My First Book of… is the title of Kumon’s early‑learning workbook series designed to build pre‑writing and fine‑motor skills for young children. The books start with introducing basic drawing motions through step‑by‑step activities that help children practice pencil control, shape recognition, and hand–eye coordination, and then move on to more advanced topics. There are tiers for ages 2–4, 3–5, 4–6, 5–7, and 6–8 years. Not all books include “First” in the series title.

The cover typography combines Lithos Black for the main title with Futura Book and FF Providence for supporting text such as the series name and age range.

From Wikipedia:

Faster, Pussycat! Kill! Kill! is a 1965 American exploitation film directed by Russ Meyer and co-written by Meyer and Jack Moran. It follows three go-go dancers who embark on a spree of kidnapping and murder in the California desert.

The film is known for its violence, provocative gender roles, and eminently quotable “dialogue to shame Raymond Chandler”. It is also remembered for the performance of star Tura Satana, whose character Richard Corliss called “the most honest, maybe the one honest portrayal in the Meyer canon and certainly the scariest”. Faster, Pussycat! was a commercial and critical failure upon its initial release, but it has since become widely regarded as a cult classic and influential film.

The title card for the film brings together two styles from Dom, Dom Diagonal and the upright Dom Bold. “Kill! Kill!” is in Stymie Black Italic. The two smaller lines at the bottom are set in Futura.

The Thorn Birds was written by Australian neuropathologist Colleen McCullough (1937–2015).

In the rugged Australian Outback, three generations of Clearys live through joy and sadness, bitter defeat and magnificent triumph, driven by their dreams, sustained by remarkable strength of character... and torn by dark passions, violence and a scandalous family legacy of forbidden love.

The Thorn Birds is a poignant love story, a powerful epic of struggle and sacrifice, a celebration of individuality and spirit. Most of all, it is the story of the Clearys’ only daughter, Meggie, who can never possess Ralph de Bricassart, the man she so desperately adores. Ralph will rise from parish priest to the inner circles of the Vatican… but his passion for Meggie will follow him all the days of his life.

First published in Great Britain in 1977 by MacDonald & Jane Publishers, this is a paperback version first published in 1978 by Futura Publications.

The book’s interior (not shown here) is set in Linotype’s Times Roman; I’d say in 9 or 9½ pt type size.

The front of the book is set in ITC Serif Gothic Bold for the red text. So is the author’s name in black. “The international bestseller” is added in all-caps Univers Condensed. The quotes on the back are set in Serif Gothic’s Regular weight, with the sources highlighted in red caps. The small print uses Futura.

The Bienal de Arte Flamenco de Málaga is a cultural gathering that celebrates flamenco as an artistic expression and living heritage. A space for exchange and visibility around cante singing, dance, and guitar playing, it highlights flamenco tradition and its connection to the city, bringing together artists, audiences, and diverse contexts around a deeply rooted culture. It took place in Málaga from May 27 to August 2, 2025.

To develop its visual identity, we began with a process of research and visual archaeology, diving into flamenco posters from the 1970s and 80s. We were interested in reviving their way of communicating: the typography, the abundance of text, the colors, and that distinctive style characteristic of popular graphic culture. With respect, we reinterpreted this tradition through a contemporary lens, preserving the authenticity, energy, and passion of flamenco.

For the main masthead, we opted for a combination of 20th-century typefaces, bringing together Umbra and Copperplate Gothic. The dialogue between Umbra’s expressiveness and play of shadows and Copperplate Gothic’s solid, classical character creates a headline with presence, personality, and a certain timeless quality. This pairing strengthens the identity’s character while connecting it to the graphic tradition that inspired the project.

For secondary information, we used Annonce and, for residual information, Futura. A project with a highly typographic character. A revision of flamenco aesthetics brought into the present day.

Letterpress printed Souvenir Ticket for the 2026 Bay Area Printers’ Fair & Wayzgoose. Printed in 2025 from vintage handset metal type, in order from top:

Caslon Bold Extended (1911)
Futura schmalhalbfett (1936)
Lilith (1930)
Figaro (1940)
Hellenic Wide (c.1954*)
Festival Titling (1952)
Gill Sans Cameo Ruled (1935)
Antique Condensed (pinmark from MacKellar, Smiths & Jordan, 19th century)
Ad Lib (1961)
Antique Shaded (1913)
Mistral (1953)
Plymouth (1900)

All borders are cast by Stephenson Blake, printed from new-in-box old stock fonts.

*) Note that Hellenic Wide is a 1950s adaptation of the same letter style as the 19th century Antique Extended.

