Koridor Yayınları published Turkish editions of books by Thích Nhất Hạnh (1926–2022). Known as the “father of mindfulness”, the Vietnamese Thiền Buddhist monk and peace activist was a major influence on Western practices of Buddhism. The book series includes Zen ve Gezegeni Kurtarma Sanatı (Zen and the Art of Saving the Planet, translated by Sıla Tanilli), İletişim Sanatı (The Art of Communicating, by Eda Çaça), and Yaşama Sanatı (The Art of Living, by Sona Ertekin).

The typographic cover designs by Feyza Filiz use FH Enso alongside Proxima Nova.

Thomas Gilbert’s fan poster for 2001: A Space Odyssey is a highly stylized, refreshing take on one of the most revered science fiction movies of all time. The choice of Mostra Nuova, based on Italian Art Deco lettering of the 1930s, is an unexpectedly natural fit. The use of the movie's space station as a visual pun to represent the double-zero is genius. I can’t believe I've never seen it done before.

Gilbert makes the most of Mostra Nuova’s stylistic range, utilizing several alternate characters. Some characters have been modified—P, E, D, and particularly the S, with the inside curves made into sharp corners that give it an almost tech vibe.

Gilbert is an automotive designer working at Aston Martin and has been creating his Art Deco style fan movie posters for at least five years, often using Mostra Nuova and other Art Deco inspired typefaces. He doesn't seem to have a website, but his work can be seen on his Instagram account.

Earlier print edition logos (left) utilizing Eurostile and Futura; and current digital edition logo (right) set in Proxima Nova.

The logo and the entire website for TVGuide.com has used Proxima Nova since 2019—fitting for a brand that’s something of an institution. The logo for the print magazine used various sans serif typefaces over the decades (notably Eurostile and Futura), set in white on a bright red TV screen shape (a design heavily borrowed by YouTube).

The digital edition, reflecting the modern streaming era, drops the antiquated TV screen shape in favor of a simple internet-friendly round-cornered square in the classic red.

Proxima Nova, released in 2005, blends the geometric structure of Futura with the proportions of Akzidenz Grotesk. Its plain, straightforward design fits perfectly into the classic TV Guide aesthetic while giving it a more contemporary style.

For a legacy media brand now living primarily as a website—TVGuide.com has operated separately from TV Guide Magazine since 2013—it’s a reasonable choice: contemporary without being trendy, familiar without being dated.

Current website design

Tablescope creates hybrid tabletop experiences that blend physical board games with computer vision. Its flagship title, Light Speed: Arena, lets players place cardboard spaceships in real time, snap one photo, and watch the companion app resolve the battle. Tablescope also develops photo-based scoring tools for board games, making play faster, smoother, and more accessible. In short: less counting, more playing. and more ways to do it.

Let’s Unravel This Knot! by Anna Sperotto reveals the intricate relationship between nature, society, and technology, helping readers to reimagine a balanced future. Each page of this book was crafted to bring clarity to complex topics, using storytelling and visual design to communicate scientific insights in an accessible way. In collaboration with leading researchers, we’ve created a journey through sustainability, resilience, and adaptation. The publication is more than a book; it’s a tool for reflection and change. The book is available in four different languages: English, Italian, Spanish, and Basque.

Commissioned by the BC3 Basque Centre for Climate Change. Concept, design and creative direction by MMXX Studio, creative direction by Pianeta.Studio, art direction and layout by Marianna Rossi, and graphic design by Francesca Fossati with illustrations by Daniele Simonelli. The complementary website was developed by Andrea Macone. Nearly all text is set in Brandon Grotesque. The Typewriter style of Dico Mono is used for the author’s name on the cover and Proxima Soft is used for smaller texts.

Smack Bang uses Motorino by Typeverything for Dopha's logo to reflect the brand’s flexible, modular approach. Its clean, rounded forms help create a cohesive visual identity that can adapt across different applications as the brand evolves. The design is complemented by the typefaces Proxima Nova, El Camino, BN Hamburg Hand and a yet unidentified type.

