Packaging for <n>You&You</n> <n>Argan's Love Bodywash</n>, designed by <n>Lavernia & Cienfuegos</n> in 2022.

Aerial view of <n>Manhattan</n> photographed by <n>Paul Seibert</n> from a helicopter at 15,000 feet.

The <n>Blakely Retreat Guest House</n>, a compact dwelling floating on stilts within a forest.

<n>Cadillac</n>'s visual identity rebrand by <n>Mother Design</n>, featuring the <n>Cadillac Gothic</n> typeface.

New brand identity for <n>Regma</n> ice cream, designed by <n>Lavernia & Cienfuegos</n> in 2024.

A snow-covered <n>Drolet Street</n> in Montreal. Shot on a <n>Mamiya 6</n> with <n>Kodak Portra 400</n> film.

Brand identity for <n>iessi</n> by <n>spassky fischer</n> with photography by <n>Studio L’Étiquette</n>.

Handmade logo for <n>Aerobic Coalition</n>, created in 2023.

A sunlit corner in <n>Dan Pelosi</n>'s kitchen.

The typeface <n>Clippy</n>, designed by <n>Tor Weibull</n> with mastering by <n>Sebastian Carewe</n>. 3D by <n>Studio Taktil</n>.

Signage photographed by <n>Marco Land</n> in Dallas.

Aerial view of <n>Manhattan</n> photographed by <n>Paul Seibert</n> from an open-door helicopter in 2013.

An aerial photograph of <n>Manhattan</n> and <n>Central Park</n> by <n>Paul Seibert</n>, 2019.

The <n>Rockefeller Center Christmas Tree</n> during a snowfall in New York City. Photo by <n>Ethan Barber</n>.

A snowy Christmas scene at <n>Macy's Herald Square</n> in New York. Photo by <n>Ethan Barber</n>.

The rear facade of the <n>Chelsea Townhouse</n> in New York.

Interior of the <n>Mansfeld Cabin</n> in the Czech Republic, designed by <n>Pavel Mansfeld</n> in 1971. Photo by <n>Adam Štěch</n>.

The <n>Norwegian Sans</n> typeface, created for <n>Norwegian</n>'s rebranding led by design agency <n>TRY Design</n>.

 It’s a dark, damp Friday afternoon at Talbot Primary School. Honestly, I’m just dying to get home and have a cup of tea in front of the fire, but tonight is Movie Club night so I’m not going anywhere for a while. Things could be worse though. Aside from giving my parents a bit more kid-free time to run errands, it is also, at the very least, a decent excuse to hang out and have a laugh with my friends for a couple extra hours.
The movie today is Watership Down, which my friend Anthony quickly and condescendingly reminds me is “the one with the bunnies”. Last week’s selection was the viciously boring 1971 version of Black Beauty, but at least Watership Down is a cartoon so, you know, I’ll give it a chance.
Everybody quiets down as the assembly hall falls dark and the light from the projector flicks and splinters into life, and there upon the screen appears the rabbit god Frith in all his pulsing, psychedelic splendor. “Cool,” says Anthony to my left. I silently agree.
The movie continues quickly, shocking us all with contrasting images of vast pastoral beauty and heady, blood-soaked violence. The rabbits in the story become slowly recognizable, familiar - human. Themes of environmentalism and authoritarianism and caste that will one day speak loudly to me pass largely unnoticed upon this viewing - and yet by the time Art Garfunkel sings “Bright Eyes” at the emotional mid-point of the story, I find that I’m desperately choking back tears. 
Anthony snorts to my left, and I turn to catch him quickly swiping away a tear of his own. “Shut up,” he says. But I’m with him in every way.
These bloody rabbits are breaking me.
The movie finally ends and my head is thudding from the effort of having stifled my emotions for an hour and a half. I’d be lying if I’d said I hadn’t parted with at least a small handful of tears, but each time one had started its inexorable trickle down my cheek I’d managed to quickly wipe it away under cover of darkness - my pre-adolescent cool properly and finally maintained.
Still, sounds and pictures have begun to twist and turn inside my head in ways which will quietly haunt me for the rest of my life.
Outside at the front gate I meet up with my sister who was watching with her friends in another part of the hall. Her eyes are glazed, her nose a bit redder than usual. We stand and wait in silence for Mum and Dad’s car to come round the corner and pick us up.
“What did you think?” I finally ask her.
“Strewth,” is all she can muster, shaking her head.
“Yeah,” I reply, giving my eyes one last cautionary wipe.
Bloody rabbits.
 
Sandleford Regular is a compliment to Sandleford Italic. Together they form a robust, calligraphic text font family with display font aspirations. Sandleford Regular has 756 total glyphs, including small caps, ligatures, and a wide array of foreign characters, making it compatible with dozens of foreign languages.
Check out a sample PDF, here.

Sandleford Regular

A snowy day in <n>New York City</n>. Photo by <n>Ethan Barber</n>.

Bathroom in a 1930s Tudor home featuring an <n>American Standard Pembroke tub</n>. Photo by <n>alexander lerner</n>.

<n>iessi</n>'s alcohol-free spritz, <n>Il Frizzante</n>. Photo by <n>Alex & Martin</n>. Brand design by <n>Wedge</n>.

The <n>Tamarisk House</n> features <n>Roman Travertine</n> floors and <n>Petersen Tegl bricks</n>.

White oak mudroom designed by <n>Park & Oak</n> and built by <n>57st.design</n>. Photo by <n>Aimee Mazzenga</n>.

Here’s the first of a few reposts of my older snow photography for this month’s category.

Branding for <n>So Tidy Waste Clearance</n> by design studio <n>Regrets Only</n>, 2021.

Unused graphic concept for the <n>GT Standard</n> typeface by <n>Grilli Type</n>.

The <n>Binker Barn</n> at The Sea Ranch, renovated by <n>Kay Kollar Design</n>. Photo by <n>Richard Powers</n>.

The Ticket Office study by <n>Artichoke</n> from a Gentleman's Apartment. Photo by <n>Christopher Horwood</n>.

A swatch of the <n>Világos Szürke munkalap U 12188 XM (U 1188)</n> worktop by <n>Pfleiderer</n>.