Tag: it's nice that

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Beautifully Briefed 25.10: [Blank] of the Century

In this episode, design whims and wins, fontastic links, a Toyota Century, and the monthly round-up of great photography bracket some thoughts on — what else? — AI, especially as it relates to art. Grab a beverage, brush, or a comfy chair, and let’s dig in.

This Month’s Spine
New York University Press. Cover design by Devon Manney, art director, Rachel Perkins.

One could argue that this cover — and title — could work well even if the word “climate” was removed. See the whole list of University Press goodness.

And check back for a special, mid-month post in honor of University Press week, Nov. 10–14.

Good Movies as Old Books, Revisited

Let’s start with something great: Steven Heller highlights the “talent and imagination” of Matt Stevens (previously) as the paperback version of his book, Good Movies as Old Books, becomes available.

Cover design by Matt Stevens.
Cover design by Matt Stevens.

“My goal with the style was to try new things and create interesting combinations. Oftentimes, I was trying to do something that had not been done for a particular film,” Stevens says. Short and fun, the PRINT interview is worth a few minutes of your time.

Old-Fashioned Methods, Delightfully Off-Kilter Results

While we’re on the subject of movies, let’s slip closer to … well, what passes for reality these days: items “steeped in human anxieties and fever dreams.” It’s Nice That highlights poster and title design for films by Greek artist Vasilis Marmatakis.

Design by Vasilis Marmatakis.

With design, much like life itself, Vasilis says that his posters are his honest reactions to the films. The same approach runs like a red thread throughout his work, each poster leaning a little too heavily into one of the film’s themes. […] In Bugonia, Vasilis consciously restricts superfluous elements and allows the frames to breathe.

— Arman Kahn, It’s Nice That
Design by Vasilis Marmatakis.

Even the font — and how it’s used — is interesting: the freely-available Churchward Roundsquare, customized with brush and ink. That and much more is discussed in this great article.

New Vintage Classics Series

It’s unusual not to relish a new set of reissues from Vintage, and the new editions of Julio Cortázar are no exception:

Book design by Stephen Smith; art director, Suzanne Dean.

The always great — and not mentioned often enough — Casual Optimist has more.

Special Bonus #1: Via Kottke, Na Kim’s self-portrait:

Fascist Posters, Italian Style

Also via Kottke are these posters, which evoke a certain … something:

In a fascist movement inspired by art, how does the fascist government influence the artists living in its grasp? This exhibition explores how Benito Mussolini’s government created a broad-reaching culture that grew with and into the Futurist movement to claw into advertising, propaganda, and the very heart of the nation he commanded.

— Poster House exhibition The Future Was Then: The Changing Face of Fascist Italy.

The exhibit features “some of the best posters produced during the worst period in modern Italian history.” See more.

Special Bonus #2: While we’re perusing the poster department, Archinect‘s ongoing lecture series (previously) has another winner:

Fontastic Fall
New for October

CreativeBoom‘s monthly roundup is out, and while Grundtvig is retrotastic and the three-axis variable Pranzo is accompanied by some great illustrations, it’s Jovie that I’d love to use in print project:

“Jovie’s character emerges through its soft-serif approach, which tempers traditional serif authority with contemporary approachability. Playful italics, expressive alternates, swashes, and ligatures provide designers with a rich typographic palette, whilst maintaining coherent family relationships across all variations,” they note. (Another variable-width item, too.) Great stuff.

Custom Type is Everywhere, It Seems

Meanwhile, custom type for branding is becoming the norm. In another article, CreativeBoom explains why: “Bespoke letterforms are no longer a “nice-to-have” and they are increasingly seen as a strategic necessity[.] Type has become the glue that holds their voice together,” they write.

Those letters are your brand’s voice. They do the heavy lifting, they carry personality, and they create instant recognition – sometimes without the need for any other distinctive assets. […] Typography is everywhere in a brand system – packaging, products, campaigns, interfaces. When you build your own, you’re not at the mercy of someone else’s design choices, and you get a voice that’s tuned to your values, your audiences, and your long-term ambitions.

— Frankie Guzi, business director, Studio DRAMA.

Elizabeth Goodspeed (previously) agrees, mostly. “For most of the 20th century, branding treated typography as background, not backbone,” she writes. But now, brands are recognizing that, “[a]s a primary container for meaning, typography inevitably carries an enormous share of that emotional load.”

An exception to the rule: a type gem — with legs! — from 1971.

But, she cautions, “[s]peed also feeds a kind of conceptual shallowness. With so many studios drawing type, the market has been flooded with fonts that solve narrow visual problems but can’t stand up to long-term use. Too often, new brand fonts cling to a single gimmick while leaving the structure of the letters untouched.”

Read the rest at It’s Nice That.

AI All the things
The Oatmeal, penned by Matthew Inman, has some thoughts on AI.

The new-to-me FlowingData — via Kottke’s rolodex feature — first pointed me to this piece, and it’s gotten a ton of press. In summary, Inman suggests that AI art causes a certain discomfort; that, perhaps, AI art even deserves air quotes around the word art because it’s somehow less than “actual” art.

Indeed, much of that press has been approving: a pile-on of people (not that such things happen on the internet) saying, “yes, AI art deserves those air quotes. It is less.”

One of my favorite reactions was from Nick Heer:

A good question to ask when looking at an artwork is “who made this?”, and learning more about what motivated them and what influences they had. This is a vast opportunity for learning about art of all mediums, and it even applies to commercial projects. Sometimes I look up the portfolios of photographers I find on stock image sites; their non-stock work is often interesting and different. There is potential for asking both questions of A.I.-assisted works in the hands of interesting artists. But it is too often a tool used to circumvent the process entirely, producing work that has nothing to offer beyond its technical accomplishment.

— Nick Heer, Pixel Envy

“Who made this?” is the right question — to start. But let’s take that a step further.

