"The Cramp Twins" series logo. Screenshot taken from Series 1 Episode 1 - "Fashion Passion".

From Wikipedia:

The Cramp Twins is an animated television series created by British cartoonist Brian Wood based on his 1995 graphic novel of the same name. The show was produced by Sunbow Entertainment (in season 1), Telemagination (in season 2), and TV-Loonland AG, in association with Cartoon Network Europe.

The series debuted on BBC One during the CBBC programming block on 3 September 2001. Episode titles and the creator/writer/director credits were set in P22 ToyBox; whilst the closing credits were set in Copperplate Gothic Bold. The Cramp Twins logo probably is custom drawn.

Episode title for “Fashion Passion”, Series 1 Episode 1

Creator, writer and director credits, Series 1 Episode 1

Credits, Series 1 Episode 1

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]

Bad Head is a monthly event held every third Thursday at Pintology, a craft beer and whisky bar in Sasazuka, West Tokyo. The series features vinyl DJ sets, craft beer, and distinctive posters designed by Ian Lynam since the beginning. Many of them feature various Future Fonts fonts.

This poster seems to exist only on Instagram, but it’s an exemplary use of Superfluous. Ian goes all in, using, abusing, and overusing its features and emoji to turn the composition into a delightful postmodern mess. The supporting typeface appears to be a customized Copperplate Gothic.

Tru Calling is an American TV series that aired from 2003 to 2005. It was canceled after only a few episodes of its second season. The story centers on Tru Davies (played by Eliza Dushku), a young woman with a unique calling. Working at a city morgue, she has the ability to hear the pleas of the recently deceased. When one of them asks for help, time rewinds to the beginning of that day, giving Tru a chance to prevent their death and change the course of events.

The logo of the show was designed by using Copperplate Gothic. This version was used for promotional purposes only. The second version was created by using Rotis SemiSerif. This typeface was also used throughout the opening credits for the actors credits.

Opening credits with Rotis SemiSerif

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

Most of the cover type is set in Erbar-Grotesk halbfett – with the exception of the year 1932 and the house numbers 11 and 12: these are added from Futura fett. Maybe the printer didn’t have numerals in these sizes at hand. The oldstyle roman is Tiemann-Mediäval.

This posts features selected pages from the guide published for the Mitteldeutsche Funk- und Phono-Schau that took place in Leipzig in the fall of 1932, including the front and back covers and a number of interior pages, with infographics and adverts.

We get to see a range of period typefaces, all released by German foundries in the first third of the 20th century. The oldest one among them is Aviso, which appears for the labels on page 23, listing commonly used electrical circuit symbols. Aviso was first cast by Berthold in 1903. The monolinear italic might have been chosen for its similarity to DIN 16, the standard letterforms used in technical drawings. See the captions for more notes on the type.

The printing – and probably also the design – was done by Leipziger Buchdruckerei AG, a local company with ties to the Social Democrats.

The “Central German Radio and Phono Show” was the third major radio exhibition by the Leipzig chapter of the Arbeiter-Radio-Bund Deutschlands (ARB, “Workers’ Radio Federation of Germany”). In the foreword, the organizers write (translated):

Despite the severe economic crisis, the ARB has taken it upon itself to organize this exhibition. Since the last major exhibition (ARA 1928), transmission and reception technology have seen an upward trend that shows no signs of slowing down. This exhibition is intended to be more than just a promotional and sales event. It aims to introduce the layperson to the wide-ranging and fascinating field of radio technology. The technical processes are explained to visitors in a simple manner, organized into educational groups, using models and practical demonstrations. For the ARB, the goal is to familiarize listeners with the technical processes involved in radio broadcasting. The dissemination of technical knowledge is a cultural endeavor that should not be underestimated and forms the foundation for the ARB’s cultural mission.

The inner cover advertises capacitors, transformers and other parts to DIYers who build their own radios. It uses the same typefaces, with a headline in Energos. The monolinear sript was first cast by Schriftguss in 1932, making it the youngest one used in this booklet.

The text typeface is Säculum. Note the use of tracking for emphasis at the beginning of the last paragraph. The heading uses Erbar-Grotesk with a ch ligature and the standard German quote marks.

The ad by Ludwig Fries relies on Erbar-Grotesk’s space-saving schmalhalbfett style.

