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New t-shirt I just got

font is Reportage Regular, at least that's what the guy at the shirt shop said

New t-shirt I just got

font is Reportage Regular, at least that's what the guy at the shirt shop said

New t-shirt I just got

font is Reportage Regular, at least that's what the guy at the shirt shop said

New t-shirt I just got

font is Reportage Regular, at least that's what the guy at the shirt shop said

Some drawings that got lost

Some drawings that got lost

Some drawings that got lost

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

Kickstarting a few busy months with Stepney Western at @glasgowshort this weekend — we’ll be screening the film at Polmont prison on Friday followed by a public event on Saturday afternoon. Special thanks to @matt.munro.lloyd and @sannejehoul!

I wanted to spotlight the work of two friends and collaborators — @kiatas and @saul_pankhurst. Kia made two incredible fonts for the project, moving seamlessly across all outputs. Saul created a beautiful animated title sequence for the film which lands somewhere between Sergio Leone’s A Fistful of Dollars and the CBBC series The Stables, shot at @stepneybankstables18 20 years ago.

1 Stepney Slab in situ
2 Saul’s animation, feat. music by Richard Dawson
3 Installation at NCA last year
4-7 Details from the film
8-9 Kia’s poster, riffing on the title sequence
10-11 Snippets from The Stables
12 A Fistful of Dollars

Director @harrylaws.on
Producer @annieroseflynn
Executive Producer @hannahbushbailey
Editor @harrylaws.on
Cinematographer @martiguiver
Music @batu_timedance
Theme tune @melostme
Other music @richarddawsonofficial
Typography @kiatas
Animated title sequence @saul_pankhurst
Colourist @wvrdell
Sound mix @stefansmithstefan
Gaffer @benny.j.smith + Rory Norton
Runner Rob Heselton
Comms @rosieecoleman
Archive @amber_sidegallery @yfanefa @cbbc

Stepney Western is supported by @acegrams, @thedocsociety @bfinetwork and @cftynewearnland. Project partners include @visitnca @amber_sidegallery, @ouseburntrust, @northeastfilmarchive, @foundation.press, @newbridge_printstudio and @my_metro.

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

It’s my birthday!!! 🗣️ merch dump from the OG merch boss - fairy design I made last year and never shared for aquarius szn….🌊

Song is by my favourite band GET DOWN SERVICES 👏👏👏

First photo credit @stella.blackmon
Logo design @kiatas

watch out for a sticker drop coming soon will be posting out :)

presented without comment

🍎🍎 Eterne Superfamily, by longtime friend of the foundry, Kia Tasbihgou @kiatas - Dynamic, dramatic, and dense with detail, Eterne has an uncommon economy of design that enlivens its typographic energy. As a self-taught type designer, Kia describes his approach as “designating space for a unity between unconventional forms and utility.” Eterne is no exception, and it marks an evolution. Brusque geometric forms and nervy angles belie its high-function quotient. This combination of elemental and sinuous shapes abut white space with a flourish, lending its letterforms the glimmering elegance of a seasoned showman. Released in two distinct-but-related display and text families.

🍎🍎 Eterne Superfamily, by longtime friend of the foundry, Kia Tasbihgou @kiatas - Dynamic, dramatic, and dense with detail, Eterne has an uncommon economy of design that enlivens its typographic energy. As a self-taught type designer, Kia describes his approach as “designating space for a unity between unconventional forms and utility.” Eterne is no exception, and it marks an evolution. Brusque geometric forms and nervy angles belie its high-function quotient. This combination of elemental and sinuous shapes abut white space with a flourish, lending its letterforms the glimmering elegance of a seasoned showman. Released in two distinct-but-related display and text families.

🍎🍎 Eterne Superfamily, by longtime friend of the foundry, Kia Tasbihgou @kiatas - Dynamic, dramatic, and dense with detail, Eterne has an uncommon economy of design that enlivens its typographic energy. As a self-taught type designer, Kia describes his approach as “designating space for a unity between unconventional forms and utility.” Eterne is no exception, and it marks an evolution. Brusque geometric forms and nervy angles belie its high-function quotient. This combination of elemental and sinuous shapes abut white space with a flourish, lending its letterforms the glimmering elegance of a seasoned showman. Released in two distinct-but-related display and text families.

