Fonts In Use – Type at work in the real world.
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Fonts In Use is an independent public archive of typography indexed by typeface, format, and industry.
Fonts In Use – Type at work in the real world.
2M ago
Contributed by Stephen Coles
Source: www.flickr.com Kit Karzen/Harris for President. License: All Rights Reserved.
The Kamala Harris 2024 campaign identity, designed by Wide Eye Creative, is built around Sans Plomb, a condensed gothic not unlike the Bureau Grot used by Wide Eye for Harris’s 2020 primary bid – in turn inspired by Shirley Chisholm’s 1972 campaign. This time, though, the typeface is from a French foundry, rather than from Anglo-American origins (Stephenson Blake via Font Bureau).
Source: fontsinuse.com License: All Rights Reserved.
The logo for Kamala ..read more
Fonts In Use – Type at work in the real world.
2M ago
Contributed by Florian Hardwig
Source: www.abebooks.com Between the Covers (edited). License: All Rights Reserved.
One advantage that lettering has over typeset text is that the artist can always alter letterforms ad hoc, depending on the context. This allows her to make the most of the available space, to dissolve awkward pairs into pleasing combinations, or simply to enliven a design by means of variegation.
Ursula Suess was a graphic artist who designed numerous book jackets in her career. For the majority of them, she’d come up with her own letterforms. I’m adding a selectio ..read more
Fonts In Use – Type at work in the real world.
8M ago
Contributed by Stephen Coles
Source: lithub.com License: All Rights Reserved.
Martyr! is a novel by Iranian-American writer Kaveh Akbar that combines modern situations with traditional imagery. For the jacket, prolific cover designer Linda Huang did what she does so well: pick a striking and relevant typeface and let it do a lot of the work.
License: All Rights Reserved.
Left: Salem, as advertised in the Inland Printer, Vol. 28, No. 2 (November, 1901). Right: Daria Cohen’s reinterpretation, Zangezi (2018), with additional weights, italics, and condensed (2021).
Her choice w ..read more
Fonts In Use – Type at work in the real world.
1y ago
Contributed by Florian Hardwig
Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.
January 1990, ft. an unidentified rounded sans
Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.
February 1990 ft. Italia Bold
C82 is the website of Nicholas Rougeux, a Chicago-based designer and data artist. One of the many great things one can find on C82 is his collection of train tickets sold by Metra. Every month, the commuter rail system in the Chicago metropolitan area releases a new ticket design. In ..read more
Fonts In Use – Type at work in the real world.
1y ago
Contributed by Florian Hardwig
Source: www.theideaofthebook.com The Idea of the Book. License: All Rights Reserved.
Book jacket (second edition by Niggli, Teufen, 1964)
Dan Reynolds, esteemed friend of the site, writes on Mastodon:
125 years ago today – at exactly 12:05 in the afternoon, Berlin time – H. Berthold AG filed prints of 13 sizes of Akzidenz-Grotesk’s regular weight with the Berlin Muster-Register. That means that it is the typeface’s “birthday” right now.
You can read more on his Typeoff blog and see internal Berthold documents from the Historical Archive at the D ..read more
Fonts In Use – Type at work in the real world.
1y ago
Contributed by Florian Hardwig
Source: www.booklooker.de katzensohn (edited). License: All Rights Reserved.
März Texte 1, 1969. Compilation of texts by Bazon Brock, Peter O. Chotjewitz, William S. Burroughs, LeRoi Jones, Uve Schmidt, Hermann Nitsch, and others.
Among German publishers, März is probably the most iconic example for our tag “typeface plus color equals brand”. In this case, the first ingredient is Block, a bold advertising typeface with rough contours that was first cast by the Berthold foundry in 1908. The second one is the color yellow, or rather the color combo ..read more
Fonts In Use – Type at work in the real world.
1y ago
Contributed by Florian Hardwig
Source: www.worthpoint.com License: All Rights Reserved.
In the six decades since the publication of the original Dune novel in 1965, the science fiction franchise has gone through many different typographic identities. Notable examples include the use of Giorgio for the British paperbacks by NEL (c. 1968) and Albertus for David Lynch’s movie adaptation (1984). But another typeface has even stronger ties to Dune and its author. It appeared on the covers of dozens of books, including the classic Dune trilogy and its sequels, and also on other ti ..read more
Fonts In Use – Type at work in the real world.
2y ago
Contributed by Florian Hardwig
Source: annyas.com License: All Rights Reserved.
“Rankin/Bass present” is lettering based on Weiß-Initialen Serie II, or Weiss Initials Series II, with the alternate forms for A and E, rendered bolder, with rough contours and a bouncing baseline.
Rudolph the Red-Nosed Reindeer is a Christmas TV special that first aired on December 6, 1964. It was produced by Jules Bass and Arthur Rankin Jr. – then doing business as Videocraft International, Ltd., and later as Rankin/Bass Productions – in collaboration with the Japanese MOM Productions. From Simo ..read more
Fonts In Use – Type at work in the real world.
2y ago
Contributed by Nick Sherman
License: All Rights Reserved.
License: All Rights Reserved.
License: All Rights Reserved.
The Exorcist is a 1973 horror film directed by William Friedkin based on William Peter Blatty’s 1971 novel of the same name. The story focuses on the demonic possession of a young girl and the efforts of her mother and a pair of Catholic priests to rescue her. Regularly named as one of the greatest horror films of all time, The Exorcist was the first horror film to be nominated to receive an Academy Award for Best Picture. In 2010, the Library of Congress recognized ..read more
Fonts In Use – Type at work in the real world.
2y ago
Contributed by Maria Paganopoulou
Photo: Maria Paganopoulou. Delfys Feminist Archive, Athens. License: All Rights Reserved.
Covers of the magazine Póli Ginaikón
Marsha Rowe, editor of the groundbreaking feminist magazine Spare Rib, famously recalled: “Suddenly, words were possible.” She was referring to a general climate of liberation in the early 1970s, when the creation of women-run print media allowed women to express themselves freely. This is also how women in Greece must have felt when the second-wave feminist movement erupted after a painful seven-year military dictato ..read more