John Gruber, at Daring Fireball, quotes the piece: “[When] I find out that it’s AI art[,] I feel deflated, grossed out, and maybe a little bit bored. This feeling isn’t a choice.” Then says that he fundamentally disagrees with that premise:

I think it very much is a choice. If your opinion about a work of art changes after you find out which tools were used to make it, or who the artist is or what they’ve done, you’re no longer judging the art. You’re making a choice not to form your opinion based on the work itself, but rather on something else. […] Stanley Kubrick said, “The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good.” If an image, a song, a poem, or video evokes affection in your heart, and then that affection dissipates when you learn what tools were used to create it, that’s not a test of the work of art itself. To me it’s no different than losing affection for a movie only upon learning that special effects were created digitally, not practically. Or whether a movie — or a photograph — was shot using a digital camera or on film. Or whether a novel was written using a computer or with pen and paper.

— John Gruber, Daring Fireball

“Good art is being made with AI tools, though, and more — much more — is coming,” he says. Over the next few days, he cited some examples, including David Hockney’s art made with a Xerox machine, and then this:

Jonathan Hoefler’s ongoing series, called Apocryphal Inventions.

The objects in the Apocryphal Inventions series are technical chimeras, intentional misdirections coaxed from the generative AI platform Midjourney. Instead of iterating on the system’s early drafts to create ever more accurate renderings of real-world objects, creator Jonathan Hoefler subverted the system to refine and intensify its most intriguing misunderstandings, pushing the software to create beguiling, aestheticized nonsense. Some images have been retouched to make them more plausible; others have been left intact, appearing exactly as generated by the software. The accompanying descriptions, written by the author, offer fictitious backstories rooted in historical fact, which suggest how each of these inventions might have come to be.

These images represent some of AI’s most intriguing answers to confounding questions — an inversion of the more urgent debate, in which it is humanity that must confront the difficult and existential questions posed by artificial intelligence.

— Jonathan Hoefler

“This is art,” Gruber says, with no other text. I don’t think any other is needed.

On a Related Note
This is AI.

“The top 200 photographers requested by Midjourney users have been exclusively revealed to PetaPixel — and it’s a world-famous, still active photographer that tops the list.” I bet you can guess who that is.

This is, in fact, the majority of what Inman was thinking — or at least, feeling — when he drew out an argument on why AI art can be such a let-down, both intellectually and emotionally. The above “photograph” is both awesome and hugely disappointing at the same time.

Further Reading

I’m not qualified to speak with any authority on the state or potential future of AI, AGI (artificial general intelligence), or the continuing convergence of AI with … well, all the things. I will say that, to me, there’s a palpable sense of bubble going on; whether financial, material, or resource requirements, it feels like something is going to need to give fairly soon.

Below are several articles on the intersection of AI with life, culture, or art that I found valuable. If you can set aside a few minutes, the information provided could be helpful in the quest to stay informed:

Side Note: I’ve dropped the punctuation in “AI.” Not unlike capitalizing “Internet,” I think we’ve crossed that bridge.

Special Bonus #3: AI apparently overuses em dashes, something that has, frankly, caused me to use them less. Which is a good thing — I overuse them. But then, I am a professional. [That’s only funny if you’ve read the link. —Ed.]

The Century Coupé Concept

Toyota (the company) has reorganized: there are now three levels. There’s Toyota (the car line), for the mass market; Lexus, Japan’s first answer to BMW et al from the late ’80s and also very much mass market (if targeted differently); and now, to compete in the ultra-high-end market, Century:

Long hood, imposing “grille” — trend, recycling, or cliché, depending on outlook.
The no-rear-window thing continues to grow in popularity. (For “cocooning.”) Hmph.

Powertrain is yet to be determined; the rumors suggest it’ll be available both with a combustion engine (possibly a V12) and electric drive. In the case of the latter, owners will, of course, be able to send their driver off to get the thing charged while they lunch or plot takeovers — no range anxiety here.

Century’s logo is a phoenix.

Car geeks will know that Toyota’s Century sedan model has been around forever. It’s always been badged as a Toyota, and is aimed at Japanese executives and members of state (and will, in fact, still be produced). It was joined a few years ago by a SUV that bears more than a passing resemblance to a Rolls-Royce Cullinan. Both existing Century models available only in Japan and China.

The 2025 Century SUV. That D-pillar absolutely “borrows” from the Cullinan.

Toyota has decided to make those three models into a new brand that’s just called, “Century.” It’s going to be set up with exclusive dealers, eventually be available worldwide, and compete with Bentley’s new EXP 15 (previously) and Rolls-Royce’s … everything.

And, of course, Jaguar. The elephant in the room get a mention here because it’s looking more and more like JLR made the right call in targeting one-percenters with out-there, vaguely coupe-like designs. Because if the Century SUV resembles a Cullinan, the new coupé concept looks like a cross between the Jaguar Type 00 concept and said Bentley:

The Bentley EXP15, top, with the Jaguar Type 00, bottom.

Very much unlike the Jag, which is low and could possibly be described as “sleek,” the Toyota has a higher stance; a coupé/sedan and SUV mix seems to be a new answer to the so-called “death of the sedan.” Volvo’s ES 90 might also apply here.

Bear in mind that I’m not talking about the coupé-style SUVs (BMW’s X6, for instance), which are a different animal — at least for now. It’s possible the whole class of “coupe-like things” might converge in the not-too-distant future.

That being said, a member of that new class of vehicle being aimed at the chauffeur-driven market is new.

The glass divider is to allow the chauffeured their privacy.

One more item: The old-school isn’t going quietly.

Did someone mention grille? (Lit, naturally.)
Leaving the hood long behind.

Mercedes is, arguably, the best (non-American manufacturer) at displaying “gangster” qualities. Oh, and check out the awesomely-retro interior:

Note the lack of screens amongst that vintage style. And yes, velour is “in.”