Lu Watter’s Yerba Buena Jazz Band – Maple Leaf Rag by Scott Joplin, recorded Dec. 1941. [More info on Discogs]
 

Lilith is an extrabold italic with partly open letterforms and horizontal hatching, further embellished with baroque mid-stem ornamentation in the capitals. Some details like the Fraktur-like construction of W reveal its German origin: Lilith was first cast by the Bauer foundry in 1930, after designs by Lucian Bernhard (1883–1972) who had left the country for New York seven years earlier.

Bauer had opened an office in New York in 1927. This way, Lilith was available in the United States as well. In the early 1940s, it was chosen for the logo of Jazz Man Records. Founded in 1941, the record label was an offshoot of David Stuart’s Jazz Man Record Shop on Hollywood’s Santa Monica Boulevard (and in 1959 on L.A.’s West Pico Boulevard). In 1946, Stuart sold it to his ex-wife, Marili Morden and her new husband, Nesuhi Ertegun. According to Wikipedia, the label and its namesake shop “were in the vanguard of an international revival of traditional jazz in the 1940s.“

Glyph set for Lilith from Penrose Annual 41, 1939, in an article on the “Victorian Revival” in typefaces by Robert Harling

Lu Watter’s Yerba Buena Jazz Band – Muskrat Ramble by Ed Ory, recorded Dec. 1942. [More info on Discogs]
The secondary typefaces are Koch-Antiqua and Bulmer.
 

Johnny Wittwer – Ragtime Nightingale by Joseph Lamb, recorded Dec. 1945. [More info on Discogs]
In January 1947, the labels were redesigned in a green color, matching that of Crescent Records.
Secondary typefaces are Futura and a slab serif that resembles Stymie Bold, but has a non-descending J.

Sarah Hall’s novel Helm was published by Faber & Faber. The “Indie & Website Exclusive” book jacket combines big typography with an illustration by Patrick Fox. The title and author’s name are set in Ergon Thin and Thin Italic, while the captions are set in Futura​​​​​​ Medium.

Man of La Mancha is a 1965 musical adaptation of Don Quixote, with a book by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh. The libretto was published by Random House in 1966, featuring an illustratin by Al Hirschfeld and Caruso Roxy for the title. Its amorphous glyphs allowed the jacket designer to knead the words into place, squeezing the second M down to x-height so that the two lines fit snug together.

Detail from the inner flap of the book jacket, with credits in Bodoni

Good Taste Is Timeless is the fifth studio album by the Holy Modal Rounders, a psychedelic folk band formed in 1963 on Manhattan’s Lower East Side. It was released in 1971, three years after The Moray Eels Eat The Holy Modal Rounders. The cover art is by Michael Hurley (1941–2025) who also collaborated with the band musically, and wrote the sixth track on the album, “Love Is the Closest Thing”. The band name is in caps from Caruso Roxy Light.

[More info on Discogs]

Filmotype Mason is used for the song names on the back cover. The liner photo is by Robert Comerford.

Pomme d’Api is a French monthly children’s magazine edited by Bayard Éditions, known for its illustrated stories, games, and iconic characters like Petit Ours Brun.

The typeface Borel Display was used throughout the main story “Agata détective : enquête au manoir” to give the narrative lettering a lively, handwritten feel suited to the magazine’s target age range of 3–7 years old.

Additional typefaces used by the magazine and shown in the images include Uniform Rounded, Futura, and Mr Dodo.

Source: www.45cat.com dr.zoze /45cat (edited). License: All Rights Reserved.

“Ne Gledaj Me Tako I Ne Ljubi Me Više” single, Jugoton, December 1975, with the title set in caps from Futura Light

From Wikipedia:

Bijelo Dugme (transl. White Button) is a Bosnian (formerly Yugoslav) rock band, formed in Sarajevo, SR Bosnia and Herzegovina in 1974. Bijelo Dugme is widely considered to have been the most popular and the best-selling band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most prominent acts of the Yugoslav rock scene and Yugoslav popular music in general.

Shown here are some of the bands album art and a concert poster, designed by Sarajevo designer Dragan S. Stefanović. The band logo, now an icon of the Yugoslav rock scene, is set in ITC Fat Face, in two tightly spaced lines, with the j pushing down the g.

The group disbanded in 1989, though it did see two revivals in 2005 and 2024. Also from Wikipedia:

Bijelo Dugme’s work remains popular in all former Yugoslav republics, the band often being considered one of the symbols of Yugoslav culture and their work being a frequent motif in various forms of Yugo-nostalgia.

Source: ru.pinterest.com Azra Duskan | Pinterest. License: All Rights Reserved.

Poster for a concert in Sarajevo on February 2, 1976, with small text in Bulletin Typewriter. The text in the upper left corner reads “Događaj meseca”, meaning “event of the month”.

Source: www.ebay.com 2you4ever. License: All Rights Reserved.

