Lmst

Staff pick:
“What do you dream about?” is a typographic list of different types of #dreams. The book was made by Tim Bauer, Marei Hager, and Jennifer Treacy as a student project at HS Mainz. They paired Altro Serif (Zetafonts) with ABC Stefan (Dinamo). More: https://fontsinuse.com/uses/72764/what-do-you-dream-about

#FontsInUse #fonts #typefaces

Double-page spread from the book “What do you dream about?” with an alphabetically sorted list from “Action figures” to “Ziplines”. The items are set in Altro Serif, arranged in three columns per page. The single-letter headings use ABC Stefan’s Bubble style. So does the large “NEW TOYS” that partly obscures text in columns three to five.

Isenheim et Teranoptia in use! (avec Bask Type de Jules Durand, Ouroboros - @velvetyne - et plein d'autres épices graphiques)

https://www.instagram.com/p/DT00EwejUaT/?img_index=1

<= #fontsInUse #teranoptia #isenheim #basktype #julesDurand #typography #ArielMartínPérez #typographie #associationPresseOffset #ByeByeBinary

Staff pick:
“Koalicje wody / Coalition of Waters” is an exhibition that was shown last year at the Baltic Gallery of Contemporary Art in Słupsk, Poland. Karolina Pietrzyk and Tobias Wenig designed the posters and other printed matter using KTF Prima: https://fontsinuse.com/uses/72588/koalicje-wody-coalition-of-waters

@anfalov started work on this neo-grotesk during his studies at ECAL. It’s an interpretation of Nebiolo’s Forma, designed 1965–68 by a team of eight designers under the direction of Aldo Novarese. After years of being in development, KTF Prima was released this week with Kyiv Type Foundry.

#FontsInUse #fonts #typefaces

Program poster and flyers for “Koalicje wody / Coalition of Waters”. The bilingual text (Polish and English) is set in KTF Forma, with the title stacked and staggered, mostly in off-white letters against a dark olive green.

Staff pick:
Corbin Mahieu and Victor Verhelst designed the identity of Nova, a “headstrong” restaurant in Sint-Niklaas, Belgium. It comes with a logo in Tekio’s Ursa Mono and jagged illustrations.
More: https://fontsinuse.com/uses/73530/nova-restaurant-sint-niklaas

#FontsInUse #restaurants #GraphicDesign #typography #logos

Bungee by @djrrb #FontsInUse

A silver and gold "Happy birthday" banner by Sainsbury's hanging on a white wall, with a string of birthday cards above it and a silver balloon hanging down. The letters "happy birthday" are written in David Jonathan Ross's Bungee font.

Gill Kayo joins Club 💯

Initially dubbed “Sans Double Elefans” and later known as Gill Sans Ultra Bold, the heavyweight extension from 1936 wasn’t always loved: its designer* disowned it, thinking of it as an “absurd misconception”, and British typographer Robert Harling characterized it as “the most horrendous and blackguardly of these display exploitations”.

Gill Kayo (as in K.O. 🥊) found its fans when extremer styles became fashionable in the 1970s. In fact, 35 out of the 100 Uses now documented on Fonts In Use date from that decade. See ’em all:
https://fontsinuse.com/typefaces/7273/gill-kayo

*) A horrendous and blackguardly character himself, ICYDK: https://www.thefrontispiece.com/blog/2018/1/16/when-is-times-up-coming-for-eric-gill

#FontsInUse #fonts #typography

A leaflet from a 1936 edition of Typography magazine showing ‘Monotype’ Gill Kayo, series 442. The specimen shows the glyph set, center-aligned and printed in black, starting with a capital alphabet (skipping GKO), followed by the ampersand, the lowercase alphabet (with j and k swapping positions), the pound sign, basic punctuation, the alternate 7 w/o crossbar, and finally the numerals. The name “Gill Kayo” above is printed in bright red. The whole design is enclosed by a frame composed of the letter O in a smaller size, alternating between red and black.

Scan courtesy of Mike Ashworth. Source: https://www.flickr.com/photos/36844288@N00/3843581638/

Staff pick:
De Situatie 2 is a book with ten texts selected from the Dutch literary platform’s annual writing competition, designed by All Sizes & Céline Hurka.

Each of the emerging writers has been paired with an unreleased typeface by an upcoming type designer. Several of the fonts were made as student projects, with many of them being recent creations from the @TypeMedia program at @kabk_thehague.