Read more about the Toyota (teaser or intro, both at The Drive) or Mercedes (The Drive, Wallpaper*).

Special Bonus #4: Audi poached the Type 00’s designer. His first showing is the Concept C, Audi’s return to form, called “radical simplicity.” It’s a cross between their sports-driven R8 and designer-driver TT:

Love the wheels. The grille less so (there have been dictator comparisons), and the lack of rear window not at all.
October’s Photography Round-Up
2x Film
Grays Fisheries, Bradford (UK), left standing during inner city slum clearance. Photograph by Ian Beesley, 1977.

From an interesting and moving feature at MacFilos, “Capturing the decline of industries and communities with a Leica M6”:

At my recent career retrospective exhibition “Life” at Salt’s Mill, Saltaire (a world heritage centre near Bradford, West Yorkshire, England), a man came to talk to me. He said, “You won’t remember me, but I remember you. I worked in a camera shop in Bradford, and you were always coming in to buy rolls of black and white film. It makes me so proud to think that the film I sold you created some of these wonderful photographs.”

I take this as a great compliment and a very moving one. It is one of the reasons why I decided to donate my entire archive of negatives, prints, notebooks (over 200,000 items) to Bradford City Art Galleries and Museums. I am hanging on to my Leica M6 for a bit longer, but at some point, it will be re-united with all the negatives it created.

— Ian Beesley, MacFilos
“Rocky Mountains On Wetplate Collodion,” Canada. Photograph by Bill Hao.

“The Analog Sparks 2025 International Film Photography Awards celebrate analog photography as a medium and elevate the best film photographers worldwide,” PetaPixel writes. Some excellent reminders that sometimes, the old ways are still the best ways.

Color and Pano
“Beholders No. 1.” Photograph by Li Sun.

“All About Photo Magazine unveiled the winners of its latest competition: Colors. The 25 prize-winning photographers demonstrate how powerful color can be in images, whether it’s vibrant, subtle, or minimal,” PetaPixel writes.

To be honest: at first, I thought this was a coin-operated binocular thing you see at attractions or overlooks, and laughed out loud. Alas, the laughter died away when I realized it was, in fact, CCTV — an overlook of an entirely different kind. I guess there’s a certain irony in the “face.”

The Mirror, Valencia, Spain. Photograph by Anto Camacho Villaneuva.

It is possible to recognize a Santiago Calatrava building immediately, with its soaring, often winged structures. (The World Trade Center Transportation Hub in New York springs to mind, for instance.) This panoramic photograph captures two of them — nice.

A press release from Epson, the contest’s sponsor, notes that this year there was a “prevalence of ultra-wide panoramas and increasingly innovative perspectives, including very low angles, very close-up subjects, and aerial photography,” including the above. PetaPixel has more.

Birds and Wildlife
“Snowstorm,” Germany. Bronze Award, Best Portrait. Photograph by Luca Lorenz.

“The 2025 Bird Photographer of the Year gives a lesson in planning and patience,” This is Colossal writes about this year’s contest winners (specifically, regarding the photo seen at the right in the header image) — but getting the cold shot, above, wasn’t an easy thing either. (See also: PetaPixel‘s plumage article.)

“Ghost Town Visitor,” Kolmanskop, Namibia. Winner, Urban Wildlife and Wildlife Photographer of the Year 2025. Photograph by Wim van den Heever.

From PetaPixel‘s coverage of the Wildlife Photographer of the Year 2025 contest: “Capturing the unusual intersection between nature and abandoned urban spaces, Wim’s photograph is a haunting yet captivating image of a brown hyena wandering through the skeletal remains of Kolmanskop, Namibia’s long-deserted diamond mining town. The shot was taken with a camera trap and is the result of a decade-long effort that began when Van den Heever first discovered the animal’s tracks at the site.” [Emphasis mine.] See This is Colossal‘s post, too.

Comedy and Dogs

To round out this month’s super-long post — thanks for bearing with me — something from the light-hearted department:

“It is tough being a duck.” Photograph by John Speirs.
“Bad Hair Day!” Photograph by Christy Grinton.

The Nikon Comedy Wildlife Awards, 2025 edition, brings us 40 … um, moments. Awesome. PetaPixel has all the winners.

“Suppertime,” winner of the Open category. Photograph by Katie Brockman.

“Good Boys and Girls,” PetaPixel barks, regarding the 2025 Dog Photographer of the Year. (In the name of equal-opportunity pet celebration, I chose one that includes cats.)

Have a great Halloween. If you’re in the US, be sure to vote, Tuesday, Nov. 4th. And, don’t forget to check back for the special Spine post, Nov. 10th. Thank you!

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Beautifully Briefed 25.9: Generous

It’s fontastic, illustrative, and full of imagery: your beginning-of-fall design round-up here on Foreword. (And A.I., because it’s everywhere.) Enjoy.

This month on Spine

A fun and interesting University Press Coverage post on Spine when you have a moment, including this title from the University of Nebraska:

That was not a simple photograph to set up. Awesome.

Generative Book Cover Design

How 2 Shout Media presents a how-to: 20 cover design prompts for ChatGPT. “Creating the perfect book cover starts with the right vision — and that’s where ChatGPT transforms from a writing assistant into your creative design partner.” (Emphasis theirs.)

There are, for instance, specifics on “the anatomy of an effective prompt” and how to customize the provided templates; they even provide bonus templates to save and reuse, including one to quickly iterate on previous output.

The article contains some good advice, honestly, but the most relevant suggestion — to “[t]hink of ChatGPT as [a] creative director who provides vision and direction rather than final artwork” — is buried at the bottom of a fairly long page. I’m willing to get there are more than a few (especially in the self-publishing space) who read this as the definitive how-to . . . possibly without judging the output versus what a professional can create.

