print mag – Giles Hoover

October 31, 2025November 1, 2025

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.

“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.

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

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

“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.

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.

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.)

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!

October 14, 2024October 14, 2024

50 Books | 50 Covers, 2023 Edition

AIGA’s annual deep dive into great book design is out — later this year, for some reason — and brings deep satisfaction with a huge variety of titles, foreign and domestic.

“One hundred years into this competition, the book seems to be as protean and chimeric as ever. At times confounded and delighted, we asked ourselves [during the judging process], Is this a course packet or a manifesto? A sculpture or a monograph? A glossary or a guidebook? Is this book contemporary or retro? Gauche or chic? We debated books that blended the grotesque with the goofy alongside books that were delicate, subtle, and difficult to emotionally classify. In the end, we felt we found some of the best of this year’s offerings, books that in every case seem to show what design can do to bring the experience of reading to riskier-yet-more-rewarding places.”
— Rob Giampietro, AIGA 50 Books | 50 Covers Chair

As pointed out above, it’s the 100th year of the competition, this time with 542 book and cover designs entered from 28 countries. In order to be eligible, submitted designs had to have been published and used in the marketplace in 2023.

Some of my favorites, in alphabetical order:

A Long Long Time Ago. Book design by You Kwok Ho.

Great texture, great graphics — on the theme of “observer.” Indeed.

A Long Long Time Ago (glow-in-the-dark detail). Book design by You Kwok Ho.

But wait: there’s more. This one observes more dramatically than it might seem, uh, at first glance.

A Long Long Time Ago (shelf detail). Book design by You Kwok Ho.

I want to get a copy just so one of my bookshelves will have this moment. Fantastic.

Alex Yudzon: A Room for the Night. Book design by David Chickey and Mat Patalano.

“Yudzon stacks, leans, and balances furniture [in the hotel rooms where he’s a guest] in configurations that transform these generic interiors into hallucinatory worlds where the laws of physics are suspended and dormant emotions released.” (After the installations are documented, crime-scene style, they are dismantled and the rooms returned to their original condition.) Really: who could resist? The compelling design isn’t even the icing on that cake — we’re well past that — it’s a fancy fork, ready to dig in.

Final Words: 578 Men and Women Executed on Texas Death Row. Book design by Michel Vrana.

I’m glad we have the whole cover here; the spine definitely adds to the overall, and the illustrations on the front add so much.

“I cut the letters of the title out of paper and arranged them in a way that is reminiscent of a fire – as if the words “GOOD MEN” are going up in flames. The letters rise up in a smoke-like form. Blue and red is used to emphasize the visual association with fire. The result is a visual metaphor for “GOOD MEN” blazing into entropic chaos,” designer Anna Jordan says of this novel about a firefighter, “an ordinary, sympathetic guy lost in a turbulent existence.”

Good Men (lettering detail). Book design by Anna Jordan.

Nice.

The Gerald D. Hines College of Architecture and Design: 2020–21 Prospectus. Book design by Renata Graw and Lucas Reif.

This prospectus for the University of Houston has a special bonus:

The Hines College 2020–21 Prospectus, with its jacket casually tossed over its shoulder. Book design by Renata Graw and Lucas Reif.

Design-driven impact, the dean says. Yep.

Irregular Heartbeats at the Park West. Book design by Brad Norr.

“Rural gothic,” they say. “Goodness,” I append.

Iwan Baan: Moments in Architecture. Book design by Haller Brun.

Each year, 50 Books seems to latch onto a particular theme. Last year, it was irregular page sizes (often multiple sizes in the same book); this year, it’s irregular, often hand-sewn bindings, seen here with a slip jacket starring the other recurring theme this year: translucency.

Nairy Baghramian: Modèle vivant. Book design by Green Dragon Office with Nairy Baghramian.

Speaking of translucency, this jacket is that … and something more, shall we say, eye-catching. Compelling, but does it make you want to pick it up?

