The multidisciplinary festival Multiple Memories focuses on the cultural issues of migration. The editorial design and visual identity by JAC design studio uses Arek by Khajag Apelian.
Photos by Hannes Woidich.
Conceived by Rohan Murty and planned and published by Harvard University Press, the Murty Classical Library of India is a bold project to revive Indian classical literature and make it widely available and accessible. The goal is to publish more than 500 books of classical Indian literature over the course of the next 100 years! The concept and beautiful design of the books was done by Rathna Ramanathan. A range of new Indian types were specially commissioned from Fiona Ross and John Hudson of Tiro Typeworks. The Arabic type used for Persian is Nassim by Titus Nemeth, presented here in the book The History of Akbar. The Latin is Henrik Kubel’s Antwerp.
A restaurant guide, recipe book and an affectionate study of a unique location of North Dortmund – all rolled into one. The book shows the inhabitants of Nordstadt in their own four walls, and introduces restaurant owners and proprietors amidst the atmosphere of cafés, bistros, pubs and bars. The book, designed by JAC design studio, using our Skolar and Brandon Grotesque by Hannes von Döhren, won the prestigious Red Dot design award!
Photos by Hannes Woidich.
The Public Secrets photo book by Visvaldas Morkevičius is a collection of urban experiences from the city’s nighlife to private spaces. We learned to love Tom Mrazauskas’s ultra-minimalistic design approach. It is a very minor, but one of the first recorded uses of Skolar Sans.
Photos by Visvaldas Morkevičius.
Specimens are boring! Creative minds don’t want to just look at pretty pictures, they want to draw their own stuff in the first place. So we talked to our friend, famous Czech book designer Martin Pecina (aka Typolenin) and he came up with a dos-à-dos sketchbook/primer with ten short texts on typographic refinements everyone should know about (small caps, case-sensitive punctuation, figures, ligatures, kerning, optical sizes, stylistic sets, swashes, contextal alternates, non-Latin scripts). Simple coloured glue binding, emboss, and pink colour. Martin’s sketches on type, your sketches of type.
You can buy it in the merchandise section.
This collection of poems blends documentary material, memory, experience, and imagination to evoke the lives of the early Black Nova Scotians, and the generations that followed. The author, Sylvia Hamilton is a filmmaker and award-winning writer, who presents a moving meditation that connects us to the African exodus. The book was designed and typeset by Andrew Steeves in a typeface Huronia by Ross Mills and printed offset at Gaspereau Press.
With his typeface Huronia, Ross Mills took up the challenge of supporting all native languages of the Americas, with the hope of helping in the preservation of the endangered ones. In order to promote the typeface and its good cause, we comissioned a set of three posters which present native American stories in Cherokee, Nuuchahnulth, and Inuktitut, as well as in English. Anna Giedryś – the designer of these posters – created beautiful illustrations to accompany each of these stories. The posters (420 × 198 mm) are printed on Munken Pure Rough with silver added to the colours to produce a subtle metallic feel.
This novel, situated in the 1950s on a small island along the southern coast, tells a life-changing story of three sisters. The author, Mirjam Kristensen, is an exquisite prosaist and storyteller. The book designed by Frode Bo Helland, is set in Neacademia, and published by Forlaget October.
Commissioned by the Government of Mauritania to broaden awareness and understanding, and to help promote commerce and tourism, this trilingual, large format, coffee-table book was designed by John Hubbard and published by Ewrks Media Inc. It uses Nassim by Titus Nemeth for Arabic and English and Le Monde Sans by Jean François Porchez for the French.
Parenthesis is a journal publication that conveys bookbinding, typography, collecting, publishing and related areas. It is published twice a year, with a Fall and a Spring issue and supplied to members of the Fine Press Book Associations. Each issue is unique in its design and produced alternatively between North America and Europe. This issue was designed and typeset by Andrew Steeves in Neacademia by Sergei Egorov and printed at Gaspereau Press, Kentville, Nova Scotia. Current and past issues can be directly ordered from FPBA website.