This cover sample is far and away the best of the eight illustrated options:

The prompt: “Design a literary fiction cover for ‘[Title]’ using a single continuous brushstroke that forms both an abstract landscape and a human profile when viewed differently—an optical illusion revealing loneliness and connection. Executed in indigo ink wash on cream paper texture. The brushstroke starts thick and confident, becoming increasingly fragmented and uncertain. Minimal color palette: indigo, cream, with one tiny spot of cadmium red as a focal point (perhaps a bird or flower). Title integrated into the negative space using a classic Garamond variant, appearing to be part of the original artwork. Author name in small, understated caps at bottom. Overall feeling: wistful, sophisticated, gallery-worthy.”

Take a moment to compare the output with the prompt, and you’ll see the generated output ignores several of the items, but overall, is kinda — sorta — close.

The other examples not so much. But I’m not going to spoil the whole thing: Go and see for yourself.

For now, I’d suggest that book design professionals — those that make a living from the art and science that is publishing excellence — are safe. Other professionals in the industry recognize what talent is and how valuable it is, and the designers themselves can take advantage of the power that some of these models offer to help brainstorm.

That said, today’s A.I. models are gaining quality at a rapid rate. In 5–10 years, at most, publishers (and authors self-publishing) that might not recognize that they’re best served by professionals — or those who don’t have the budget, despite the recognition — will have access to what might very well be “good enough.”

From Your Intelligence to Artificial Intelligence

So, where do the A.I. engines get their training material? From you and yours, of course; to quote a source we’ll get to in a moment, “[i]n writing this […] I am acutely aware it will become part of a training data set.” Some sites, such as Wikipedia and the Internet Archive, have seen an exponential upswing in traffic — all from the so-called “bots,” programs sweeping internet content into the never-satisfied regurgitation chamber that is today’s ChatGPT, Claude, and others.1One of the reasons my photography, as presented both here on Foreword and in the galleries, is both relatively lo-res and watermarked is to preserve a sense of ownership; likewise, one of the (many) reasons I no longer participate in social media is due to posts specifically being used to train A.I. — Instagram/Meta, for instance.

Ars Technica and Pixel Envy both highlight a new program, modeled on Really Simple Syndication (RSS), designed to “block bots that don’t fairly compensate creators for content.”

To quote Doug Leeds, the founder, “A.I. companies know that they need a constant stream of fresh content to keep their tools relevant and to continually innovate.” The “Really Simple Licensing” (RSL) standard evolves robots.txt instructions by adding an automated licensing layer that’s designed to block bots that don’t fairly compensate creators for content.

Free for any publisher to use starting today, the RSL standard is an open, decentralized protocol that makes clear to AI crawlers and agents the terms for licensing, usage, and compensation of any content used to train A.I[.]
The new standard supports “a range of licensing, usage, and royalty models, including free, attribution, subscription, pay-per-crawl (publishers get compensated every time an AI application crawls their content), and pay-per-inference (publishers get compensated every time an AI application uses their content to generate a response).”

— RSL Press Release

But — and it’s a big “but” — RSL is only one response to the problem. Another is to wall content off entirely, breaking one of the most valuable qualities of the internet itself: its openness.

We’re watching the construction of a fundamentally different internet, one where access is controlled by gatekeepers and paywalls rather than governed by open protocols and user choice. And we’re doing it in the name of stopping AI companies, even though the real result will be to concentrate even more power in the hands of those same large tech companies while making the internet less useful for everyone else.

— Mike Mesnick, TechDirt

Here’s where Pixel Envy agrees:

A.I. organizations have not created a bottom-up rebellious exploration of the limits of intellectual property law. They are big businesses with deep pockets exploiting decades of news, blogging, photography, video, and art. Nobody, as near as makes no difference, expected something they published online would one day feed the machines that now produce personalized Facebook slop.

— Nick Heer, Pixel Envy

“One thing that might help, not suggested by Masnick, is improving the controls available to publishers,” Heer writes, going on to discuss the new RSL standard proposal and what it might do to help. But, in the end, he’s not optimistic:

I simply do not know how much control I reclaim now will be relevant in the future, and I am sure the same is true of any real media organization. I write here for you, not for the benefit of building the machines producing a firehose of spam, scams, and slop. The artificial intelligence companies have already violated the expectations of even a public web. Regardless of the benefits they have created — and I do believe there are benefits to these technologies — they have behaved unethically. Defensive action is the only control a publisher can assume right now.

— Nick Heer, Pixel Envy

Yeah.

Special bonus #1: From the you’ve-trained-it-so-enjoy-A.I.-for-fun department,Kottke introduces us to generativ.design. “I wore out the “randomize” button on each of these,” he writes. (Via the new-to-me sidebar.)

Prefab Design

Meet fabricá, a new hair care company, whose identity ticks all the boxes: it’s trendy, eco-friendly, and well put-together:

But there’s a catch: fabricá doesn’t exist — at least not yet. It’s a fully-formed identity, available now at Brands Like These, a new prefab identity outfit from Lyon&Lyon.

Now I’ll admit: at first, this seemed like a Dewey, Cheetham, and Howe thing,2Yes, I grew up listening to Car Talk. something that we all had a chuckle over before allowing it to shuffle into the background, readily available for use as a pithy line whenever we needed it: “Ha, we got Lyin’ and Lyin’ selling your precious startup canned … stuff.”

Unfortunately, it’s not a joke.

When Elizabeth Goodspeed, of It’s Nice That, got thinking about it, she had lots to say. “In a good design engagement, the back-and-forth between company and designer pushes the company itself to sharpen what it is; the ‘friction’ people complain about is also the juice that makes the work exciting.” (I find this true in editorial and publishing work, certainly.) But there’s a warning, too:

If this cart-before-horse approach takes hold, it won’t just change how companies buy branding, but how designers make it. The skills a designer needs shift from listening and refining to cranking out polished shells that could plausibly fit anything. […] Even if sites like BLT only sell a brand once, the more ambiguous the design, the more it risks echoing a dozen others (and collapsing under trend fatigue).

