Glossy Display in use 🖥️💽 @kasperledet • @toolbeer
“Blackberry and raspberry sour? Yes! And you’re gonna love it 💕
Brombajer is our sour wheat pilsner, packed with juicy berries and clean acidity. Sharp, refreshing, and hard to put down”
Tradition in use by the brilliant @oliverlong_ • @oliverlong_ Some ‘type only’ posters for ‘The Symptomatic Surreal’ at @freudmuseum — opening soon.
This project has been a real labour of love with Vanessa Boni. We’re looking forward to sharing more soon.
Set in Tradition by @bold_decisions — A digitisation inspired by Percy Delf Smith’s calligraphic work. English and eccentric, just like Carrington.
“Gathering together the currently-scattered sketchbook drawings of the British-born, naturalised Mexican surrealist artist Leonora Carrington made between 1939–1941, The Symptomatic Surreal traces Leonora Carrington’s experiences of fleeing Nazi-occupied France, her hospitalisation in a sanatorium in Santander, Spain, and her exile in New York. Through these drawings, the exhibition offers a rare encounter with the visions that shaped her early work. In this exhibition, Carrington grapples with geopolitical crisis, transformation of the self, and the underworld, anchored by her seminal painting Down Below (1940), on show for the very first time in London.”
Spread is a Scotch Roman with DNA coming from large mid-century agencies, back when campaigns were nothing more than an illustration and good slogans. Its width makes it an economic font for longer text setting but ultimately its power lies in saying it loud. It features a range of alternates and OpenType features to provide your workflow with fun and flexibility.
Online now with accompanying trial files
Have fun 🏁
Glossy Magazine and MSG🫶
• @moonsickgang exhibition identity design for •푸른 세상을 빚다, 고려 상형청자 Sculpted Celadon of the Goryeo Dynasty• 2024.11.26–2025.3.3 at 국립중앙박물관 특별전시실 2 Special ExhibitionGallery2, National Museum of Korea @nationalmuseumofkorea / 국립경주박물관 Gyeongju National Museum 2025.5.3–8.24 @gnmuseum / special thanks to poster design critic from 한겨레 Hankyoreh
For the redevelopment of the Zuidas area, Victory Group and LMTD worked with @dnco to develop a new vision. ZUDO. A portmanteau of Zuid and Dorp.
I helped create a custom stencil font, or — Portmanteau font — composed of True Sans and True Serif. Hinting at both architecture and diversity with it’s wealth of forms.
Looking forward to seeing it out.
Selling fonts is for the good of the majority, but every once in a while, the use of a font can become so integral to an identity that it seems like it never belonged anywhere but there. This is the first time here a font has been closed off for sale because a client wanted exclusive access to it. It’s strangely bittersweet for both Asger and me.
It seemed logical, though, that it should be La Veste who wanted this font and to ‘own’ their brand as they’re moving forward and growing. After I visited their pop-up in NYC earlier this year, it was pretty clear to me that not only was the design great and a category in itself, but the materials and craftsmanship tied it together so well. Good people on a good mission.
In the next slides, we’ll run through the iconic usage in the past, and then that’s it from Clip.
🫶
@asgerbehncke
True Sans ✅ The Rodina 🫶• @joanlosangeles As we enter the fall season, we are thrilled to launch J̲O̲A̲N̲’̲s̲ ̲n̲e̲w̲ ̲i̲d̲e̲n̲t̲i̲t̲y̲ ̲a̲n̲d̲ ̲w̲e̲b̲s̲i̲t̲e̲, designed in close collaboration with Amsterdam studio 𝗧𝗵𝗲 𝗥𝗼𝗱𝗶𝗻𝗮. This milestone in our 10th year honors JOAN’s history and the community that sustains our work. 🖤
The identity is grounded in movement and cycles, reflecting artistic process, organizational rhythm, and the setting sun. It unfolds like a Californian sunset—captivating, radiant, and full of motion—while resonating with the rhythm of sound waves, the scripts of choreography, and the imaginative visions of artists. The JOAN logo embodies rotation, a cycle that carries the rhythm of artmaking and the passage of exhibitions.
Typeface: True Sans. Designed by: Bold Decisions
#therodina @therodina #dutchdesign #femaledesigners #webdesign #visualidentity
#graphicdesign #motiondesign #communicationdesign #bolddecisions
True Sans ✅• @roseneveleigh Identity for HEIRLOOM — center for art and archives, based in Copenhagen and run by the fab Stine Hebert and Johanne Løgstrup. The nice thing about much of design work is that the life of the thing begins when I’m finished. The backbone for the website had to be, of course, the extensive archive of material that HEIRLOOM would not only gather, but produce across its various activities. It is great to look again now at the way the website has taken shape, populated and filled out over the last few years. To many more :0) Web dev by Julia Novitch and Alejandro Ample. Typeface by Bold Decisions.