The electrical symbols, labeled in Aviso

Tables with values for the electrical resistance of various types of wire and the weight of one meter of wire

Ohm’s law and a formula for calculating the power handling capacity of resistors

The ad for radio journal Die Mirag pairs Energos with two weights of Erbar-Grotesk. The copy is in the Zweite Garnitur that is distinguished by a shorter x-height.

More Energos with Erbar and Tiemann-Mediäval for an by Radio-Schnorr. The logo at the top has handdrawn letters.

Schaub’s ad introduces Kreß-Versalien. The arrow was composed from several sorts, see the small gaps between them.

The Telefunken ad on the back cover uses Futura together with Signal. This script typeface was first cast by Berthold in 1931, one year before Energos.

The Mind of a Mnemonist presents the psychological case of Solomon Shereshevsky, a.k.a. “S.”, a man with highly advanced memory.

From the inner flap:

Written by Alexander Romanovich Luria (1902–1977) – often is credited as a father of modern neuropsychology – the book was translated to the English by Lynn Solotaroff. Shown here is the jacket of the first English edition, published by Basic Books with a foreword by Jerome S. Bruner. Loretta Li’s design uses Benguiat Montage Extra Condensed and Copperplate Gothic Extended.

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.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

Dust jacket of the hardback edition by Bartholomew House, 1969, with Helvetica caps for the credits

Capitalizing on the success of Coffee Tea or Me? (1967), Bartholomew House followed up with Tender Loving Care. The uninhibited memoirs of two air force nurses. This “adult fiction” is credited to Joni Moura and Jackie Sutherland, but again was ghost-written by Donald Bain. In terms of visuals, the publisher stuck to the formula for success with illustrations by Bill Wenzel and Caruso Roxy as the signature typeface.

The paperback edition by Fawcett Crest uses Alternate Gothic for the named of the alleged authors and Inserat-Grotesk for the blurb.

For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.

Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.

At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.

Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.

The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.

The new identity has already been rolled out to the company’s Instagram and Facebook profiles.

The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.

The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

Vom Fels zum Meer (“From rock to sea”) is an “illustrated journal for the German house” edited by Wilhelm Spemann (1844–1910) and published from 1881 to 1917. Between 1890 and 1897, Spemann’s publishing house was merged into Union Deutsche Verlagsgesellschaft, a company he had founded together with Adolf Kröner (1836–1911).

The shown letter was sent in January 1894 to one of the family journal’s advertisers, the “Duc” Cycle Co. in Herzogenbusch, that is ’s-Hertogenbosch in the Netherlands. “Duc” was a brand by B.A. Jansen who imported bicycles manufactured by the Quinton Cycle Co. in Coventry, England. Pasted in the bottom left corner is a sample of the ad that was to be included in Vom Fels zum Meer.

The text block at the top right features five different blackletter typefaces. The title is set in Renaissance-Fraktur, with the subtitle added in a version of Original-Gotisch. “Monats-Ausgabe” uses a German adaptation of Tudor Black, possibly Psalter-Gotisch by Krebs. Last but not least, we get to see Flinsch’s Halbfette Schwabacher and Albert Anklam’s Neue Schwabacher.

Detail

Black American Politics was published by Verso Books in 1985. For the cover typography, designer Adrian Yeeles worked with tightly spaced Anzeigen-Grotesk. The photomontage by Peter Kennard combines the Statue of Liberty with the Black Power salute as popularized by Tommie Smith and John Carlos during the 1968 Olympics.

From the back cover, with added links:

The emergence of Jesse Jackson as a major contender in the 1984 race for the Oval Office sent shock waves through a complacent two party system in the USA. For the first time ever a black politician had to be taken seriously as a candidate for the most powerful job in the worid. Behind Jackson a wide range of peace activists, feminists, liberals and blacks joined forces – the ‘Rainbow Coalition’ was born.

In Black American Politics, Manning Marable describes Jackson’s campaign as a natural outcome of recent developments on the US black political scene. His study stretches back to the beginning of the century to chart the changing pattern of protest and political mobilization amongst American blacks: the widening support and politicization of the great marches on Washington from 1941 to 1983; the historic mayoral victory of Harold Washington over the Daly machine in Chicago; and the social and economic discrimination which makes today's black leaders thenatural focus for a renewed challenge to the policies of President Reagan.