These models also threaten to hollow out the middle of the industry. We’ve seen this pattern before: bookstores went from indie shops and regional chains to Amazon or your local holdout; music from affordable CDs to either $50 LPs or all-you-can-stream. Branding may be headed for the same split – prefab kits at the low end, ultra-expensive bespoke at the high end, and little in between. And if prefab becomes the norm, it’s hard not to imagine the next step: why should these kits even be designed by humans? Once clients are trained to buy a look off the shelf, there’s little stopping A.I. from flooding the market with pre-packaged “brands” generated at scale.

— Elizabeth Goodspeed, It’s Nice That

This feels like an accurate prediction. Read the rest. (See also: her item on copyright, covered in February.)

Okay, we’ve dealt with the heavy stuff. Let’s enjoy the rest.

The New Type in Town

Several articles to point to if you’re interested in expanding your font collection — including 50 predictions for what’ll be popular 2026. Nice.

Steven Heller’s Font of the Month

Over at I Love Typography, industry veteran and designer extraordinaire Steven Heller’s monthly column exalts Ritualist.

CreativeBoom’s Best o’ September

They have several, but my favorite is not dissimilar to the above, a new face called Urbolyt, a variable “that represents a clash between geometric rigor and organic forms.”

Zelow Studio’s Nature

Pixel Surplus brings us a new — and free! — variable grotesk typeface called Nature, available in a variety of styles.

CreativeBoom’s 50 for 2026

The vast majority of these are, basically, Helvetica; like Nature, the simple sans serifs are what’s in right now. (Sigh.) However, there are some gems on the list, and I’d like to take a moment to highlight an absolute favorite: Freight.

Freight is a collection of integrated typefaces ready to add unique style to any design project. What Joshua Darden started as a serif family inspired by the warmth and pragmatism found in 18th-century Dutch typefaces became The Freight Collection and now ranges across multiple weights, widths, and optical sizes — from Big to Display, Text, Micro, Macro, Sans, Neo, and Round — all of which include companion italics. That’s 192 fonts that have the ability to be bold and daring just as easily as they can be quiet and unassuming.

— freightcollection.com

I’ve used Freight in a variety of book projects and the breadth of options available always satisfies. It’s referred to as a superfamily: from the standard Text and beyond-excellent Neo (a sans with style), there’s an option for going Big and even two — Micro and Macro — best used at small sizes (readable footnotes!).

I cannot recommend more highly. Indeed, I could only take one font family with me to a desert island, I’d take Freight.

Illustrations Open Doors
Illustration Awards 2025

CreativeBoom: “From playful packaging to poignant explorations of identity, the World Illustration Awards 2025 showcase the breadth of contemporary illustration. With over 4,700 entries from 85 countries, this year’s winners reveal how artists are shaping how we see, think and connect.”

One of the overall winners is this great poster:

Léane Ruggli – RTD’s Cocktail Campaign

Book covers (adult and children’s):

Jennifer Dionisio – The Talented Mr Ripley
Jenya Polosina – The Country of the Blind
Camila Carrossine – The Girl, the Ghost and the Beetroot Forest

Site Specific:

Ren Kyles – Pride mural in Wilsonville, Oregon

The awards underline “how illustration continues to thrive as a medium of both beauty and urgency”: from packaging that delights to books that challenge taboos, the winning works reveal the versatility of illustrators working today.

See the whole list of winners and commended artists at the WIA 2025 Online Showcase, including interviews and insights into their creative process.

Illustration for Branding

Another CreativeBoom article suggests that, “[f]rom murals to motion, illustration is starting to reassert itself in advertising,” because “illustration still offers unique advantages. Distinctiveness is the obvious one because, in a sea of photography-led campaigns, an illustrated execution can […] cut through precisely because they are unexpected.”

As this great TfL poster exemplifies:

“A Riot of Color and Joy”

Yet another example of illustration done well, this time from — wait for it — 1956:

A Saab 93 full-car cutaway.

I still miss Saab. See more at The Autopian.

Special Bonus #2: These minimalist cat illustrations define brilliant:

Illustration by ShouXin.
September’s Photography Highlights
International Pet Photography Awards

While we’re on the subject of cats — and dogs, whose entries far outstripped those for cats (and horses, rabbits, pigs, and all the other things folks keep for pets) — this year’s pet photography contest has some pretty spectacular results:

Photograph by Mirka Koot.
Photograph by Shandess Griffin.
Photograph by Janneke De Graaf.

Getting my dog to stand still long enough for a photograph is nigh-on impossible; some of the accomplishments shown in these winning photographs are fantastic. Kudos.

Special bonus #3: Cats, book matched.

Audubon Photography Awards

The 15 winning entries for 2025 have been announced, including this one:

“Burrowing Owl.” Photograph by Jean Hall.

See more at PetaPixel or This is Colossal; explore galleries of this year’s winners and honorable mentions, or grab a copy of the Fall 2025 Audubon Magazine.

Astronomy Photographer of the Year

This is Colossal: “The universe’s workings may always remain a mystery. So it’s no surprise that when peering up at the night sky, whether it’s homing in on distant stellar clusters or simply watching the moon rise, photography helps us appreciate its enigmatic beauty.”

“ISS Lunar Flyby.” Photograph by Tom Williams.
“Saturnrise.” Photograph by Tom Williams.

I didn’t realize until after I’d selected them that these were both from the same photographer, but unlike some that are just (amazing) night sky, these have an almost-science-fiction quality.

’Course, that’s only the tip of the iceberg: “The Royal Observatory Greenwich’s ZWO Astronomy Photographer of the Year 17 contest showcases the best astronomical and night sky images of the year, captured by exceptional photographers worldwide,” writes PetaPixel.

Two more that aren’t quite what you expect:

“Encounter Across Light-Years.” Photograph by Yurui Gong and Xizhen Ruan.
“Fourth Dimension.” Photograph by Leonardo Di Maggio.

