Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic

Shot using a Mamiya RB67, this is one of my first shots, though i'm not sure i like it entirely. It may well be reshot from a different angle.

I'd also prefer the station to be empty, to emphasise the non-space.

In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.

In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'

The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.

Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.

The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.

Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic

In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.

In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'

The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.

Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.

The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.

These images were more of a reconnaissance mission then an actual shoot. I had some tip off of the location of a BP station and some phone boxes. So i went for a look round to see what i could find.

I hope to shoot with the RB either tomorrow or Friday... weather permitting of course.

All comments welcome.

Drawing by tydesign. Here's a depiction of his sketch:

"I know I say this every drawing, that I’m quite happy with whatever I’ve done at the time. It’s usually because it’s an improvement over the prior week. This week is no different. I’ll go into detail.

1. Technique. I have found and started using a nonphoto blue pencil (Prismacolor col-erase, on sale for 59 cents at Blick) that is really hard to make a line with. Why is this good? Because I’m heavy handed and usually have a hard time erasing my blue line pencils when I need to. Not so in this case. Oh, but wait there’s more. Yup after I get a loose sketch down with this pencil then I switch over to the mechanical pencil (you’ve seen it the prior week with Iron Man and in my Venom in my photo albums). I use the pencil lighter than I used to (thanks to constant reminder from Jeremy and Emily to lighten up, hahaha). The mechanical pencil is filled with Pentel .05mm blue lead, which is really quite dark and provides great refining and detailing line.

2. Pose complexity. I think my poses are getting better and more dynamic. This usually means more foreshortening, more planning, more predrawing poses (before I tended just to ‘go for it’).

3. Scene depth and complexity. Most of my previous drawings (minus the digitally painted Cyclops and Hulk) are in a nonspace. I usually draw the figure and plan to add any scene elements in a Photoshop montage sort of way. Not cheating, but not developing my skills either. Here I’ve added trees in the back, rocks in the mid ground and Sabretooth’s hand in the foreground to make the scene that much more dynamic. I tell ya I was sorely tempted to add a masthead and type bursts just to make it more comic book like. I sure do miss those days, the past typography of the Gold and Silver Age of comics.

Special thanks again goes to Emily who pushed me to finish the trees more than I had and to resolve the Sabretooth hand better in space. Everyone needs someone to bounce off their art on."

'Space for Inspiration' was an international conference organised by the European Space Agency for everyone curious about space exploration and why it matters. The second edition's theme was ‘Living in our universe’.

Credits: ESA–A. Brancaccio

I'm growing increasingly fond of these bits of unspace; bland, badly thought through, not meant to be seen. This example is from the window of the post office near Charing Cross, London.

Oh. And check out the guy in the reflection.

Probably my favourite image from the day.

These images were more of a reconnaissance mission then an actual shoot. I had some tip off of the location of a BP station and some phone boxes. So i went for a look round to see what i could find.

I hope to shoot with the RB either tomorrow or Friday... weather permitting of course.

All comments welcome.

So i managed to find a whole row of red telephone boxes... WINNER! :D

Not too sure about the glare down the bottom though, but that couldn't be helped, it was raining.

All comments welcome.

In an exploration not of what lies within or without but that 'somewhere' in-between, Non [ ] is a journey into the impossible task of defining what makes up that undefinable land that is 'middle' - an unattainable place in seemingly eternal suspension and ephemeral being.

In contemporary art theory, the gallery space has often been referred to as a 'vacuum'. In his book 'Inside The White Cube: The Ideology of the Gallery Space' first published in 1976, Brian O'Doherty describes the gallery as a place which is 'designed to neutralise social space and time from the artwork, to free itself from context.' 'Space' he says 'has now become not just where things happen but now "things make space happen."'

The term 'non-place', originally coined by Marc Auge in his book 'Non-places: Introduction to an anthropology of supermodernity', will be referenced through works which speak about place, our surrounding environments, and the human need to be attached to objects and things, yet to simultaneously be free beings.

Conceptually and directly aligned with SAVVY Contemporary's mission for a 'contestation of time and space', Non [ ] provides a fertile ground in which these non- territories, explored by these artists with diversified visions and backgrounds, will become actual space for the artists, viewers, and works themselves for intro/retrospection and dialogue.

The curatorial team and artists, collectively with backgrounds spanning 4 continents, present a multimedia exhibition including installation, photography and painting and a performance on the opening night. In-line with SAVVY Contemporary's objectives, the show will embody a dialogue between "western art" and "non-western art" in a conceptual, intellectual, artistic and cultural development and exchange.

Installation view (part)

"Extreme porte a faux III," 1969

from the exhibition "Nonspace" at Hauser & Wirth

These images were more of a reconnaissance mission then an actual shoot. I had some tip off of the location of a BP station and some phone boxes. So i went for a look round to see what i could find.

I hope to shoot with the RB either tomorrow or Friday... weather permitting of course.

All comments welcome.

'Space for Inspiration' was an international conference organised by the European Space Agency for everyone curious about space exploration and why it matters. The second edition's theme was ‘Living in our universe’.

Credits: ESA–A. Brancaccio

"Untitled," 1939.

from the exhibition "Nonspace" at Hauser & Wirth

'Space for Inspiration' was an international conference organised by the European Space Agency for everyone curious about space exploration and why it matters. The second edition's theme was ‘Living in our universe’.