For Kin (2026), Tayari Jones presents a striking cover designed by John Gall, published by Alfred A. Knopf and selected for Oprah’s Book Club. The design is set entirely in Etna X Condensed by Mark Simonson Studio—title, author name, and cover blurb unified in a single typeface.

What makes the cover memorable is how the floral illustration weaves through the letterforms until type and image become inseparable. Etna X Condensed’s high contrast and flared terminals hold their own against the density of the flowers—the two elements reading as one rather than layered on top of each other.

The Oprah’s Book Club sticker features Miller Display, designed by Matthew Carter for Carter & Cone.

What are the characteristics of a supernormal stimulus? Are works of art that we recognise as masterpieces of history to be considered superstimuli? Can works of art today promote behaviours such as empathy, a sense of aesthetics, and community, thus functioning as a critical tool that generates change?

Superstimolo. Come il cervello partecipa all’opera d’arte (“Superstimulus: How the Brain Contributes to a Work of Art”) opens up an initial interdisciplinary debate on the subject, reflecting on the importance of art and the effects it can generate on individuals, cultures, and societies and contains texts by Numero Cromatico (Dionigi Mattia Gagliardi, Giulia Torromino, Manuel Focareta, Sara Cuono, Federica Marenghi, Salvatore Gaetano Chiarella), Emanuele Arielli, Dina Riccò, Renata Gambino and Grazia Pulvirenti, Franco “Bifo” Berardi, David Freedberg.

The book is part of the INTRA editorial series by Numero Cromatico. Size: 13×19 cm, 152 pages, Risograph printed on recycled Favini paper. This publication was realised thanks to the contribution of the General Directorate for Education, Research and Cultural Institutes. The publication is part of the research project Art as supernatural stimulus. The work of art as superstimulus in the era of digitalisation of intersubjective experiences supported by the Italian Council program, Directorate General for Contemporary Creativity, Ministry of Culture (2021).

Deadlift is a booklet designed to accompany the exhibition by Nadia Perlov, presented at Kunstverein Grafschaft Bentheim. The exhibition brought together sculptural installations, archival material, video, drawing, and collage to reflect on the layered history of Jerusalem’s Mamilla Cemetery and its transformation over time. The publication extends this atmosphere into print, functioning less as a conventional catalogue and more as a quiet spatial and narrative companion to the works on view.

Netbus, used for the titles in both the booklet and the exhibition poster, anchors the visual identity with a firm presence. Its carved, somewhat archaic character subtly echoes the historical depth of Jerusalem and the ancient origins of the cemetery. Bookmania carries the body text as well as the captions, lending the publication a warmer, literary tone that supports the archival and essayistic material. Suisse Int’l appears in the numerals and conversational initials, introducing a neutral structural layer that organizes timelines, references, and shifts in voice. Together, the three typefaces establish a restrained hierarchy that mirrors the exhibition’s balance between material weight and historical fragility.

For the 2025 Brand Builders Summit, Australian designer Jacob Cass of Just Creative created a strikingly modern visual system that feels energetic and high-impact.

Cass used a very typographic approach mixing P22 Type Foundry’s Constructivist and Bifur—two early 20th-century display faces with strong geometric presence—with Mark Simonson Studio’s Proxima Nova, whose clean, contemporary forms bring support and balance like only a workhorse can. With a simple but bright color palette—black, white, gray, and hot pink—giving the artwork momentum while subtly echoing Just Creative’s own brand language.

The result is a typographic identity that feels confident, contemporary, and well-suited to a digital-first conference focused on creativity and brand building.

The logo combines P22 Bifur with what looks like Sweet Sans.

Byte magazine, issue #4, December 1975

Bill Godbout was something of a pioneer in the early microcomputer movement of the 1970s, and his firm Bill Godbout Electronics was a commercial vehicle selling discount and surplus electronics and microcomputer components. Bill Godbout Electronics was a regular advertiser in the early issues of the seminal BYTE magazine. Issue #4 is the first Christmas issue and features a 2-pager from Bill Godbout Electronics that mixes a large number of fonts in a style typical of both this era and this advertiser.