Eight of our text type families presented in a fancy old-school poster designed by Anna Giedryś. It is printed in gold and black colours on Munken Pure and distributed in a transparent sleeve.
Also presented is an unreleased typeface Prakashan by Alessia Mazzarella.
Charles University in Prague is publishing a series focussing on Linguistics. The book covers have been designed by František Štorm, the contents have been typeset by studio Lacerta. Skolar PE has been put to great use in these highly structured academic texts.
This hardbound book, published by Wydawnictwo Naukowe WSPiA, contains essays on contemporary German literature since 1989. The authors seek answers to the question: did the union euphoria, the association disappointment, the East German “ostalgia”, the western apolitical, sometimes defeatist attitude, a retreat into the personal sphere of the 90s, give way to newer perspectives? Book design by Bartłomiej Bączkowski.
The Visual Schoolbook (Elementarz Wizualny) provides educational material for the youth, high-school students in particular, about the subtleties of graphic design. The book and its contents have been designed and written by Paulina Urbańska, in an attempt to fill the gap in educational publications for the young. The book was selected among the best 40 graduation projects from Poland, Czech Republic, Slovakia, and Hungary.
Hand to Type is the latest book from renowned design writer and editor Jan Middendorp, and it seems once again he has delivered a remarkable book. We are especially proud to see Aisha featured on a full page in the author’s introduction even though it is ‘just’ a type showing, not actual use. Published and available from Gestalten.
Studio Bedow used our typeface Skolar in their beautiful exhibition catalogue for Swedish artist Kjell Strandqvist. Presented at the opening of the exhibition Målningar 2008–2013 at Konstakademien in Stockholm, the catalogue is printed in an edition of 300 signed and numbered copies. You can purchase it here.
Described as a masterpiece in typesetting, Love and the Mess We’re In provides a 360-degree reading experience, where the reader actively interacts with the book. The writer, Stephen Marche, collaborated very closely with the publisher, Gaspereau Press, and produced a unique piece using our typeface Huronia, by the Canadian designer Ross Mills. As the publisher says: “… incredibly versatile and robust, Huronia carried this book through its many twists and turns, page after page”. Read more on the Gaspereau Press blog. The book won the highest honour for book design in Canada, the 32nd edition of The Alcuin Awards.
This book arose from the invitation to mount a substantial exhibition at the ATypI conference in Hong Kong in 2012. It was published by the St Bride Foundation and contains essays by renowned specialists in the field of non-Latin type design, with lots of unique material from the Non-Latin Type Collection at the University of Reading. The exhibition was curated by Fiona Ross and Vaibhav Singh, who also edited the book. It was designed by Vaibhav Singh and Paul Luna and the text is set in Skolar.
Get your copy from St Bride Library shop.
In this uncommon biographical book Sue Goethe crafts an alternate and apocryphal account of our relationship with the ocean. The poems navigate between myths, tales, and urban legends. The text is set by Andrew Steeves in Ross Mills’s Huronia and Jim Rimmer’s Dokument for headlines and printed offset at Gaspereau Press. The book was awarded in the 32nd edition of The Alcuin Awards, Canada’s national competition for excellence in book design.
Hand made products, selected quality and a small family firm characterise the Witt family coffee roasting company. JAC design studio made these attributes the focal point of the Privatrösterei’s visual style. The private coffee roaster’s company logo (a reminiscence of coat of arms) is accompanied by typefaces Lisa from Underware and Skolar by David Březina.
Photos by Hannes Woidich.
“You are not disturbing at all. It’s nice when something happens around here.” The inspiration for the campaign of the Rundlauf Bochum 2013 art and culture festival originates from an elderly lady living in the Bochum suburb. The successful connection between art and the population was incorporated by JAC design studio into the design which uses lively pink and black combination together with Futura by Paul Renner and Skolar by David Březina.
Photos by Hannes Woidich.