🍎🍎 Eterne Superfamily, by longtime friend of the foundry, Kia Tasbihgou @kiatas - Dynamic, dramatic, and dense with detail, Eterne has an uncommon economy of design that enlivens its typographic energy. As a self-taught type designer, Kia describes his approach as “designating space for a unity between unconventional forms and utility.” Eterne is no exception, and it marks an evolution. Brusque geometric forms and nervy angles belie its high-function quotient. This combination of elemental and sinuous shapes abut white space with a flourish, lending its letterforms the glimmering elegance of a seasoned showman. Released in two distinct-but-related display and text families.

🍎🍎 Eterne Superfamily, by longtime friend of the foundry, Kia Tasbihgou @kiatas - Dynamic, dramatic, and dense with detail, Eterne has an uncommon economy of design that enlivens its typographic energy. As a self-taught type designer, Kia describes his approach as “designating space for a unity between unconventional forms and utility.” Eterne is no exception, and it marks an evolution. Brusque geometric forms and nervy angles belie its high-function quotient. This combination of elemental and sinuous shapes abut white space with a flourish, lending its letterforms the glimmering elegance of a seasoned showman. Released in two distinct-but-related display and text families.

Eterne Text’s refined clarity of construction imparts impeccable readability to an unconventional model. 🍎 This polished pop recontextualizes the joie de vivre that makes its display sibling so striking. Taking cues from the Marionette Formula proposed by W. A. Dwiggins, unexpected cuts and curves of the letterforms possess a lively tension and draw attention to the push-and-pull of space and counter-space. Shallow-shouldered arches, low contrast, and evenly proportioned terminals recall Miller & Richard’s Old Style Antique No. 7, translating the drama and gesture of the Eterne family into a system that is eminently scalable. 🍏

Eterne Text’s refined clarity of construction imparts impeccable readability to an unconventional model. 🍎 This polished pop recontextualizes the joie de vivre that makes its display sibling so striking. Taking cues from the Marionette Formula proposed by W. A. Dwiggins, unexpected cuts and curves of the letterforms possess a lively tension and draw attention to the push-and-pull of space and counter-space. Shallow-shouldered arches, low contrast, and evenly proportioned terminals recall Miller & Richard’s Old Style Antique No. 7, translating the drama and gesture of the Eterne family into a system that is eminently scalable. 🍏

Eterne Text’s refined clarity of construction imparts impeccable readability to an unconventional model. 🍎 This polished pop recontextualizes the joie de vivre that makes its display sibling so striking. Taking cues from the Marionette Formula proposed by W. A. Dwiggins, unexpected cuts and curves of the letterforms possess a lively tension and draw attention to the push-and-pull of space and counter-space. Shallow-shouldered arches, low contrast, and evenly proportioned terminals recall Miller & Richard’s Old Style Antique No. 7, translating the drama and gesture of the Eterne family into a system that is eminently scalable. 🍏

Eterne Text’s refined clarity of construction imparts impeccable readability to an unconventional model. 🍎 This polished pop recontextualizes the joie de vivre that makes its display sibling so striking. Taking cues from the Marionette Formula proposed by W. A. Dwiggins, unexpected cuts and curves of the letterforms possess a lively tension and draw attention to the push-and-pull of space and counter-space. Shallow-shouldered arches, low contrast, and evenly proportioned terminals recall Miller & Richard’s Old Style Antique No. 7, translating the drama and gesture of the Eterne family into a system that is eminently scalable. 🍏

Eterne Text’s refined clarity of construction imparts impeccable readability to an unconventional model. 🍎 This polished pop recontextualizes the joie de vivre that makes its display sibling so striking. Taking cues from the Marionette Formula proposed by W. A. Dwiggins, unexpected cuts and curves of the letterforms possess a lively tension and draw attention to the push-and-pull of space and counter-space. Shallow-shouldered arches, low contrast, and evenly proportioned terminals recall Miller & Richard’s Old Style Antique No. 7, translating the drama and gesture of the Eterne family into a system that is eminently scalable. 🍏

Eterne Text’s refined clarity of construction imparts impeccable readability to an unconventional model. 🍎 This polished pop recontextualizes the joie de vivre that makes its display sibling so striking. Taking cues from the Marionette Formula proposed by W. A. Dwiggins, unexpected cuts and curves of the letterforms possess a lively tension and draw attention to the push-and-pull of space and counter-space. Shallow-shouldered arches, low contrast, and evenly proportioned terminals recall Miller & Richard’s Old Style Antique No. 7, translating the drama and gesture of the Eterne family into a system that is eminently scalable. 🍏