Credits: ESA–A. Brancaccio

'Space for Inspiration' was an international conference organised by the European Space Agency for everyone curious about space exploration and why it matters. The second edition's theme was ‘Living in our universe’.

Credits: ESA–A. Brancaccio

I like it so much i decided to do two shots.

Not sure which one is best. I like the framing on this one, but prefer the vast sense of space and scale in the other?

All comments welcome.

'Space for Inspiration' was an international conference organised by the European Space Agency for everyone curious about space exploration and why it matters. The second edition's theme was ‘Living in our universe’.

Credits: ESA–A. Brancaccio

These images were more of a reconnaissance mission then an actual shoot. I had some tip off of the location of a BP station and some phone boxes. So i went for a look round to see what i could find.

I hope to shoot with the RB either tomorrow or Friday... weather permitting of course.

All comments welcome.

These images were more of a reconnaissance mission then an actual shoot. I had some tip off of the location of a BP station and some phone boxes. So i went for a look round to see what i could find.

I hope to shoot with the RB either tomorrow or Friday... weather permitting of course.

All comments welcome.

'Space for Inspiration' was an international conference organised by the European Space Agency for everyone curious about space exploration and why it matters. The second edition's theme was ‘Living in our universe’.

Credits: ESA–A. Brancaccio

Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic

little Church that was next to the glass shop

Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic

Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic

Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic

Building on the success of its predecessors, the Yearbook of Type #7 presents an updated design concept that features new interfaces and fresh features for an enhanced reading experience on 608 (!) pages. With a thematic focus on plants, this edition offers a unique perspective on typography and presents a wide range of new and high-quality fonts, where there is something for every purpose and taste.

Each typeface is now showcased on three pages and offers a comprehensive overview of its properties and characteristics: A double page spread with an appealing visual sample of the font emphasizes the character of the font. The third page offers a detailed overview of the font and its special features, information on language support, styles, weights and widths, OpenType features, and detailed background information about the designer and the foundry.

A comprehensive index allows for quick reference, while the online microsite enables easy browsing and direct purchases. The book is accompanied by a freely accessible online microsite, which allows easy browsing and direct purchase of all the fonts presented.

– Detailed presentation of 180 recent typefaces

– Ample background information

– Index of all 206 type designers and 108 foundries from 29 countries

– Explanation of all OpenType features

– An online microsite that directly links the typefaces to the foundries’ websites (from this edition, as well as editions 3 through 6)

Presented type foundries: 205TF, AG Typography Institute, AinsiFont, Alex Slobzheninov, Ampersand Type Foundry, Antipixel Type Studio, Apex Type Foundry, Azuliq Type, Bastarda Type, Binnenland, Black[Foundry], Blast Foundry, Blaze Type, Bleifrei Type, Bureau Sebastian Moock, BVH Type, Cadson Demak, Cape Arcona, CRU Brand Consultancy, CSTM Fonts, Darden Studio, Detail Type Foundry, Displaay Type Foundry, DSType Foundry, edition.studio Type Foundry, Fabio Haag Type, Fable, Face2Face, Faire Type, Fatype, Fincker Font Cuisine, Fontwerk, Formula Type, Frere-Jones Type, Friederike Wagner, Frost, Fuenfwerken Design AG, Gradient Type, Hanken Design Co.®, Hoftype, Huy! Fonts, It’s Just Letters, Jeremy Tankard Typography, Kobu™ Foundry, Kontour Type, LA BOLDE VITA, Latinotype, Lazydogs Typefoundry, Le Laïc: Type Foundry, Lian Olsen, Lift Type, Mark van Leeuwen, Monolith, Morisawa.Inc, Mostardesign Type Foundry, NEW LETTERS, nice to type, Nonspace, Nouvelle Noire, Nova Type Foundry, Ntsal, OPS Type, Paratype, Peter Schmidt Group, phosphorus, Playtype, Posterizer KG, Range Left Shop, RazziaType, Retype, Revolver Type, Rosetta Type Foundry, Sacha Rein, Schriftlabor, Sharp Type, Stan Hema, Studio Bollo, Studio Principle, Studio Rene Bieder, sugargliderz, Text Field Office, The Northern Block, Thomas Hirter, tictactype, TIGHTYPE, André Toet, Tour de Force Font Foundry, TYPE FIRM, TypeMates, Typerepublic, TypeTogether, Typogama, Typonym, Typotheque, Ultra Kuhl, Viktor Nübel Type Design, VJ Type, W Type Foundry, Wannatype, WELTKERN® Typefaces, XYZ Type, Zakznak, Zetafonts

The Yearbook of Type #7 is a must-have for typography enthusiasts—a go-to source for finding the perfect typeface or a spark of inspiration!

Yearbook of Type #7

Plant Edition

Publisher: Slanted Publishers

Creative Direction: Lars Harmsen

Art Direction & Managing Editor: Juliane Lipp

Graphic Design Assistance: Linus Haug, Greta Landmann

Publishing Direction: Lars Harmsen, Julia Kahl

Release: November 2024

Format: 16 × 24 × 4 cm

Volume: 608 pages

Language: English

Printing: Offset with fluorescent spot-colors by Stober Medien

Workmanship: Stiff brochure, thread-stitching by Buchbinderei Spinner

Paper: Magno Matt (inside); SURBALIN ribbed (endpaper), PEYPRINT honan (cover) by peyer graphic