See the more winners, from here and beyond, at PetaPixel or This is Colossal.

Special bonus #4: While we’re on the subject of Earth and sky, PetaPixel profiles Italian photographer Gianluca Rubinacci:

Photograph by Gianluca Rubinacci.

Special bonus #5: The UK’s Weather Photographer of the Year 2025 Competition list of finalists has been announced, including this one:

Photograph by Lukáš Gallo.

See all of ’em — and vote (until October 16th) — here.

Natural Landscape Photography Awards

This one’s a little different, in that there can be no generative AI, no compositing of different photographs, and RAW files are checked by judges to ensure authenticity. (Refreshing, honestly.) “The competition is designed to promote photographers looking to work within the constraints of the natural landscape and traditional bounds of photography.”

From the Project of the Year, Sápmi (Lapland). Photograph by Hanneke Van Camp.

See more at Petapixel, or to see all of the contestants head to the Natural Landscape Photography Awards website.

“Cyberpunk” and “Gotham” vs. “Otherworldly” and “Forgotten”

To close out this month, I’d like to mention a couple more book projects. Let’s start with Ben Moore, whose new photo book is titled Above & Across London. As the name suggests, he found high-up vantage spots: “I’ve always loved the look of a cool, urban, cyber-futuristic world, and at times I catch glimpses of that in London,” he writes.

Photograph by Ben Moore.

Meanwhile, photographer Bryan Sansivero feels a strong pull to document and explore forgotten dwellings; his new book, America the Abandoned, explores deserted homes around the country in 200 striking images — including this one:

“The Grand Room.” Photograph by Bryan Sansivero.

Have a great October, everyone.

  • 1
    One of the reasons my photography, as presented both here on Foreword and in the galleries, is both relatively lo-res and watermarked is to preserve a sense of ownership; likewise, one of the (many) reasons I no longer participate in social media is due to posts specifically being used to train A.I. — Instagram/Meta, for instance.
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    Yes, I grew up listening to Car Talk.
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Beautifully Briefed 25.5: Cool

It’s been a lovely, cool spring here in Middle Georgia; it seems that in the 2020s, springtime has had more rain and less of the dive from winter into hot that’s featured in years past. (Not to fear: we’ll be into summer soon enough.) Open window weather, we call it, to be enjoyed while we can.

That said, there’s been plenty of goodness gathering for this month’s posting: more movie/books, more album art, more typefaces, and more great photography. There’s also an excellent observation regarding design trends and a bit on Adobe.

Also posted this month: The annual University Presses Show roundup, now also available on SPINE, and an updated photography gallery from Forsyth, Georgia.

But First: A Bit o’ Nostalgia
Foreword, May 31st, 2019.

This is the 200th post on the new Foreword, which I restarted six years ago today. It’s taken a bit to get back into regular blogging, but I’ve once again found my sea legs, really enjoy it and hope to continue for a long while yet.

Thanks very much for stopping by — genuinely appreciated.

“Good Movies as Old Books,” Again

I’ve featured the work of designer Matt Stevens before, but there’s an update to his fantastic personal project to make vintage paperback covers from movies.

Perfect — and still available as prints. They’re also now available in new book, which combines the best of the first two books (published via Kickstarter) and adds a few more … or as a set of 100 postcards, perfect for framing and scattering about on walls near you.

Better still, Stevens’ work has led to actual book cover design jobs, and his work for North Carolina tourism is awesome. Read this Fast Company post for the full story.

Special Bonus #1: Heading to Europe? It’s Nice That has “Where to book hunt in Amsterdam, a playground for contemporary book design,” listing “why the city is so known for its publishing prowess, and shares a comprehensive list of places for designers, printers, publishers, and enthusiasts alike, to check out.”

The History of Album Art

Album art didn’t always exist, Matt Ström-Awn reminds us. Utilitarian at first, it evolved.

Alex Steinweiss’ cover art for Columbia’s recording of Bartók’s Concerto No. 3.

The invention of album art can get lost in the story of technological mastery. But among all the factors that contributed to the rise of recorded music, it stands as one of the few that was wholly driven by creators themselves. Album art — first as marketing material, then as pure creative expression — turned an audio-only medium into a multi-sensory experience.

This is the story of the people who made music visible.

— Matt Ström-Awn
Reid Miles’ cover for Art Blakey’s The Freedom Rider

Well-written and informative. If, like me, you’re old enough to remember music on vinyl — or you’re one of the new generation of devotees — take a minute this weekend to appreciate the particular goodness that is album art.

There May be Typefaces Here

CreativeBoom continues its monthly roundup of new fonts, and I wanted to highlight a couple:

The Sita Collection, from Order

I’m a sucker for fonts that have both serif and sans together in the same family — they’re incredibly flexible and perfectly complimentary in design projects. “Order Type Foundry’s first superfamily is a thoughtful homage to 19th-century Scottish typographic traditions, reimagined for contemporary design needs,” CreativeBoom writes. See more at Order.

Nadrey means “My Heart” in Bété, the designer’s mother tongue. Artworks by Ivorian artist Obou Gbais.

Described by its creator as a “typographical rendition of love,” the beautiful letterforms “draw inspiration from 90s poster fonts, combining narrow-ish, rounded letterforms with a contemporary sensibility. Its gentle curves and subtle serifs create a sophisticated softness while maintaining refined elegance.” Côte d’Ivoire-based type designer O’Plérou does the world a favor, as far as I’m concerned. See more at ALT.

Sofia Pro by Mostardesign.

Up there with Futura, from which it’s descended (see what I did there?), Sofia is one of those faces you see everywhere: “a familiar presence in contemporary visual communication, even for those who can’t identify it by name,” CreativeBoom writes. Sofia’s been updated and expanded, now available in a variable format. Spread the Mostard.