“Bill Godbout Electronics” is in Wexford. I think the “CAVE grafix” is lettering, but the first word may be based on Koloss (see further below). “Wish you a joyous holiday season” and so in is in Davida. “If you are into toyful tinkering” and so on is in outlined Cooper Black.

“Son-of-a Cheap Clock” is in Tonight, and above it “We have a successor to our very popular ‘Cheap Clock Kit’!” is in Script (for the IBM Selectric; see also the body fonts, glossed below). The price, $14.50, is in Umbra. Both Script and Umbra are used on the following page.

Windsor is used for “they also make great gifts” (on the curve) and the following text. “Electronic Projects for Musicians” is Reklameschrift Herold. Below the decorative band, “EROM board special offer” is in Helvetica, outlined and with a South shadow.

“4K x 8 pre-programmed for 8080” is in an outline style of a somewhat Microgramma-like font that I couldn’t identify that is also used on the second page.

On the second page, “Bigger & Better” is in Skin & Bones (using two alternates for G, but not for E). “Pace 16 bit chip set” is in Koloss. “1 Pace 16 bit CPU” and other text on and under the curve is the previously mentioned and unidentified outline Microgramma-lookalike.

“Pace Data Packet” is Advertisers Gothic (using the A without a top flag). “4K x 8 RAM kit” is in Umbra. “EROM board kit” is in Rock Opera. The “8K x 8” and so on again is in Wexford. “There’s more ... We have” is in Monogram.

The body text (and some secondary and subtitle text) is typewritten in a variety of fonts, and I did a much better job of identifying those, all available on the IBM Selectric:

On the first page the text for the clock, starting “BIGGER DIGITS” is in Artisan. “By Craig Anderton” (the author of “Electronic Projects for Musicians”) is in Orator (probably, in any case Orator is used on the next page).

The text for the Craig Anderton blurb is Adjutant, I think. Delegate and Adjutant are very similar with only slight differences in weight and thick/thin contrast, but they have different pitches: Adjutant is 12 characters per inch, and is tighter than Delegate at 10. The text block at the bottom of the first page, starting “By special arrangement”, is in Bookface Academic.

On the second page, below “Pace 16 bit”, the text starting “This chip set gets you into PACE” is in Manifold. The word “PACE” itself is in another font (the Selectric had a feature where you could switch type-balls and still retain the cursor position), possibly Pica. Manifold is again used for the bottom paragraph starting “READOUTS, LEDS, TRANSISTORS”. Below “Pace Data Packet”, “Since we started advertising” is Orator. Below “4K x 8 RAM”, “Note the lower price” looks like Prestige Elite.

Below “EROM BOARD”, the text starting “Now you can stuff up to 8K” initially had me stumped, but I think I have tracked it down. The small caps in place of little letters, made me think of Orator, which it isn’t; the o is distinctly squaroid and reminded me of the output of the IBM lineprinters, such as the 1403. It turns out that the IBM Selectric has a typeball called AN3/360 which the 1972 brochure specifically says matches the AN3 style available on IBM’s lineprinters.

At the bottom of the second page, to the right of the wordmark, the payment and terms text starting “YOU MAY PLACE MASTERCHARGE® OR BANKAMERICARD® ORDERS” is in Script.

bronchify. License: All Rights Reserved.

Like a good ride, it’s all in the spacing: bronchify breathes easy, Kit sets easy.

The German company that’s concerned with “all things related to your horse’s respiratory health” recently rebranded. The newly introduced logo combines Kit Sans and Kit Rounded by Darden Studio. Being cut from the same cloth, the two typeface styles naturally go together well.

The Sans is more formal and ensures the reliability expected of a medical brand. The Rounded – which, quite unusually, came first in Kit’s design process – adds a good deal of approachability. The notch in the y works as extra eye-catcher. The last two letters are additionally highlighted through color. Consequently, they stand out from the wordmark, and can also be read as addressing the customer: “fy” as in “for you”.