The pairings:
Khadija Elberdai & @gagane
Remmelt Bot & Mălin Neamțu
Mylène Delfos & @vandenbroeckkaat
Lennart Bolwijn & Huw Williams
Ivana Kalaš & Luka Appelberg
Merle Findhammer & Tina Božan
Sanne Morssink & Nóra Békés
Charlotte Beerda & Luboslav Boyanov
Zaban Razdar & Andrea Hayek
Christina van Egmond & @daytonamess

➽ https://fontsinuse.com/uses/74330/de-situatie-2

#FontsInUse #fonts

For your typographic holiday reading, here’s @fhardwig on a songbook with Christmas carols produced by artists of the Werkstatt Haus zum Fürsteneck … in 1940: https://fontsinuse.com/uses/11409/lieder-zur-weihnachtszeit-1940

“As soon as one starts reading, one is painfully reminded that the heyday of this workshop in the tradition of the Arts and Crafts movement coincided with Nazism, and that its members allowed those in power to coopt their talents for propaganda purposes. As beautiful as Claudius and the two-colored musical notation might be, the joy is spoiled by the content which is drenched in the unholy zeitgeist.”

#FontsInUse #typography #Christmas #Nazism

Detail from “Lieder zur Weihnachtszeit”, produced by Werkstatt Haus Fürsteneck in Frankfurt/Main and published by Georg Kallmeyer Verlag in Wolfenbüttel in 1940, showing the page with “Hohe Nacht der klaren Sterne” by Nazi songwriter Hans Baumann (1914–1988), “a prime example for the new carols of the 1930s that should replace Christian songs”.

The musical notation features a special typeface cut by Paul Koch (1906–1945), printed in red and black. The blackletter typeface used for the text is Claudius, based on letterforms written by his father, Rudolf. The illustration of mother and child is by Heinrich Pauser (1899–1989), another artist of the Haus zum Fürsteneck workshop and a student of Koch senior.

Ten days ago, The Hague’s newest cultural venue Intercity opened doors for a sneak preview; the opening featured my oldest son looking handsome in uniform, and signage by All Sizes set in Thermorest by @mass_driver

#intercity070 #fontsinuse #typography #070 #massdriver #thermochrome

Intercity opening, 12 dec 2025, outdoor signage

Intercity opening, 12 dec 2025, Garderobe sign set in Thermochrome font

Light and sound art by David Schoch in the backyard of the venue. Intercity opening, 12 dec 2025

From: https://fontsinuse.com/uses/63903/fonts-in-use-is-not-active-on-instagram

#fontsinuse #autonomy #openstandards #openweb #geordilaforge #meme

meme featuring the character Geordi La Forge from Star Trek. In the “no, thank you” part, he says: “DYSTOPIAN CORPORATE PLATFORMS,” and in the “yes, that's it” part, he says: “AUTONOMY, STANDARDS, AND THE OPEN WEB.”

Staff pick:
Issue no. 11 of Mosaïque magazine investigates how the music industry protects perpetrators of sexist and sexual violence. For the title, “La fabrique du silence”, art director Alexandre Créquer used the Thin weight of his own Mosa. 🔒 More:
https://fontsinuse.com/uses/72283/mosaique-magazine-no-11-la-fabrique-du-silenc

#FontsInUse #fonts #typefaces

Cover of Mosaïque magazine numéro 11, September 2025, showing a large padlock (3D work by Valentin Gaubert and Yann Genty). The title “La fabrique du silence” appears to be engraved into the padlock, in caps from Mosa Thin, with one word per line. The Mosaïque logotype at the top, partly obscured by the shackle, is custom lettering by Alexandre Créquer. Small text is set in Neue Haas Grotesk.