@heirloomcaa@stine.hebert@johannelogstrup@alejandroample
True Serif ✔️
• @bardhihaliti Published in 2025, the book ‘7 Tage, 7 Nächte’ accompanies Sarkis’s landmark 2023 exhibition at Kunsthalle Baden-Baden.
With contributions from curators Defne Ayas, Çağla İlk, Sandeep Sodhi, and Misal Adnan Yıldız, as well as exhibition readings by Ruth Noack, Lara Fresko Madra, Hou Hanru, and David Kazanjian.
Editors
Defne Ayas, Çağla İlk, Sandeep Sodhi, Misal Adnan Yıldız
Published by
Kunsthalle Baden-Baden and DISTANZ Verlag
True Sans ✅• @bardhihaliti ✨ Garrett Bradley – Revolutions ✨
The publication coincides with Garrett Bradley’s receipt of the Eye Art & Film Prize and her exhibition at Eye Filmmuseum, Amsterdam. It features a comprehensive visual section of film stills, alongside a conversation between Garrett Bradley and Rebecca Matalon and an essay by Vincent van Velsen.
Edited by: Vincent van Velsen and Marente Bloemheuvel
Publisher: Eye Filmmuseum, Amsterdam & naioıo publishers Rotterdam
Lithography: Marc Gijzen
Printing: Wilco, Amersfoort
I felt like this font(Tradition) deserved some more reasoning—especially in a world where the democratisation of font tools allows for faster and faster results. When I created gc15, back in 2015, I had stumbled upon source material that was far beyond what I was capable of reproducing. It held a kind of sensitivity that was hard to stomach—especially for someone freshly out of school, both technically and emotionally.
Today, while I still believe fonts are, at their core, merely accents of literacy, I also find that the act of creating them can sometimes become a deeply meditative process.
The fact of the matter is that Percy Smith was a veteran. Not only did he serve, but he tried three times to enlist before being accepted. In 1916, he arrived in Thiepval, Belgium. By 1917, he had started receiving etching plates smuggled between magazines and printed matter. With no proper tools around, he began scratching into them—motifs and impressions—which later became the basis for his series Sixteen Drypoints of War.
When he returned to London in 1919, he went on to create a beautiful catalogue of etchings, typefaces, and sculptures. Unfortunately, his work has been eclipsed by several of his peers, unjustly so.
이 폰트 <Tradition 트래디션> 에 대해 좀 더 깊이 있는 설명이 필요하다고 느꼈습니다. 특히 폰트 제작 도구를 누구나 사용할 수 있게 되면서, 결과물 역시 점점 빠르게 만들어지는 오늘날 같은 시대에는 더욱 그렇습니다. 2015년, gc15를 만들던 당시 저는 제 역량을 훨씬 뛰어넘는 하나의 자료를 우연히 발견했습니다. 그 자료는 감당하기 어려울 만큼 섬세한 감수성을 지니고 있었고, 특히 학교를 막 졸업한 저에게는 기술적으로나 정서적으로나 너무 벅찼던 것이 기억납니다.
오늘날에도 저는 글꼴을 문자 본연의 기능 위에 덧붙여진, 고유한 감각적 조형의 레이어로 봅니다. 하지만 그것을 만드는 과정은 때때로 깊은 내면적 몰입과 집중, 명상의 시간을 요구하기도 합니다.
사실 퍼시 스미스는 참전 군인이었습니다. 입대 허가를 받기까지 세 차례나 지원해 복무했다고 합니다. 1916년, 벨기에 티에발에 도착했고, 1917년부터는 잡지와 인쇄물 사이에 몰래 끼워진 동판들을 받기 시작했습니다. 적절한 도구도 없는 상황에서 그는 그 위에 선을 긁어 넣기 시작했습니다. 그가 본 이미지들과 전장의 인상들이었습니다. 그렇게 남긴 흔적들은 훗날 《전쟁의 16점 드라이포인트(Sixteen Drypoints of War)》 시리즈의 기초가 되었습니다.
1919년, 런던으로 돌아온 그는 아름다운 에칭 작품들과 서체, 조각들로 구성된 인상적인 작품집을 제작했지만, 그의 작업은 몇몇 동시대 작가들에 가려져 정당한 평가를 받지 못했습니다. 이는 지금까지도 아쉬움을 남깁니다.
#percysmith #typography #calligraphy