The Lennon Sisters Today!! is a 1968 vinyl record album by The Lennon Sisters released on Mercury Records. This is a compilation of popular songs from their era. “The” is set in Nymphic with the title being Neil Bold. And the song titles are in Anzeigen-Grotesk / Neue Aurora IX

[More info on Discogs]

Front cover for Our Biggest Hits. “THE DRIFTERS” and “‘OUR BIGGEST HITS’” are set in Egyptienne Bold Condensed (width stretched to 133%).

Our Biggest Hits (1964) is the fourth studio album by the Drifters, released by Atlantic Records. It was reissued as Under the Boardwalk, immediately after that single became a hit.

This use is specifically for the original cover, designed by Loring Eutemey and used for both albums. Subsequent repressings of Under the Boardwalk used a different design, also by Eutemey.

[More info on Discogs]

Back cover for Our Biggest Hits. “THE DRIFTERS” and “‘OUR BIGGEST HITS’” are set in Haas Inserat-Grotesk / Neue Aurora VIII (width stretched to 150%). The track list is set in Anzeigen-Grotesk / Neue Aurora IX, with side headers in Grotesque No. 9 (italic) and the writing credits underneath each track set in News Gothic (italic). The liner notes, written by Bob Altshuler, are set in Primer (normal, with song and album titles in italic). The credits, including a typo regarding the catalog number of Save the Last Dance for Me (as Atlantic’s 8000 series only went up to 8305), are also set in Primer (italic). The address info is set in Clarendon.

Front cover for Under the Boardwalk. Mostly the same design as Our Biggest Hits, except for “UNDER THE BOARDWALK” which is of a normal width (as well as losing its quotes).

Back cover for Under the Boardwalk. Mostly the same as Our Biggest Hits, except for “‘OUR BIGGEST HITS’” being replaced with “UNDER THE BOARDWALK”. The track list is also different: “Drip Drop” is removed and replaced with “Under the Boardwalk” as the opening track. The catalog number typo in the credits has been fixed.

An atmospheric 1950s sleeve design with two colorfully striped planets, for Nixa’s 7″ release with the first and fourth movement from Gustav Holt’s The Planets: Mars, the Bringer of War, and Jupiter, the Bringer of Jollity. The music was recorded by the London Philharmonic Orchestra (here credited as Philharmonic Promenade Orchestra for contractual reasons) under Sir Adrian Boult (1889–1983).

The fonts in use are Annonce and Stephenson Blake’s Condensed Sans Serifs Italic.

[More info on Discogs]

Album cover for the soundtrack by Ernest Gold, composer of Exodus [More info on Discogs]

Judgment at Nuremberg depicts a fictionalized version of the Judges’ Trial of 1947, one of the twelve Nuremberg Military Tribunals conducted under the auspices of the U.S. military in the aftermath of World War II. Stanley Kramer’s 1961 film about the trial of 16 Nazi jurists and lawyers is based on a courtroom drama written by Abby Mann. It featured some of the best actors working in Hollywood at the time, including Spencer Tracy, Burt Lancaster, Richard Widmark, Werner Klemperer, Marlene Dietrich, Judy Garland, William Shatner, Montgomery Clift, and an Oscar winning performance by Maximilian Schell. The film won three Academy Awards in total and was nominated in nine more categories.

Both the theatrical release posters and the cover of Ernest Gold’s soundtrack feature the compressed Inserat-Grotesk as the primary typeface.

One Sheet (27″×41″) poster

Six Sheet (79″×80″) poster

An election poster attacking the government of Adolf Hitler and promoting the Social Democratic Party of Germany (SPD) in the March 1933 German federal election, the last election in Germany before the Nazi Party banned all other political parties.

The headline (“Reward 1,000 Reichsmark”) uses a version of Inserat-Grotesk schmal, possibly the schmalfett style of Phönix-Groteske by Krebs. The other typefaces are all by this Frankfurt/Main type foundry: the bulk of the text uses fette Merian-Fraktur, though there are two lines in schmale fette Brentano-Fraktur. The word “dass” at the beginning of each point is in halbfette Federzug-Antiqua, and the numeral in “Liste 2” likely is from Freihand-Groteske.

The poster was printed by the Offenbacher Abendblatt, a party-owned newspaper founded in 1874 which had to cease publication shortly after when the National Socialists came to power.

This thin booklet titled “Little swimming school” was published by C. Koch’s Verlagsbuchhandlung in Nuremberg, Germany. The cover is set in a Fette Fraktur, with the title in a less commonly seen compressed version.