Special Bonus #2: It’s not over the top: “[r]ather than uber-pragmatic, sterile fonts, Ornamental & Title Type (OTT) is dedicated to expressive display typefaces,” It’s Nice That writes in a profile of Eliott Grunewald’s foundry. Check it out.

“Fun Fatigue”
Branding agency Collins’ approach for RobinHood, an online investing and stock trading company.

DesignWeek asks, “Is formality returning in branding?” An article by Mother Design’s Alec Mezzetti covers how we got to casual in the first place — and why we might be turning a corner away from it.

Casual vs. not-so-much — and, of course, once corporate trends become a “new direction…..”

“In a landscape of homogenous casualised branding, widespread disillusion with the idealism that birthed it, and a growing sense of insecurity, these old codes hold power,” Mezzetti writes. The RobinHood investing/trading example, shown above, now looks like this:

RobinHood, as rebranded by Porto Rocha.

The money quote, if you’ll forgive the expression: “The extreme end of this trend towards symbols of old luxury, hierarchy and tradition has been labelled […] as ‘Boom Boom’ aesthetics, which overtly embrace past eras of excess such as the roaring 1920s or, the boom years of the 1980s.”

See if you agree. (Via BrandNew.)

Let’s Talk about Adobe, again

A two-parter, here. First, let’s start with more from Mother Design:1Oddly, Mother Design’s page on Adobe, mentioned in Google Search results, now nets a 404 error. I wonder what that’s about.

That’s right, Adobe has a new logo and branding. ’Course, some of us have been using Adobe’s software for a minute — and clearly remember this:

In any case, Adobe is ignoring the trend mentioned above and heavily embracing the current-thinking, very corporate-casual approach:

And hyping the value:

This leads directly to the second part: Adobe is, once again, both flouting its record profits and raising its prices. Why? AI, of course. (We’ll save the potential monopoly position for another discussion.)

Adobe has rewritten pretty much all of their apps to include AI, making it so that many functions are better; retouching power lines in Lightroom, for example, is now a one-click affair. Others seem to be there because Adobe believes the general public somehow demands it. (The AI “summaries” of the PDFs in Acrobat, for example, are being pushed so hard it’s actually annoying, although to be fair, that’s not unique to Adobe.)

In retrospect, it’s obvious that the new AI functions have been written in such a way that we’d get used to having them … and then be forced to pay extra to keep them. In other words, you’d think that, as customers of the Adobe ecosystem for decades now, we’d somehow get to the other side of the fishbowl and not be surprised at the wall.

Adobe has introduced a new “Standard” tier that’s actually slightly less pricy, but with the AI stuff — along with iPad functionality, online access, and other features — turned off. No one who already has a subscription and gotten used to what’s available is going to want that.

Firefly, shown above, is new, and AI from the ground up, and the generative fill options in Lightroom, Photoshop, and Illustrator, plus the always-useful access to the Adobe Font collection, mean that I’m going to continue to argue that the yearly subscription actually represents a value.

That said, it’s an increasing cost that has to get passed along. I don’t like it, and I’m going to continue to say — in public, on the record — that Adobe is putting profits before people. But this is 2025, and these days, sport contains blood.

Read more at Ars Technica, see the handy chart at PetaPixel, or read Adobe’s marketing for the new Creative Suite Pro.

Special Bonus #3: Apple, the most beloved of all motherships, is also taking fire these days. Longtime fans will know the name John Siracusa — and, thus, know instinctively what this essay represents.

Update, 9 June, 2025: Nick Heer, Pixel Envy: “It is hard to see how one could be a fan of a multi-trillion-dollar company. I am just a customer, like a billion-plus others.”

Special Bonus #4: The Onion, May 16. “[Today, we] announced today the launch of its in-house advertising venture, America’s Finest Creative Agency.” Chef’s kiss.

May Photography Round-up

As has become the norm, let’s end with some awesome photography posted around the ’net in May.

Just a little bit “off,” in the best way
Putting the “fun” in funeral services. Photograph by Frank Kunert.

No, it’s not AI: it’s a fabulous series of miniatures, meticulously constructed and photographed for our viewing pleasure. This is Colossal has more. (The behind-the-scenes photo shows all: lots of work.)

The German Society of Nature Photographers

This annual competition is a members-only affair, but in no way, shape, or form is that a compromise:

1st Place, Mammals: “Chamois.” Photograph by Radomir Jakubowski.
1st Place, Landscape: “Deforestation.” Photograph by Hanneke Van Camp.

See many more — including a bird bursting through a waterfall (!) — at PetaPixel or head straight to the competition’s website.

From Norway to Hong Kong

“Like a love letter to nature, Arild Heitman weaves images together as letters into words to create a visual narrative,” PetaPixel writes of the Norwegian photographer.

Photograph by Arild Heitman.

A style that’s “more fine art than sweeping vistas,” they argue; I agree. Of course, there are some vistas, too, but with an interesting quality:

Photograph by Arild Heitman.

Architecture is another where details and point of view matter. French photographer Romain Jacquet-Lagrèze moved to Hong Kong in 2009, partially because of what he describes as “verticality,” something the Chinese city certainly has in abundance.

“44.” Photograph by Romain Jacquet-Lagrèze.

“I am especially proud of my latest body of work, Echoing Above. I started it by shooting trees growing wildly on residential buildings in the middle of the city. While looking up to find the trees, I spotted the men building scaffolding. And by looking for the men, I discovered the variety of birds that live in the heights of the city,” PetaPixel quotes.

“Flock Over Mong Kok.” Photograph by Romain Jacquet-Lagrèze.

“I find it beautiful to see how the presence of trees, men, and birds are taking turns above our heads, like an echo in a concrete canyon,” he tells This is Colossal. His latest collection has been gathered into a book, available on his website.

Paris in Color

Jason Kottke brings us an incredible before-and-after, which I hope he won’t mind my reposting:

Photograph by Albert Kahn, 1914. (Color in original.)