“Milovan” / “Goodbye Amerika” single by Željko Bebek with Bijelo Dugme, 1976. The diacritic was made from a tilde, and the first k was cropped.

Source: www.ebay.com zinkfilms (edited). License: All Rights Reserved.

“Džambo” / “Vatra” single by Ipe Ivandić with Bijelo Dugme, 1976. Note the mirrored g in the band name. The sans on these two sleeves is Horatio.

Source: www.45cat.com Js_and_Bs / 45cat (edited). License: All Rights Reserved.

The single sleeve for “Bitanga i Princeza” from March 1979 features ITC Fat Face for the title as well – with upside-down i’s. “Sa novog albuma” is added in Futura Black.

Source: sr.wikipedia.org License: All Rights Reserved.

Four album covers for Bijelo Dugme (1984), Pljuni i zapjevaj moja Jugoslavijo (1986), Ćiribiribela (1988), and Eto! Baš Hoću! (1976)

Source: www.deezer.com License: All Rights Reserved.

Cover for compilation album Ima neka tajna veza released in 1994 under the label of PGP-RTS. The title is set in Franklin Gothic.

Source: www.ebay.com bluejardhill. License: All Rights Reserved.

Box set with ten remastered albums on CD, City Records, 2004

Source: www.ebay.com recordsale berlin. License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1974–1975) on HiFi Centar, with ITC Stone Sans for the title.

Source: www.ebay.com Da’Hub Australia (edited). License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1976–1980), also on HiFi Centar. In these applications, the logo lost the dot on the j.

The Rainbow Valley Boys and Sweetheart were a bluegrass band formed by Bob and Grace French together with Louis Arsenault and Buddy Jones in 1961. Their second album came out in 1965 on Diplomat Records, with an illustration by George Peed on the cover.

The uncredited designer used Filmotype Party for the title. This animated take on Cooper Black was released by Filmotype in 1955, together with the narrower Peruvian and the wider Plato. The band name is in another face by the phototype pioneers from Chicago: it’s Quest, a variant of their sans serif Flyer that emulates chalk lettering. Song names are set in all-caps Futura Bold, which was carried by Filmotype as “F5”.

[More info on Discogs]

Issue no. 2 from July 1981. The white text at the bottom is an unidentified typeface similar to Futura Extra Bold Condensed. I wonder if it’s related to Heraldus. [edit: identified by Bryson as Tempo Black Condensed]

Motter Tektura is the logo typeface for Your Computer. The Australian monthly home computing magazine “for business and pleasure” ran from May/June 1981 to May/June 1997. From 1977 to 1984, Othmar Motter’s typeface was also used for the logo of the Apple Computer Inc., likewise in all-lowercase letters.

Initially edited by Les Bell and published by the White House Publishing Group under licence from Motorword Pty Ltd., Your Computer was typeset by Hughes Phototype, Mosman. and printed by The Lithgo Centre, Waterloo. Barry Brady served as the magazine’s first art director. In 1982, he was superseded by Michelle Mabbott. Rolf Hagenmaier filled this role in 1993.

By 1994, the logo had been redrawn (almost) beyond recognition.

You can browse many digitized issues in the Internet Archive.

Motter Tektura was also used as headline typeface on interior pages. Here’s the table of contents from no. 5, November 1981.

June 1982, with ITC Korinna in a starburst for the “Big Birthday Issue”. The logo got a contour.

October 1982, ft. Dynamo Shadow for “16 Bits – A Revolution?”

May 1983

June 1983

September 1983

“Learning With Your Computer” special issue, 1986, with a shaded logo version and ITC Avant Garde Gothic

February 1993. The claim below the logo now reads “Making your micro work”.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

Baby Please Come Home (BPCH) is a homeware brand rooted in craft, materiality and thoughtful living. It transforms everyday household objects into pieces that feel intentional, functional and quietly beautiful. Working closely with local artisans, BPCH celebrates traditional techniques while presenting them through a contemporary lens.

This project uses ABC Maxi Sharp and Futura as the primary typefaces for Baby Please Come Home. ABC Maxi Sharp is used for key brand expressions, bringing a contemporary sharpness and subtle eccentricity that gives the identity character without overwhelming it. Its distinct forms add personality while maintaining structure.

Futura supports the system as a grounding counterpart. Its geometric clarity provides balance across packaging and print applications, ensuring legibility and consistency. The pairing allows the brand to feel expressive yet restrained, with a clear hierarchy between display and functional text.

Resident Evil 7: Biohazard is a survival horror game developed and published by Capcom, initially released on January 24th of 2017. The players control Ethan Winters, a seemingly average man in search of his missing wife, Mia, who disappeared three years ago. After receiving an email from her, it led him down to a plantation in Louisiana. Released after years of excitement and some trepidation from fans and the industry alike, the game has been widely praised and is largely credited for reviving the Resident Evil franchise among other achievements.

