Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

New York City Mayor Zohran Mamdani, NYC Tourism + Conventions and Team Wonder launched new initiatives to help New Yorkers and visitors explore the five boroughs during the 2026 FIFA World Cup, including a “NYC Neighborhood Passport”. The NYC World Cup campaign was designed by Arsh Raziuddin, working closely on the brand guidelines with Aneesh Bhoopathy who designed Zohran Mamdani’s campaign branding and is now a senior designer in the Mayor’s Office. It is inspired by sports memorabilia, city signage, a sticker collection, and the five boroughs. “There’s an energy that we wanted to capture and I think it’s matching New York as of right now in a way that feels really nice,” Raziuddin said, “One or two typefaces max was important for me.”

The campaign typography headlines use Dunbar Tall Ultra from CJ Type, along with Dunbar Tall Medium, Bold and Extra Bold used for supporting information. The script used for each of the five boroughs is a modified and redrawn version of Excelsior Script.

As the campaign rolls out to templated items such as transit instructions, bus lane notices, watch party posters, and queuing instructions the editable text used appears to be in Neue Helvetica.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: www.instagram.com vxdollface. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Source: images.squarespace-cdn.com Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Photo: CJ Dunn. CJ Dunn. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: i.insider.com Sydney Bradley/BI. License: All Rights Reserved.

Source: images.ctfassets.net Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Following the initial À table ! poster and T-shirt, this project expands the culinary universe into a fully playable card game. À table ! is a reimagined take on the classic Jeu des 7 familles (Happy Families), heavily inspired by the mechanics of Fachorama. The objective is to gather cards from different categories to build complete menus – starters, meat & poultry, seafood, and desserts – while navigating special joker cards designed to spice up the gameplay.

The game is a satirical tribute to the outdated, unappealing, yet completely unironic recipes found in French cookbooks from the 1960s, ’70s, and ’80s, sourced directly from parental cupboards and internet archives. Mirroring the concept of the original poster, the 45-card deck celebrates the bizarre aesthetics and questionable plating of mid-century gastronomy.

Production-wise, the 45 cards were printed using two-color Risography, then finished with a silkscreen varnish to set the ink. Each category features a distinct color profile. The custom templates for the card boxes were also designed from scratch and followed the same artisanal production process.

Special thanks to @bouricooo for the finishing (façonnage) and Sacrés Caractères for the die-cutting of the cards. This project was created during my residency at Atelier Garage in Lyon, from March to June 2026. 35 decks of cards were produced. The typefaces in use are (in alphabetical order) Bookman Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono, and Zipper. Bon appétit !

Priscilla (2023) is a biographical film about the life and marriage of Priscilla Presley, based on her memoir Elvis and Me (1985). Starring Cailee Spaeny and Jacob Elordi, the film was written, directed and produced by Sofia Coppola.

The promotional poster appears to feature a customized version of OPTI Excelsior Script, a typeface based on Palace Script.

Peace and Love is an early album by Dadawah, released in 1974 on Wild Flower, a subsidiary of Federal Records ran by Paul Khouri and Richard Khouri. The Jamaican reggae singer and Nyabinghi specialist was born in 1943 as Michael George Henry and is best known under the name Ras Michael.

[More info on Discogs]

This self-titled LP was the first and only studio album by Jackson C. Frank (1943–1999). Recorded by Paul Simon with contributions by Al Stewart and Art Garfunkel, it was released in December 1965.

[More info on Discogs]

This two-page ad for the Wilbar Photo Engraving Company was published in the first issue of Esquire magazine in October 1933.

The text uses three imported fonts: the Spanish Fulgor (sold in the US under the name “Gloria”), and the German Lucian and Quick (“Trafton Script”). The company’s address is in Lucian, except that the numerals are borrowed from Goudy Oldstyle. The small text underneath the photos is in ATF Garamond Italic.

When Bob Silverman designed the jacket for Maurice Yacowar’s book on the comic art of Mel Brooks, he chose Ruby Shadow for the title. He apparently deemed its M to be too tame for the topic. In any case, it got replaced by the sweeping glyph found in another bold 1970s script: the initials are taken from Charade.

Al Elliott’s Charade – a Canadian creation just like the book – did come with a Shadow style. The shadow was customized to match the one in Ruby Shadow, though. Printed in two colors, the alliterating title is combined with what looks like skewed caps from Venus. The all-caps roman at the top is Hess Old Style.

About the book, from the inner flaps:

The critics hate Mel Brooks. But does that stop him? When a Playboy interviewer once remarked, “You've been accused of vulgarity,” Brooks replied, “Bullshit!” No critic could ever stop Mel Brooks from being one of the best-loved comedians in film history—in fact, his movies consistently out-gross (in every sense of the word) those of much-praised Woody Allen. Mel Brooks is funny, and the people love him.