Night Watch. Book design by Kelly Blair.

This title was in my folder of finalists for Foreword‘s Favorite Book Covers of 2023 but ultimately not selected. Glad to see it get some recognition. (Note that The Guest Lecture and The Nursery, two other 50 Covers winners, did make my list.)

The Last Summer. Book design by Gabriela Castro, Gustavo Marchetti and Paulo Chagas.

The translucency is back, this time covering — well, jacketing — a newly-republished 1910 detective novel set in pre-revolutionary Russia.

The Last Summer (jacket detail). Book design by Gabriela Castro, Gustavo Marchetti and Paulo Chagas.

Only on Saturday. Book design by Chuck Byrne.

“Printing legend Jack Stauffacher’s experimental make-ready sheets informed both the cover and the jacket for the regular edition,” 50 Books says, in another red-and-white triumph.

Overlap/Dissolve. Book design by Nancy Skolos and Thomas Wedell.

Great three-dimensionality on this cover, with an equally compelling interior:

Overlap/Dissolve interior spread. Book design by Nancy Skolos.

“We set up compositional frameworks to express harmony, conflict, resolution, or both,” the designers write. “For us there is never one perfect design solution, but the process generates one idea that overlaps and dissolves into the next.”

Sketches on Everlasting Plastics. Book design by Renata Graw and Lucas Reif.

Sketches on Everlasting Plastics, which “explores the infinite ways in which plastic permeates our bodies and our world,” accompanied the exhibition Everlasting Plastics at the 2023 Venice Architecture Biennale. (Note the binding.)

Steel Like Paper. Book design by Wolfe Hall.

Debossed type, linen spine, great photographs. Nice.

And, last but certainly not least:

The Adult (full jacket). Book design by Kate Sinclair.

Simple at first glance, yet brings more on multiple levels. Great.

Each of the 2023 winners can be viewed through AIGA’s online gallery, and will become part of the AIGA collection at the Rare Book and Manuscript Library at Columbia University’s Butler Library in New York.

Via, as is often the case, PRINT Magazine.

June 14, 2023March 30, 2024

Beautifully Briefed 23.6: Welcome to Summer

This time, several items related to books and bookstores; two more — possibly the last two — from the automotive logo category; and PRINT Magazine’s 2023 roundup of great design.

Book Four-For

AI book covers? Here, now.

Creative Bloq, which I wasn’t familiar with, has a post up that’s only here because it’s the first I’ve seen of what is sure to be a trend: AI imagery on a book cover.

Image: Bloomsbury UK (Also: Where’s the body to go with the head?)

“Causing controversy,” they say, in that…:

[F]or a while now, with concerns over copyright and ethics plaguing text-to-image generators. Perhaps the most existential worry of all is the idea that AI could put human artists out of work – and while many still find the idea fanciful, we’re already seeing examples of AI-generated art being used commercially.
— Daniel Piper, Creative Bloq

The article itself has a hint of click-bait about it, what with Twitter users spotting a NY Times bestseller but complaining about the UK version of the cover design . . . but the larger question of AI coming for the book designers everywhere is valid.

Then again, AI imagery has the potential to reshape much of the creative landscape. Let’s hope — hope! — that it’s deployed ethically.

B&N’s Market Repositioning

BookRiot asks whether Barnes & Noble’s new presentation as “a local bookstore” — something that’s part of the community in a way that Amazon can never be —is genuine, let alone successful. (We have a B&N here in Macon, which I visit infrequently, and which doesn’t feel “local.”)

Background: The BookRiot article (and the image) above ultimately stem, I believe, from a NY Times option piece from 2018.

Temples of Books

As regular readers know, I’m a huge fan of combining books and photography. Naturally, great photographs of great libraries strike just the right chord:

Cuypersbibliotheek, Amsterdam, Netherlands

As This is Colossal puts it, “Written by Marianne Julia Strauss, Temples of Books: Magnificent Libraries Around the World celebrates the stunning architecture and quietude associated with wandering the stacks.”