Resident Evil 7 is the first entry to use Plak Extra Condensed for the franchise’s logo, replacing Compacta Bold which was used in prior games such as the original Resident Evil. “Biohazard” uses Rama Gothic Rounded. In-game, the user interface primarily uses Franklin Gothic Book, which actually fits the Southern Gothic aesthetic very well. Futura is used more sparingly as a heading font of sorts and Rodin is used exclusively for the subtitles, possibly for localization reasons. Digital similarly is rarely used but can be spotted in number counters and the main menu.

Main menu. The player navigates the menu using a tape recorder that uses Digital for the UI.

Settings menu

The loading screens in RE7 consist of a short synopsis of the current chapter.

Ethan Winters confronting a very evil resident

Inventory menu

Death screen

An alternate UI for Jack’s 55th birthday, one of many RE7’s frankly unhinged DLCs. Digital is used for the timer. “Are You Ready?” is in Lydian Cursive.

The visual identity for 070 Shake’s sophomore album You Can’t Kill Me from 2022 was developed as a cross-media campaign including album artwork, logotype, photography, packaging, merchandise, tour posters, and promotional copy. Eddie Mandell designed the project in collaboration with 070 Shake and The C.O.R.E.

The typographic system pairs Futura (Paul Renner) with Tempos Mono (Samara Keller) for supporting and informational text and Anton (Vernon Adams) as the main title font. The blackletter face is Anglican Text (Dieter Steffmann).

The album cover features a Nicola Samorì painting, which is used alongside the typography. The cover was listed at #15 in Our Culture’s “50 Best Album Covers of 2022”.

[More info on Discogs]

Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

French designer Jean Alessandrini (b. 1942) designed more than twenty typefaces, in all kinds of styles. So far, we’ve only documented in-use examples of his Hypnos.

Here’s another one, of the typeface that bears the designer’s name: Alessandrini 7 is a monolinear design based on modular shape, a spiral with two centers. It was drawn for Hollenstein in 1972 and was also available from TypoGabor. The only digitization that I’m aware of is unreleased. Lucas Liccini made it in 2020 as part of his Revivals & Renditions student project at UdK Berlin.

“Enfants venez chanter l’espoir” (“Children, come sing of hope”) is a song by pop singer Nicoletta (b. 1944). It was released in 1973 on Riviera Records.

[More info on Discogs]

The B-side is titled “Viens te balader au creux de mes chansons” (“Come take a stroll through my songs”).

Close-up of Elektra’s 1966 logo, taken from the 1980 label design

William S. Harvey designed Elektra’s most recognizable logo in 1966. The label used this branding for 17 years before it adopted an overhauled identity (designed by Milton Glaser, type designer and master warlock of the graphic arts) in 1983. Reworked variations of this iconic design were later used by the label after it was relaunched by Warner Music Group in 2009.

The logo consists of an uppercase E (based on outlined Bingo, a decorative stencil designed by John Albert Cavanagh for his 1946 book Lettering and adopted by Photo-Lettering) directly above the word “elektra” (set in Phanitalian, a heavily flared decorative sans originating in the catalog of Vanderburgh Wells & Company and offered in the 1960s by Headliners in its Morgan Press collection).

Label for The Doors’ 1969 album The Soft Parade. This label design, as well as the logo, was first used in March of 1966 on Phil Ochs’ In Concert live album.

Catalog number and disc side indicator, “STEREO,” and album title set in Railroad Gothic (ATF; 1906) [edit: or rather Gothic No. 13 (Linotype), see comments]. Track list and credits set in Vogue (bold; Intertype; 1930-1946). Band logo is a custom-made sort.

Label for Clear Light’s 1967 self-titled album (circa 1970–1973 reissue). This label design, which features a butterfly carrying the E by its stem (alongside a 7″ design featuring a caterpillar), was first used in August of 1970 on Josh White's The Best of… album.

Band name set in Franklin Gothic (ATF; 1904–1913). Disc side indicator, catalog number and “STEREO” set in Erbar-Grotesk Condensed (Ludwig & Mayer; 1929). Track list and credits set in Spartan (ATF/Linotype; 1939), a copy of Futura, here with its distinctive two-story a. Address info is set in Trade Gothic Extended (regular; Linotype; 1959).

Label for Gamma’s 1979 self-titled Gamma 1 album. This label design, which is similar to the 1969–1970 design (only used on two LPs) but with a smaller logo, was first used in 1979 on Nino Rota’s soundtrack album for the film Hurricane.

Disc side indicator, catalog number, “STEREO” and band/album name set in Futura (bold; Bauer; 1927). Track list and credits also set in Futura (regular). Address info set in ITC Avant Garde Gothic (regular; ITC; 1970).