This debut book from Dana Mills portrays contemporary rural life with unsentimental clarity. It presents a collection of short stories balancing between overwhelming circumstances, strange beauty and hope. For this beautiful yet simple design Andrew Steeves from Gaspereau Press selected Sergei Egorov’s typeface Neacademia. It was awarded in the 32nd edition of The Alcuin Awards, Canada’s national competition for excellence in book design.
Stationery items like business cards, letterheads, greeting cards, plus special launch- and communication-media for stay golden branding agency. Designed by Helge Rieder, Carsten Prenger, Oliver Henn – with our Skolar and Taz by Lucas de Groot.
Photos by stay golden GmbH.
Type Camp is an educational platform, organising workshops around the world and a conference in Vancouver. Their website uses Skolar by David Březina for the text, Don (currently a Type-Camp-exclusive typeface) by Ross Mills for headlines, and Ronnia by TypeTogether.
Rosetta type specimen no. 1 presents eight type families which together support over 250 languages. The brochure has 36 pages and covers ten writing systems. Rather than show enormous character sets and fuss about little details and features, we attempted to tell the story of why each typeface family is special. The brochure was designed by Anna Giedryś, Michal Hořava, and David Březina; three-colour offset print on Munken Print White.
This issue of the typographic magazine Typo attempts to present a broader perspective of typography and lettering arts in India, its history as well as some recent design projects. The magazine presents articles and essays from renowned designers, a widely published scholar and historian, and many other type designers both from India and abroad. Skolar is used for several articles, in addition to one by its designer David Březina.
The corporate identity and website for a law firm vangard uses Skolar, the colour yellow, and black-white illustrations to great effect. The identity was designed by labor b studio, and won the iF communication design award and the DDC Award in 2014.
The book features stories of decisive moments in the life of 39 different people from around the world who made Austria their home. The main German text is spiced up with quotes in the protagonists’ languages. Designer Stefan Gormász solved this “typographic babylon” mostly with Skolar and several other typefaces (e.g. for Korean or Arabic).
One of the signatures of the first Russian translation of Hypnerotomachia Poliphili by Francesco Colonna (first published by Aldus Manutius in 1499). The translation is by Prof. B. M. Sokolov, and it is a work in progress. The book’s typography is by Sergei Egorov, set in his Neacademia Caption scheduled for release later in 2014.
Rosetta’s first promotional poster ever. The front is a three-colour eye-catching print while the back is a more conventional type-specimen printed in one colour. Printed on Munken Pure paper in A2 format. Designed by David Březina.
Also presented is an unreleased typeface Roxane by Amélie Bonet and Maiola by Veronika Burian.
Popular resource for everything web, Smashing magazine has been redesigned by Elliot Jay Stocks, using Skolar by David Březina for the headlines and intros, and Proxima Nova by Mark Simonson for the text. Smashing magazine also uses Skolar for its conferences, books, and workshops – in print as well as on digital platforms.
2012 officially marked “Five Centuries of Armenian Printing”, and an anniversary book ‘The Diaspora of Armenian Printing 1512-2012’ was published. The book commemorates the printers, their books, and their printing types from the first book printed in Venice to the present day. For technical and political reasons, all Armenian books were printed outside Armenia until 1771. The book was written by John A. Lane, a well-known historian of printing types, and contains a wealth of excellent illustrations. It accompanied the exhibition “The diaspora of the Armenian Book 1512-2012”, held at the Special Collections Library of the University of Amsterdam and at the National Library of Armenia in Yerevan.
The Armenian is set in Arek by Khajag Apelian, the English is set in Arnhem by Fred Smeijers. It was meticulously designed by Frederik de Wal.
Booklets by German design studio achtnullvier deal with various aspects of Graphic design. Presented here is a ‘Naming’ booklet, which deals with naming/name-finding, and ‘Semiotic’ booklet, which provides a brief introduction to semiotics, the general theory of signs and sign systems. Designed by Helge Rieder, Carsten Prenger, Oliver Henn – with our Skolar and Taz by Lucas de Groot.