“That photo is of the entrance to the Passage du Caire at the corner of Rue d’Alexandrie and Rue Sainte-Foy in the 2nd arrondissement.” he writes. Here’s what it looks like today:

Google Street View, undated.

Is it just me, or is the photograph from 1914 infinitely more compelling? Click through for more.

Looking Up

In its sixth year, Nature‘s Scientist at Work competition invites readers to submit their best photos that show the “diverse, interesting, challenging, striking, and colorful work that scientists do around the world.”

Photograph by Aman Chokshi.

For scale, look closely: there are two people at the bottom of that dish. Awesome.

“Winter Fairy Tale,” Austria. Photograph by Uros Fink.

We finish up this month with one of the most beautiful sights in the night sky: the Milky Way. Travel photography blog Capture the Atlas has announced the winners of its annual Milky Way Photographer of the Year competition. (And getting these isn’t easy: the photographer shown above, Uros Fink, hiked through the snow for hours with a 22-kilogram backpack and sled.)

“It bridges the gap between science and art, giving us an awe-inspiring look at the galaxy that surrounds us — from both Earth and orbit,” Capture the Atlas explains, via PetaPixel. The competition site includes the winning photographs, a bit about each, and camera data. Using the word “awesome” somehow falls a little short here….

My favorite gets both the sky and, implausibly, my favorite flower — in an amazing location:

“A Sea of Lupines,” New Zealand. Photograph by Max Inwood.

Have a great weekend!

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Beautifully Briefed 24.2: February Favorites

This time, book design times two, book cutouts, album covers, and a reflection on my 2023 photographs. It’s one of those Februaries, so let’s leap into it.

Jodi Hunt’s Great British Design
Screen print by Kate Gibb, lettering by Jodi Hunt, and photograph by Adaeze Okaro.

You might recognize the above book cover from my 2023 Favorite Book Covers post, a fantastic series of choices that speak to all colors while definitively saying, “Black.” It’s Nice That has a short post talking about Jodi Hunt, who designer that cover — and more.

Design by Jodi Hunt.

The screen printing is prominent here, too, and the interaction between that and title are, to borrow a Britishism, “ace.” And the below, with its slightly haunting image treatment (and that great text, lower left), also earns kudos:

Design by Jodi Hunt.

Great design, deservedly highlighted. See the other examples here.

The original Book Design
Ernest Lefébure, Embroidery and Lace: Their Manufacture and History from the Remotest Antiquity to the Present Day (1888), with binding created by May Morris

Before there was book design, or even graphic design — that is, when books and pages were thought of as art instead of design — folks were still coming up with great book covers. The Grolier Club, “America’s oldest and largest society for bibliophiles and enthusiasts,” has a wonderful exhibit of cover design . . . made up exclusively of antiques.

Lynd Ward, Gods’ Man: A Novel in Woodcuts, 1929, and Madman’s Drum: A Novel in Woodcuts, 1930.

One of the most memorable artworks […] is a sumptuous but comparatively delicate volume, a 1643 book of psalms created in London. Atmospheric exposure usually turns white silk-bound editions tan and brown, but this cover is a shiny cream color. The polychrome silk and gold metallic threads, which wind around one another to form a colorful floral pattern, maintain an eye-catching vibrancy. The only sign of the book’s age is the oxidized silver “stumpwork,” a type of raised embroidery that in this case resembles beading.

— Elaine Velie, Hyperallergic

The quote above refers to the book in this month’s cover image, second from left, and is but one where what you see isn’t necessarily what you think it is — it’s more complex, more interesting, made with what the artist had available in the day. Great reminders, all, that book design has a much longer history than what we think of when we hear the term.

Check out that Hyperallergic article, another on This is Colossal, or, if you’re near NYC, go to the exhibit at the Grolier, 66th and Park. If, like me, you’re not able to visit in person, give them props for also posting the exhibit online.

Books Manufacture Realities

“Meticulous incisions and methodical folding allow scenes to arise from aged books and color swatches in Thomas Allen’s paper cutouts,” This is Colossal notes — but a picture is worth a thousand words:

Timber by Thomas Allen.

The vintage paperback work happened by complete accident. I was cutting into a pulp novel one afternoon with the intent of removing the illustration completely when I noticed that if I left some areas attached, folded the parts carefully, and looked at them from a single vantage point so that everything aligned, they created the illusion of 3D pop-ups. Everything snowballed from there.

— Thomas Allen, via This is Colossal
The three-hour cutout: Shipwreck, by Thomas Allen.

Here’s his desk — whoa:

Test cutouts in Allen’s studio, via This is Colossal.

The article is a must-read. Awesome stuff.

The Article’s Great — but the Headline is the Point.

“Virality over Creativity.” Few things summarize the last few years more — it’s always about getting eyeballs, not about truth or quality. It’s satisfying the algorithm. Because, of course, these days, media is social.

Real or AI?

POV, a new series of articles from It’s Nice That examines, in this case, creativity and AI in design for the music industry. “If an artist isn’t putting a piece of themselves and their experience into the work,” it asks, “why should anyone care?”

All valid questions, yes. But it’s the headline that provides another potential word of the year: virality.

The times we live in . . . .

Some of my Favorite 2023 Photographs

I’ve updated my photography page with my favorites of 2023, including these two:

Blue Against Blue Against Blue, 943 Ellis St.

The above, taken in Augusta, is architecture that doesn’t make me feel blue, while the below, taken on the main street in Sparta, does:

Bulb Moment, 12745 Broad St.

A couple of reflections: I didn’t get out as much as I did in 2022, and regret it, and have somehow pretty much eschewed both black-and-white and effects (film grain, light leaks, etc.), and kind of regret that, too. Both things to do differently in 2024.

That said, six years after investing in a different style of photography, I’m settling in — and looking forward to the future. I hope you are, too.