Insenheim typeface (by Benoît Ferran) in use at the Octobre Numérique festival website! https://octobre-numerique.fr/ <--#fontsinUse #Isenheim #typeface #font #typography #BenoîtFerran #tuneratypefoundry

Staff pick:
“Readings of the Archive” is a book about Argentinian architect Amancio Williams (1913–1989) published by the Canadian Centre for #Architecture in partnership with Spector Books. Design studio Our Polite Society used two of their own typefaces: the monospaced OPS Favorite and the newly released OPS And Ever, a proportional update and continuation of the latter. Its Ultra weight that’s used on the cover is still unreleased.
https://fontsinuse.com/uses/73378/amancio-williams-readings-of-the-archive

#FontsInUse #typography #BookDesign

Orange book cover with three black-and-white photos and black text all set in an extrabold sans-serif typeface, OPS And Ever Ultra. At the top, in a very large size, “Amancio Williams”. In a medium size, “AP205” and “Readings of the Archive” rotated at the left and right, and “Studio Muto / Claudia Shmidt / Pezo Con Ellrichshausen” at the bottom.

Goodbye, Jimmy Cliff.
https://fontsinuse.com/tags/14763/jimmy-cliff

#JimmyCliff #RIP #reggae #FontsInUse #fonts

GT Walsheim joins Club 💯!
Noël Leu’s “friendly but precise” sans (Grilli Type) with the characteristic G has crossed the mark of one hundred Uses in the #FontsInUse Collection.

Inspired by 1930s lettering of Swiss poster designer Otto Baumberger, GT Walsheim was first released in a single style in 2009, and gradually expanded to eight weights plus obliques. In 2014, Leu unlocked Cyrillic support with the help of Mirco Schiavone. The 2017 revision added condensed styles.

https://fontsinuse.com/typefaces/7622/gt-walsheim

Mad Men is on German TV. They already lost me 15 seconds into the intro when I saw the Lucida Handwriting font (1991) – in a show set in the early 1960s? #FontsInUse

Shoutout to Thomas Huot Marchand's great #Minuscule typeface made for extremely small sizes! Even though it takes some to render a 360 page part of a book reflowed to one A0 page in 3pt body copy with 2pt footnotes, it works and is still legible when printed! #oldschooldataviz #fontsinuse http://www.256tm.com/en/overview_1.htm

Screenshot of 3/3.8 and 2/3pt typeset text in Minuscule

My font Panchi Mono in use! by @clavardeuxses

This graphic design collective from my homeland Brittany just launched their website: lesclavardeuxses.fr

Give them some love 🫶

#graphicdesign #typedesign #webdesign #fontsinuse

Staff pick:
Forum Neues Wetter was a series of talks about #climate, soil, and participation in Grimma, Germany. For the design of the poster and program flyer, Wolfgang Schwärzler @ws combined amorphous lettering with Gamuth (@productiontype) and the upcoming Friedl (Camelot Typefaces). More:
https://fontsinuse.com/uses/72909/forum-neues-wetter

#FontsInUse #typography #fonts #typefaces

Front and back of the program flyer for Forum Neues Wetter, printed in two HKS spot colors. While the left halves have blue text with red border elements, the colors are reversed on the right. The German text reads:

5. bis 20. Mai 2023, Paul-Gerhardt-Straße 7, Grimma: Forum Neues Wetter. Über Klima, Boden und Teilhabe
Ausgehend von den beiden Hochwasserereignissen 2002 und 2013 thematisiert die Kunstinstallation »Forum Neues Wetter – Über Klima, Boden und Teilhabe« Fragen nach einer klimagerechten Stadt, den lokalen und regionalen klimapolitischen Handlungsmöglichkeiten und des zivilgesellschaftlichen Engagements. Die Projektinitiatoren, bestehend aus dem Künstlerkollektiv Situation Room und dem Büro für räumliches Gestalten lfm2, schaffen auf der Brachfläche eine Plattform für Veranstaltungen als ortsspezifische Kunstinstallation sowie ein temporäres Café zum Verweilen. In Vorträgen, Gesprächen, Workshops und Filmabenden stellen sich Vertreter:innen der Stadt Grimma, des Landkreises Leipzig, Wissenschaftler:innen und lokale Akteur:innen vor und laden zur Beteiligung ein. Die durch das Hochwasser 2002 entstandene Brachfläche in der Paul-Gerhardt-Straße wird somit zu einem Ort, an dem der Wandel des Klimas und damit auch die Zunahme von Extremwetterereignissen thematisiert und Grünflächen als Potenzial für die Zukunft von Städten betrachtet werden.

Discover a selection of projects set in PS Fournier, excellent text and titling typeface, which reflects the perfect French elegance. ➽ typofonderie.com/fonts-in-use... — — — #fontsinuse #typefaces #fonts #branding

#fontsinuse

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