How does he do it? Is he really as crazy as he seems? Maurice Yacowar, whose previous book (on Woody Allen) received unanimous critical acclaim, takes us on a Brooks-lover’s tour through his work on television with Sid Caesar’s Your Show of Shows, his records as the “Two-Thousand-Year-Old Man,” and all of the films from The Producers to Blazing Saddles, from Young Frankenstein to High Anxiety. The resulting tribute will have film buffs nodding their heads nostalgically, and fans laughing out loud on every page.

Mel Brooks turned 100 years old today. Happy birthday!

Device from the front flap. Note the two forms for s in “Madness”.

Tite page. The book’s interior was designed by Dennis J. Grastorf using Caledonia.

Penguin’s first paperback edition of Ulysses, published as Modern Classics 3000.

Mike Dempsey comments:

Penguin’s master typographer Hans Schmoller (1916–1985) designed this elegant cover in 1969 [1968]. Selecting the perfect typeface Spectrum, modifying the capital letters and arranging it perfectly on the blackest of backgrounds, making the result timeless and beautiful.

The interior – starting with a short bio of Joyce – is set in Plantin.

The open caps on the title page aren’t from Jan van Krimpen’s Open Kapitalen as one might expect. Instead, they are from Max Caflisch’s similar Columna, here used with an alternate Y.

The back cover has a drawing of James Joyce by Augustus John.

Source: archive.org License: All Rights Reserved.

The Inland Printer, published in Chicago, was perhaps the best record of early 20th-century American graphic design. “Specimens” (later “Specimen Review”) was a regular feature in which printers submitted their best work with the hope to be selected and critiqued by J. L. Frazier, editor of the journal. Alexander S. Lawson remembered it this way:

During his 47-year tenure in assembling “Specimen Review,” J. L. praised his contributors most of the time, but he could be caustic on occasion, blasting shoddy work without hesitation. He was particularly annoyed by stunt typography, coining the term “cockroach typography” to describe some of the excesses in style and legibility which came to his attentive mind.

It was rare, however, that J.L. simply panned a piece of typography out of hand. In almost every instance, he attempted to criticize constructively and with painstaking detail. He had all of the attributes of a first-rate teacher—always seeking to instruct and improve, and of course, to share his love for the world of print with anyone who would listen.

Month after month, Frazier was the recipient of printed material from every part of the United States and from many foreign countries. He carefully selected a number for reproduction. In addition, he commented editorially on 30 to 40 items, discussing them in detail.

In this October 1917 edition, Frazier selected the work of Oscar F. Jackson based in Lansing, Michigan. “Your work is clever.” he said. “The specimens set in the new Publicity Gothic are particularly effective.”

Source: archive.org Smithsonian Libraries at Internet Archive. License: All Rights Reserved.

Jackson’s ad for Superior Typesetting Co. is reproduced above, likely in different colors than its original. At first I thought Jackson did some clever custom cut for the overlapping “ST” in “Installs”, but it turns out that ligature was included in Barnhart Bros. & Spindler’s font.

Source: www.flickr.com Scan by Stephen Coles. License: All Rights Reserved.

Detail from the Publicity Gothic specimen in Barnhart Bros. & Spindler’s Catalog 23.

Designed in 1916 and released by 1917 (the same year as this use), Publicity Gothic is one of the first typefaces to emulate the bold, rough-edged “poster” or “block” lettering style sparked by Germany’s Plakatstil movement. It beat the heaviest weight of Berthold’s Block by three years.

One year after MGM Records released The Very Best of Hank Williams, they followed up with a second compilation album. This time, the art department opted against a portrait of the legendary country singer, and for an entirely typographic cover design.

Williams’ name is set in a version of Egyptian Ornamented. “The very best of” is added in caps from Akzidenz-Grotesk Extra. Each of the twelve song names is shown in a different typeface. Or almost: one typeface appears twice. Can you spot it?

[More info on Discogs]

The Philadelphia Museum of Art, in collaboration with design studio Gretel, rebuilt its identity with the goal of putting the institution in direct conversation with the city that surrounds it. Typography is the primary device for achieving this. The type palette mainly works on two levels: outside-and-inside, or community-and-institution.

Inspired by Philadelphia’s rich visual texture of storefronts, street vendors, and murals, the vernacular type palette brings the voice of Philly into the museum and injects the identity system with contrast and spontaneity. The current library is curated (exemplified by the likes of Shatter, Cooper Black, and Balloon), but it is designed to continue growing over time. Each of these display typefaces can be used on various seasonal activations, or specifically assigned to exhibitions or departmental roles. ITC Pioneer was used for the recent exhibition The Time is Always Now, a survey of contemporary Black and African diasporic figurative art. Purple Haze is the designated typeface for PMA Members, and Megazoid is used for PMA Kids.