Photos by 804© Graphic Design.
Typopassage is a public-space exhibition dedicated to type and lettering. It is hosted by the Museums Quartier in Vienna and the shows are curated by renowned Austrian design office bauer Konzept und Gestaltung. In the accompanying catalogue to Typopassage no. 2, designed by German designer Ariane Spanier, Nassim has been used to great effect.
Following the redesign of the mother-page of the BBC News, BBC Arabic and BBC Persian launched their redesigned websites. These are probably the first, and certainly the biggest websites yet to use webfonts – Arabic webfonts that is. The BBC uses custom versions of Nassim by Titus Nemeth. The typeface was painstakingly optimised for screen and for the web with the help of Thomas Grace (hinting) and Tim Ahrens (webfonts production). The typeface was further redesigned for the BBC Persian. Titus redrew Nassim to give the website a distinctly Iranian look, while maintaining coherence with the BBC-brand visual language. Read more about the process on Rosetta blog.
Bobulate is a blog by Liz Danzico. The simple and clean site design was masterfully accomplished by Liz’s close friend Jason Santa Maria. Skolar is used for the masthead and the text throughout the blog. The blog also has an evening edition!
DNA to Darwin allows 16–19 year-old school students to explore the molecular evidence for evolution. A project by the University of Reading, the website and the associated written materials were designed by Jon Hicks of Hicksdesign.
In 2009, The École Superieure d’Arts et de Design in Amiens organised an exhibition of drawings by the artist Rafael Mahdavi. The accompanying catalogue, showing the eight canvases together with an interview, was designed by ESAD-graduate Lucille Guigon who used Nassim for all texts.
This test broadsheet was printed by the renowned Peter Fraterdeus in his fine establishment SlowPrint™. It was printed from photopolymer plates on the Vandercook 219 press. The text from ‘The four books of Architecture’ by Andrea Palladio was set in English and Russian using multiple optical sizes. Despite the fact that the typeface was still in beta version by then, the sheet nicely illustrates how Neacademia’s ragged contours smooth out when printed.
Photography by Peter Fraterdeus and Sergei Egorov.
8 Faces magazine conceived a limited edition of eight A3 (297mm x 420mm) artwork prints. David Březina designed print #1 using his typeface Skolar. The poster is the logical next step from the promotional poster designed for TypeTogether. While the first poster is about a single typeface and its features, this poster is about typeface design in general. It describes the basics behind “proportions”, “structures”, “modulation”, and “rhythm” in type design.
Polish publishing house Karakter recently published a book Widzieć/Wiedzieć, an anthology of the most important texts about design, edited by Przemek Dębowski and Jacek Mrowczyk. Seminal essays by almost forty authors have been translated into Polish, some of them for the first time. Texts by El Lissitzky, Jan Tschichold, Beatrice Warde, Paul Rand, Gerard Unger, Paul Stiff, and many others are typeset in Skolar. Yay!
Yerevan magazine is an Armenian periodical published in English and Russian since 2005, and in Armenian since summer 2011 (now terminated). Art-directors: Gegham Vardanyan, Arsen Kirakosyan. Arek features in the magazine headlines and text. Notably, both variants, the upright as well as the cursive Armenian, are used. It is particularly interesting to see how the designers made use of this unprecedented apparatus in Armenian typography.
An established series of books on Linguistics by the etymological department of The Academy of Sciences of the Czech Republic were redesigned by Vít Boček and David Březina in 2010. Notably, an extended custom version of Skolar was developed in six weights in order to typeset the books efficiently.
The generous layouts count on the complexity of academic texts, great amount of footnotes, and readers who have the urge to make notes while reading. The cover plays with the idea of boustrophedon writing as a reference to antiquity, the age in which everything had been said already!
Vernon Gallery in cooperation with the Municipal House held a unique exhibition of works by the world-renowned Italian painter and sculptor Amedeo Modigliani in 2010 in Prague. Graphic designer Jaro Dufek used Skolar throughout for the exhibition texts and captions.