The risk is ambiguous, since it is always hypothetical, its product results partly from chance. The line is sometimes very fine between failure and success. –– Pica Mag

Feast for the Eyes by Susan Bright is a book about food photography across the century, published by Aperture.

Atelier Dyakova from London, in charge of the design, used the kitsch and the retro as inspiration, looking for modern revivals of Victorian typefaces. They stumbled upon Ellmer Stefan’s imprint The Pyte Foundry and used no more than 3 typefaces from its catalog for the book: Prhyme for the cover, Kink B for the back cover and title page, and Houdini for titles in the book interior. The rest of the text is set with the versatile Lyon Text from Commercial Type.

Read more about the design process on It’s Nice That, or hear from commissioning editor Denise Wolff on the book in this video.