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Eterne by @kiatas thrives on contrast: brusque geometric forms and nervy 
angles set against elemental curves and polished clarity. 🍎🍏

First drawn for Philip David Treece’s Magic Papers, Eterne Display carries the theatricality of magician’s ephemera, its condensed silhouettes articulated with precision and flair. Its counterpart, Eterne Text, distills that same drama into a system built for balance and readability. Shallow-shouldered arches, low contrast, and measured proportions recall Miller & Richard’s Antique styles, reimagined for contemporary use.

With detail, tension, and elegance in equal measure, Eterne translates the drama and gesture of the family into a model built for scale. ✨

Lina Scheynius x Tenderbooks Tee

A wearable artwork by Lina Scheynius @linascheynius published by Tenderbooks.

This unisex t-shirt features a juicy plum from Lina’s archive (2020) and is printed in eco-friendly water based inks just in time for summer.

Tenderbooks Imprint, 2025
White unisex tee with screenprint front and neck detail
Limited edition of 100
Typography by Kia Tasbihgou @kiatas
100% organic cotton

Lina Scheynius x Tenderbooks Tee

A wearable artwork by Lina Scheynius @linascheynius published by Tenderbooks.

This unisex t-shirt features a juicy plum from Lina’s archive (2020) and is printed in eco-friendly water based inks just in time for summer.

Tenderbooks Imprint, 2025
White unisex tee with screenprint front and neck detail
Limited edition of 100
Typography by Kia Tasbihgou @kiatas
100% organic cotton

Lina Scheynius x Tenderbooks Tee

A wearable artwork by Lina Scheynius @linascheynius published by Tenderbooks.

This unisex t-shirt features a juicy plum from Lina’s archive (2020) and is printed in eco-friendly water based inks just in time for summer.

Tenderbooks Imprint, 2025
White unisex tee with screenprint front and neck detail
Limited edition of 100
Typography by Kia Tasbihgou @kiatas
100% organic cotton

Lina Scheynius x Tenderbooks Tee

A wearable artwork by Lina Scheynius @linascheynius published by Tenderbooks.

This unisex t-shirt features a juicy plum from Lina’s archive (2020) and is printed in eco-friendly water based inks just in time for summer.

Tenderbooks Imprint, 2025
White unisex tee with screenprint front and neck detail
Limited edition of 100
Typography by Kia Tasbihgou @kiatas
100% organic cotton

Lina Scheynius x Tenderbooks Tee

A wearable artwork by Lina Scheynius @linascheynius published by Tenderbooks.

This unisex t-shirt features a juicy plum from Lina’s archive (2020) and is printed in eco-friendly water based inks just in time for summer.

Tenderbooks Imprint, 2025
White unisex tee with screenprint front and neck detail
Limited edition of 100
Typography by Kia Tasbihgou @kiatas
100% organic cotton

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

A website becomes a book births a typeface.
@figma asked @other_means and I to make something for #config2025 goers to take home. Drawing the type and illustrations for this was a ride ⚗️.

MAR-059: @kiatas

Listen on march2004.com.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.

Reportage is a sturdy serif text face based on ATF’s Arlington and polished for the not-19th-Century.

Peculiar, rough and condensed, Arlington’s outward appearance makes great pains to obfuscate its contemporary features. A “backwards” /A, upper and lowercase /S with strokes that meet the cap/x-/baselines, an odd concatenated /W form, a bowing /U – the list goes on (and on).

These features lend themselves to a rigorous, characterful text typeface, and somewhat answer the question that the original designer never asked: “how would the italics function?”

Taking cues from Morris Fuller-Benton’s Clearface and Er*c G*lls Solus/Joanna, Reportage Italic sits narrow, and eschews the rigour of the Roman’s terminals in lieu of teardrops.

The result is something simultaneously graphic and unopinionated – rectilinear and inky, with plenty of rhythm and intrigue at all scales. Its figures, curiously expressive uppercase and even-handed aesthetic harmonise to make introduce utility and contemporaneity to a source that unmistakably indulged in the excitement of typefounding in the turn of the 19th-to-20th Century.