On the other hand, the institutional typographic voice serves an evergreen role: echoing the museum’s classical character while embodying Philadelphia’s industrial sensibility. The core typeface, Fairmount Serif—named for the Fairmount neighborhood—was custom-drawn by Ryan Bugden after a study of Philadelphia’s typographic history. Searching for a balance between the industrial structure of 1930s American sans-serifs and a classical features brought Hess Neobold forward as a key reference. Its designer Sol Hess attended PMSIA—the precursor to the museum—and later succeeded Frederic Goudy as Philadelphia-based Lanston Monotype’s type director. Fairmount Serif evolves the Hess Neobold model while incorporating more contemporaneous industrial cues. It remains relatively neutral alongside the museum’s broad palette of display faces while providing a distinct, authoritative voice of its own. Fairmount Serif was also used as a starting point in rendering the various institutional logos.

For the more workhorse level, Klarheit Grotesk serves as the museum’s body text typeface. It is set at small sizes across branding, materials, signage, and exhibition text.

See more images in Gretel’s case study.

Mockups of exhibition catalogs

Banners.

Seasonal program.

The headline mixes Romanisch Kursiv No. 20 with Koch-Antiqua fett. The latter is used with both forms for s, but the former isn’t. The question mark is added from Cooper Black, while the smaller copy is set in Futura.

This 1931 group tours brochure was issued by the MER – Mitteleuropäisches Reisebüro G.m.b.H. – of Berlin. The brochure gives details of organised holiday tours across Europe, by train and ship, as well as an extensive tours of the USA, out via the HAPAG line and returning on the Norddeutschen Lloyd for a cool 2,800 RM. The brochure also has numerous adverts for resorts, hotels and travel companies.

The various adverts, a selection of which I have scanned here, are also interesting from a typographical and design standpoint. Many are in the very latest German ‘style’ and feature some interesting and often relatively new typefaces. This advert, with a variety of typefaces and a decorative border asks “Kennen Sie schon die volkstümlichen Gesellschaftsfahrten des MER?” (“Are you already familiar with the popular group trips offered by MER?”) It gives a list of destinations within Germany and abroad as described elsewhere in the brochure.

MER was formed as a Central European Travel Agency in Berlin in 1917 and grew to include the travel interests of the Austrian and Hungarian railways. Many of its services were similar to those of say, Thomas Cook, in the UK. The company was heavily implicated in the crimes of the National Socialist era and in post-war years the company, in both East and West Germany, underwent several complex reorganisations but survives under the name of DER Travel.

“Shakespeare’s hometown is the quiet, picturesque market town of Stratford-upon-Avon in the county of Warwickshire.” Motor can be seen in early use, featuring a non-standard narrow R.

“Don’t miss a chance to visit Lake Lucerne and its eight mountain railways during your trip to Switzerland”
Two weights of Memphis plus a drop cap from Schaefer-Versalien.

Schaefer-Versalien and all-caps Memphis for “Lucerne Lido, the Swiss lakeside resort”

“Finland – the idyllic land of a thousand lakes. A new travel destination!” More Motor – with a narrow alternate N.

Adverts for the San Marco Schiffahrts-Gesellschaft Venedig and Palace Hotel in Tunis, Tunisia. “San Marco” shows Motor’s narrow N again, and features yet another alternate glyph, this time for S. “Dalmatien” is in Berthold Block. The description of the hotel uses Koch-Antiqua.

Adverts for Jadranska Plovdibda D.D. Sušak and Dubrovačka Parobrodarska Plovidba, with several Futura weights and three sizes of Neuland

Two alternates for a poster with a spring equinox theme, leaning into British pastoral occultism, made for an event at The Bird in Perth’s Northbridge suburb.

Easy Action is the second studio album by the American rock band Alice Cooper, released by Straight Records in March 1970. Art director John Williams worked with photography  by Lorrie Sullivan and typography in Epic and all-caps L&C Hairline.

[More info on Discogs]

Track names and credits on the back are set in the Selectric version of Univers.

Quel Chantier! Attention, cerveau au travail (“What a Project! Watch out, brain at work”) is a children’s educational publication by La Pastèque that explains how the brain works in a fun and accessible way, with amazing illustrations by Stéphane Poirier. Printed in three spot colors and black, the book is divided into several sections (evolution, anatomy, the senses, the brain in action, and taking care of it).

The New Generation was a 1970s US studio vocal group. This is the only album they released. It came out in 1973 on the RCA Camden label. Fonts that are used in half of the titles are in Bookman Swash and Uncle Bill. The songs titles are set in a version of Stymie.