Phillips Exeter Academy Library, Exeter, New Hampshire

Positioning these spaces as intellectual havens, Temples of Books highlights their wide array of offerings, including botanic gardens, archival repositories, and of course, room to read. “As an institution that can curate knowledge, scrutinize the status quo, and encourage education, the library is more important today than ever,” a statement says. “This responsibility is only growing as the freedom to publish on all manner of channels increases.”
— Grace Ebert, This is Colossal

Instant wishlist item!

Take Action for Libraries

Simple brilliance: a handy step-by-step guide on what to do if you don’t like a book at your local library.

Carmaker Logo Updates: Porsche and JLR

Jaguar Land Rover > JLR

Formerly Jaguar Land Rover, but generally known in the industry as JLR, the British company¹ decided to have a FedEx moment and rebranded. Alas, Paul Rand was unavailable, so there’s no brilliance in the execution. (We’ll absolutely leave whether walking away from Land Rover as a brand is a smart move for another, longer discussion.) Motor1 has the details.

Porsche > Almost all other mainstream car brands

There’s a new Porsche logo!

The new 2023 version of the Porsche logo. (Image: Porsche)

That’s right: it’s a very subtle change. But it’s a significant one, perhaps because it’s only the fifth in the company’s 75-year history:

All five Porsche badges. (Image: Porsche)

The biggest changes are the backgrounds and the prancing horse in the middle, which is completely redrawn. (And, yes, has more than a passing — heh — resemblance to Ferrari’s.)

Not-at-all-staged photograph by Porsche.

Wallpaper* has the best coverage I’ve seen.

Bonus: Motor1 has a roundup of every recent (2015+) automotive change in branding. Of course, I’ve covered most of ’em here, too.

Update: Nissan, already on the updated list above, might be up to something.

PRINT‘s Best of 2023

PRINT reminds us that not everything is digital these days — so much of the work still goes on paper or packaging — in their 2023 roundup of great stuff:

The 2023 PRINT Awards celebrated outstanding design in every shape and form, from the delicate texture and exquisite form of print to digital design that married technical skill with precise craftsmanship.
— PRINT Magazine

The best in show is a brilliant environmental design, the annual reports category is oddly satisfying (I didn’t know that Land O’ Lakes is a cooperative that owns Purina, for instance), the editorial category contains brilliance, and many, many more worthy of a design lover’s attention.

Sadly, their book design category is a bust. I like “The Every,” but pretty much any of my Best of 2022 picks run circles around it (and the other two choices):

But there are gems. I really like Bakemono, for instance, a winner in the fonts category and the best monospaced font I’ve seen:

Italian foundry Zetafonts brings us Bake Mono.

It’s a long article (they call it a 74-minute read!), but when you have a moment, grab a drink and an iPad and enjoy — hopefully as much as I did.

And that’s it! Settle into summer, and stay tuned for more soon.

1
Technically, it’s an Indian company, as JLR is a subsidiary of the TATA conglomerate.

October 5, 2022June 14, 2023

Beautifully Briefed, Early October 2022 [Updated]: Triboro’s Lyrics, Hoefler’s Daggers, and Skoda and Citroen Provide Contrast

This time, we’ve got some great book design (with a bonus), Hoefler educates on typography (with a bonus), and two updated car company logos. Let’s get right to it!

Print Magazine on the design of Lyrics

The still-very-relevant-in-2022 Print Magazine brings us a great feature on the design of Paul McCartney’s book, Lyrics:

Front and back covers of Paul McCartney’s Lyrics, by Triboro Design.

Turns out it was designed by an outfit called Triboro Design, from Brooklyn (appropriately). Print brings us an interesting interview with David Heasty, the principal:

I […] found him to be sharp, quick, articulate, and modest. Below, we discuss Paul’s involvement with the project, the book’s gorgeous bespoke typeface, and the importance of staying true to a legend’s vision.
Ellen Shapiro, Print Mag

The “S” spread of Paul McCartney’s Lyrics, by Triboro Design.

