Typography

Typography

In her book Schrift und Schreiben (Leipzig, 1972), Hildegard Korger showed an "alphabet in the style of an italic Egyptienne" and two sets of decorative capitals derived from it - one with highlights and one with open letterforms - credited to Volker Küster, 1966. According to Günther Flake's biography of Küster, Black Bull is the title of a design for an Egyptienne typeface in three styles, drawn as part of his diploma project at HGB Leipzig in the mid-1960s. Korger doesn't mention the name "Black Bull", but Ihave to assume that the samples in her book show Küster's graduation project.

Nodding back to the first issue of Typeone, the design system features Diatype from Dinamo, with Xiaoyuan Gao's Common Sans which, for a moment, was nearly the solo typeface of the whole magazine for its "exuberance and sincerity", says Harry.

The Phoenix Mercury have one of the best nicknames in sports. It's classical, referring to the Roman god of, among other things, travel, trickery, and luck. It's local, referring to fact that Phoenix is a monument to man's arrogance. And it is scientific, referring to one of our solar system's weirdest and most interesting planets. But until now they had a deeply unserious logo that screamed Googie by way of 1990s kitsch.

"This early preview of our 2026 stamp program underscores the Postal Service's commitment to celebrating the artistry and storytelling that make stamps so special," Stamp Services director Lisa Bobb-Semple said in a statement. "Each stamp is a small work of art - an entryway into a larger story that connects people, places and moments in history." Many of the stamps are bright or use typography in bold or creative ways.

The magazine is shrouded in biblical symbolism. Silva posits the King James Bible as the visual backbone of the issue. "The typography, the pacing of the text, even the use of white space," says Silva. "I wanted it to feel like a school Bible left in a drawer, the kind that's been scribbled on by bored kids waiting for the assembly to end."

During the flat design boom of the 2010s, blocky sans-serif fonts were everywhere. Crisp, clean text adorned websites and shopfronts, with more decorative serif fonts seen as fussy and passe. But the tide appears to have turned on the serif vs sans serif debate. From protein bars to sneaker ads to AI brands, it seems everybody is embracing retro typographical aesthetics.

There's a lot going on here. Through this weekend, there is a Behind-the-Screams Tour, where guests will face skeletons, parasites, bloodsuckers, and more from the collection. The newly renovated Wilson Family Nature Lab is opened in mid-October with lots of hands-on learning. Coming up on Nov. 22, there is a one-night only Welcome Winter Night, with two baby reindeer (and a naming contest), magic shows, and lots of other activities.

Working with F37's Ryan Williamson on the production of the font, the typeface spans three eras of Harriet's writing life: ages four, 13 and 30 years old. The glyphs are an amalgamation of her diary scribblings, which, when included in the typeface, become a an archival project of not only Harriet's stylistic habits but also of the time of writing - there's no hashtags or @'s to be found in thes early texts.

"It's an amazing idea, and it's surprising that it hasn't knowingly been done before. "Tape felt like the perfect tool to disrupt typographic tradition. It's fast, tactile, and unruly," says Varanda. "What fascinated me most was how tape could act as both a restriction and a liberation. It forces letterforms into sharp edges, but in the hands of 27 participants, it created shapes that I could never have imagined alone."

This one performance was the creative spark that would ignite a fire in Jacek. He knew right away that he should use design to transform his newspaper from boring text into performance art. Just like a Cirque du Soleil performance. Much like when Einstein was a child and received a magnetic compass as a gift, sparking his lifelong fascination with the invisible forces of nature.

No matter what you're designing for - maybe it's a website? A brand? A magazine, perhaps? - typographic hierarchy is your foundation, your building blocks. It's what guides your reader through your website, brand or book. It tells them what to look at first, what to skim, and what to remember. Done right, it's seamless. Done wrong, it can be extremely confusing.In short, hierarchy is how you visually structure information. Here's how to do it well.

At September's Nicer Tuesdays event in London, Robin Howie from Fieldwork Facility talks about the design studio's biggest client yet, the V&A East Storehouse.

This week it's the 70th birthday of the Guinness Book of Records, that gloriously bonkers compendium of human achievement that celebrates the people who can stuff the most marshmallows in their mouth, balance the most spoons on their body, and hula hoop underwater for the longest time. It features everything from standard athletic victories to "most high fives in 30 seconds" and "fastest time to make a pasta necklace."