Review by Nick Sherman May 17th, 2017

Fact magazine covers

Stark typography to deliver stark criticism in the politically charged 1960s.

Review by Nick Sherman Apr 18th, 2017

Kendrick Lamar – DAMN. album cover

The cover of Kendrick Lamar’s new album, DAMN., is very basic: A four-letter word and a period set on top of a photo of Lamar …

Kendrick Lamar – <cite>DAMN.</cite> album cover

Review by Stephen Coles Mar 6th, 2017

Hold, Sold, & 2nd Grade Butterfat

Mid-century shop tags showcase the rough-and-ready utility of Ludlow’s Tempo.

Review by Blythwood Sep 28th, 2016

Haüy’s Essay on the Education of the Blind (1786)

One of the earliest forms of sans serif type ever seen in a book was designed for those who couldn’t see at all.

Haüy’s <cite>Essay on the Education of the Blind</cite> (1786)

Review by Stephen Coles Aug 13th, 2016

Massimo Vignelli’s A Few Basic Typefaces

Vignelli presented his (now famous) type philosophy at an SVA exhibition in 1991, revisiting it 20 years later for his Canon.

Massimo Vignelli’s <cite>A Few Basic Typefaces</cite>

Review by Stephen Coles Jul 14th, 2016

Mastercard identity (2016)

Pentagram hits the Mark in an iconic brand’s return to simplicity. (Still, a few words of warning to geo-sans fans.)

Review by Ivar Sakk Jun 1st, 2016

Zhurnalnaya Roublennaya: A Poor Man’s Futura

An unusual geometric sans, born out of necessity in a Soviet Union of limited type choices, sparks new study and revivals.

Zhurnalnaya Roublennaya: A Poor Man’s Futura

Review by Andreas Kofler Apr 22nd, 2016

Stedelijk Museum identity (2012)

Four years after the dust settled, a look back at the controversial rebranding of Amsterdam’s home for contemporary art.

<cite>Stedelijk Museum</cite> identity (2012)

Review by Stephen Coles Apr 13th, 2016

Charlie Rose

One of the strongest talk shows on television finally has a typographic identity that carries as much weight.

Review by Stephen Coles Mar 20th, 2016

Design Museum identity (2003, 2016)

The British institution gets a new home and refined look, but still speaks with that Swiss/German accent we’ve grown to love.

Review by Florian Hardwig Jan 4th, 2016

Tourism Ireland, c. 2010–2014

Bram de Does’ elite typefaces are usually found in work of the highest standard. This bizarre mangling of Trinité is a rare exception.

Review by Stephen Coles Dec 14th, 2015

VELOCIDADE by Ronaldo Azeredo (1957/8 & 1968)

After more than a half century, the work of this Brazilian concrete poet is as vital as ever.

<cite>VELOCIDADE</cite> by Ronaldo Azeredo (1957/8 & 1968)

Review by Stephen Coles Dec 4th, 2015

Tasting Table (2015 redesign)

The foodie site tastes much better with fresh type, but it’s still just slightly undercooked.

Review by Stephen Coles Nov 29th, 2015

Tomy Blip / World Tennis / Blip-o-mat

This odd little Pong wannabe was a microcosm of video game typography, using all three MICR-style fonts popular in the ’70s.

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Fact magazine covers

Kendrick Lamar – DAMN. album cover

Hold, Sold, & 2nd Grade Butterfat

Haüy’s Essay on the Education of the Blind (1786)

Massimo Vignelli’s A Few Basic Typefaces

Mastercard identity (2016)

Zhurnalnaya Roublennaya: A Poor Man’s Futura

Stedelijk Museum identity (2012)

Charlie Rose

Design Museum identity (2003, 2016)

Tourism Ireland, c. 2010–2014

VELOCIDADE by Ronaldo Azeredo (1957/8 & 1968)

Tasting Table (2015 redesign)

Tomy Blip / World Tennis / Blip-o-mat