Interesting and informative. Catch this interview when you can.

Bonus: Looking at Triboro’s website, this lovely piece of typography stood out:

Triboro Design’s Zolo Jesus album typography creates desire.

Hoefler Discusses Daggers

In “House of Flying Reference Marks,” Jonathan Hoefler talks about daggers, or, what you use when an asterisk isn’t enough:

Hoefler on daggers.

Beautiful examples, complete with a phrase you don’t hear everyday: “twisted quillon.” Read and enjoy. (If the opportunity presents, follow on with the ampersand article — which, uh, takes a stab at where the word came from. Nice.)

Bonus: Creative Boom’s article, “18 highly respected type foundries that remain fiercely independent.” (I guess you could say I’m still surprised Hoefler is now, well, Monotype.)

Skoda and Citroen have new logos

It seems like nearly all of the major car manufacturers have introduced a new logo in the past couple of years, but here are two more. One’s best described as “an update,” while the other … goes a little farther.

Skoda, for those that don’t know, is a Czech company and part of the massive VW Group. Frankly, it shows:

Skoda’s 2022 Kodiaq, a thoroughly VW Group product.

For 2023, they’re introducing a push to separate themselves from VW a little, resisting the downmarket image. As is (now) normal with updated car company identities, there’s a concept:

Skoda’s Vision 7s concept.

It’s … not inspiring. Maybe the actual updated logo will turn the corner:

Skoda’s 2022 logo.

Solid. (Pardon the pun.) But seriously, even an avid car nut like me didn’t know that represents a winged arrow — and I’m not sure the new version helps. At least they get points for consistency:

Evolution of Skoda’s logo, 1895–2023.

Read more at Brand New’s “Czech this Out,” or Carscoops’ more optimistic take, “Thriving Skoda Brand Forging Its Own Path Within The VW Group.”

Then there’s Citroen. Even under the potentially-smothering corporate blanket that is Stellantis (there’s a name!), the pioneer of decades past still manages to actually thrive. First their new logo:

Citroen’s 2022 logo.

They’re not quite as consistent — the dual chevrons have varied a bit. This time, they’ve literally gone back to their roots, pulling the 1919/1921/1936 version out and dusting it off for modern use:

History of Citroen’s logos, 1919–2022.

Points to them for hinting at what’s to come, too:

Citroen’s 2022 logo, with just a slice of concept car showing.

…Which turns out to be something with, ahem, Oli bits:

Citroen’s Oli: the antithesis of a Skoda.

“Nothing moves us like Citroen,” they say. The Oli moves me, to a point where I truly wish Citroen was once again available in the ’States. Cool and radically innovative, without losing sight of something VW has truly lost: fun. Well done.

Read more on the logo: Motor1, “Citroen Unveils Updated Retro-Flavored Logo And New Slogan,” and Carscoops, “Citroen Unveils New Logo Inspired From Its Past, Teases New Concept.” Read more on the Oli at the excellent Autopian: “The Citroen Oli Concept Is An EV Made From Cardboard And Good Ideas.”

Updated, 19 October, 2022: Brand New adds to Citroen’s new logo story, with a slightly-less-than-enthusiastic take on the logo and has frankly unkind things to say about the new, custom typeface (custom typefaces are now de rigueur — a policy as much related to rights ownership than creativity, alas).

I really like the cursive in this Vimeo screenshot:

YouTube? What YouTube? Citroen posts to Vimeo. Ahh, the French.

BN also includes a number of extra photographs of the simply awesome Oli, too. Here are a couple, for your enjoyment:

Plug-and-Citroen.

Note the removable Bluetooth speakers (the black tubes with “+” and “-“) and, especially, the seats:

I love everything about this interior.

Check the rest, and BN’s take, here.

Apologies to both Skoda and Citroen for the lack of language-correct accents. WordPress needs a glyph function.

Tag: print mag