[More info on Discogs]

The Muppet Show Book was published in 1978 by Harry N. Abrams, Inc. The book adapts material from the first two seasons of The Muppet Show, with illustrations by Tudor Banus.

The main text font used throughout the book is ITC Souvenir. The characters’ names and initials are each set in a unique font, see the image captions for details. A few minor characters’ names are in ITC Souvenir.

“Introduction” is in the roman style of Bookman Swash. The character-specific fonts are Art Gothic for Kermit the Frog; Sweetheart for Miss Piggy; Yagi Link Double for Sgt. Floyd Pepper; Benguiat Laurent (with Psychemat effect) for Dr. Teeth [edit: rather Bullseye, a copy of PLINC Capricorn, see comments]; ITC Neon for Zoot; Crayonette for Janice; and Shatter for Animal.

Second page of the introduction, ft. Interline for Statler & Waldorf (without the pattern fill in Statler’s case); Scorpio/Hoopla for Fozzie Bear; and Burst Caps for Crazy Harry. The sound effects (“BANG”, “HA HA HA …”) are in caps from Caslon No. 471/540 or similar.

ITC Bookman Demi with swash caps

“THE NEW GO-FER” is in Franklin Gothic Extra Condensed.

An outline version of Cooper Black is used for Scooter and Hobo for George the Janitor.

Reward poster for Kid Fozzie, ft. Figaro

The typeface chosen for Rowlf is Reklameschrift Secession.

Moore Computer features for Kermit’s robot doppelgänger.

“GONZO THE GREAT” uses more of the aforementioned Caslon caps. The character font is Lydia.

Sam the Eagle is presented in a chromatic setting of Stripes Caps.

Cloud Bank for Dr. Julius Strangepork and Countdown for Captain Link Hogthrob

The initial I is from Thunderbird.

The initial S is unidentified.

Microgramma Condensed is used for Nigel

The formal script used for “The Lives and Loves of Gonzo the Great” is Typo Script Extended.

Round Rosie is the font used for Vincent Price’s initials … 

… and Smoke is the one chosen for Uncle Deadly.

Dr. Bunsen Honeydew is set in Gemini.

Filmotype Pixie was spec’d for Hilda.

Another Bookman Swash

Manuscript Capitals for “Bein’ Green”

The P from Mira identifies Koozebanian Phoob.

Chianti is used for Robin.

Kermit the Pig is in an unidentified font similar to Rubens and Duerer.

Playbill is used for J.P. Grosse. On this page, the o’s in Scooter’s name are altered to look like his glasses.

Busk in use for the autobiography by Brazilian football legend Edson Arantes do Nascimento, better known as Pelé (1940–2022). The book was co-written by American author Robert L. Fish. The first UK edition shown here was published by New English Library in 1977.

Busk’s angular letterforms are printed in yellow with a green contour (and extra outlines in black), echoing Brazil’s iconic jersey colors which in turn are derived from the country’s flag.

Hat tip to Fernando Mello

Softcover edition, 1978

The Mammoth Book of Best Crime Comics is a compilation edited by Paul Gravett:

Paul Gravett edits and Peter Stanbury designs The Mammoth Book of Best Crime Comics. This is a 480-page collection of 24 mean, moody masterpieces, many painstakingly restored by Stanbury. They range from classic newspaper strips and notorious uncensored pre-Code comic books to the finest in American, British and European graphic novels.

The line-up includes: Dashiell Hammett & Alex Raymond, Will Eisner, Johnny Craig, Mickey Spillane, Bernie Krigstein, Alan Moore, Joe Simon & Jack Kirby, Neil Gaiman, Alex Toth, Jacques Tardi, Jordi Bernet, Paul Grist, Jack Cole, Charles Burns, Max Allan Collins, and José Muñoz & Carlos Sampayo. Highlights include the first comic book appearance by Mike Hammer’s prototype written by Spillane and shot from the original comic book artwork, and the never-before-reprinted last ever comic book by EC genius Bernie Krigstein, a bizarre 87th Precinct tie-in to Ed McBain’s famous characters.

The entire book (outside of the comic reprints, of course) uses two fonts for everything: Tarnation and Cooper Black. Even the legalese and barcode! The cover illustration is by Jordi Bernet and design is credited to Peter Stanbury.

A full-page ad from the November 1990 issue of Play Meter. An almost identical ad also appeared in the January 1991 issue.

These magazine ads for Eastern Gaming Tech’s slot machines were published in the trade magazine Play Meter, beginning in 1990.

In all the ads, the text “Token dispensing slots” combines Banco and Sinaloa, while the rest of the text is in Max.

A full-page ad from the April 1991 issue of Play Meter. The same ad also appeared in the September 1991 issue.

A quarter-page ad from the November 1993 issue of Play Meter.