The masthead was adapted from an Edwardian typeface, Herold AKA “Reklameschrift Herold”. For Hellebore, I gave the letterforms an art-nouveau facelift by way of the 70s.
Reklameschrift Herold was designed by Hermann Hoffmann and first cast by the Berthold type foundry in 1901. The series was later expanded by schmal (compressed), Kontur (outline), and fett (bold) styles. There are a number of digitizations as well as contemporary reinterpretations (see the typeface page for details). In Herold, all the weight is distributed around the top and bottom of the letters, giving it a squeezed, claustrophobic feel.
The Hellebore logo exclusively shows its high-waisted caps. The modifications make it look as if just emerged from a swamp. Hébert increased the flabbiness of Herold’s already wobbly contours, with more pronounced concaves. Most notably, the R became gaunt, exhibiting a smaller eye and a limpish leg.
Herold also appears for headlines, in unmodified (or less heavily modified) form. It’s paired with Berton Hasebe’s Portrait Condensed (Commercial Type, 2013). I’m not saying there’s something inherently eerie about Portrait, but the first documented Use was David Pearson’s cover for the Bonnier Pocket edition of The Shining.