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

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

Source: shopde.bronchify.com bronchify. License: All Rights Reserved.

The compact version of the logo as seen for the favicon retains the combination of Kit Sans and Kit Round.

Kit is also used for other touchpoints. Shown below are the “Bronchies”, a team of brand ambassadors in the form of cute characters related to horses and their lungs. Names in bold caps from Kit Rounded are supported by copy in Proxima Nova.

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

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

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

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

Source: www.facebook.com bronchify. License: All Rights Reserved.

Photographer Woo See-Ming designed and published this 48-page collection of color photography in a broadsheet newspaper format (13.5″×18″). The book has essentially two covers, one on each side. The inside pages follow the orientation up to the center spread, which has no obvious orientation.

All the text and headlines are set all caps in Gertie by Mark Simonson Studio.

For Song Sung Blue, which premiered at the AFl Film Festival on October 26, 2025, Focus Features embraced a distinctly typographic approach. The film’s title and promotional material all feature Bookmania from Mark Simonson Studio, a revival of the classic Bookman that bridges warmth, character, and polish.

The designer made striking use of the swashes included with Bookmania, giving the film’s typography a showbiz vibe often associated with entertainment branding. The typeface appears in the trailer, multiple poster versions, and event backdrops. Altogether unifying the film’s visual identity that wouldn’t feel out of place on an album cover from Neil Diamond’s heyday in the seventies.

The result is a typographic system that feels both classic and energized—an apt reflection of the film’s subjects, a duo whose heartfelt Neil Diamond and Patsy Cline tributes made them local legends in the late ’80s and early ’90s.

Glitch Library is a knowledge sharing space and an idea exchange place. We stack books on art, design, cultural theory and everything în between: from visual culture resources to typography, illustration, photography, with a keen interest on poster design.

It is not just a physical collection of books; it’s a place where creative minds come together to exchange thoughts and build a community around the love of art and design books.

The library itself is housed in the Glitch Design Studio offices, surrounded by colleagues and friends who share a deep passion for art and design. This unique setting fosters collaboration, whether you’re here to work on a project, explore new ideas, or simply enjoy a good book.

The branding inspiration was found in print based elements such as letterpress blocks, trim symbols, color guide symbols and typographic experiments. The main font used is Inter from Rasmus Andersson for its clean aesthetic and paired with Bookmania by Mark Simonson Studio for it serif madness and appropriate name for a book library project.

Within the library's activities Glitch Studio DesignSessions (a talks series of events) was initated. I designed all of the event posters as part of Glitch Studio. All of them play on the general love of print that is also the basis of the visual identity. Beyond typographic and lettering experiments all posters use trim marks or color guides in different ways for cohesion.

For the last three DesignSessions talks, designers from the Netherlands were invited to give talks on book design and graphic design. The first of these events saw Esther de Vries on her book design experiments, as such the main focus was showcasing a virtual book cover for the poster. Following this Richard Niessen showcased his ongoing project The Palace of Typographic Masonry, inspiring the poster to focus on Graphic Languages.The final event was hosted by Liza Enebeis from Studio Dumbar/DEPT® on books and motion. The concept behind this poster was an animated form of letterpress blocks.

This project has been awarded in the Poster category of Local Design Awards 2025; it was also selected in the 29th International Warsaw Poster Biennale Main competition as well as shortlisted for the Antwerp Poster Festival 2025.

Creative direction by Dan Stănescu, project management by Ana Banu. Art direction and graphic design by Andrei Nicolescu. Photo credits: Mihai Ciobanu (posters) and Dragoș Hanciu (events).

The Netflix series Nobody Wants This—starring Kristen Bell and Adam Brody—centers on the unlikely romance between an outspoken podcast host and an unconventional rabbi. Since its first season, the show has featured Bookmania from Mark Simonson Studio as its logo typeface. A web search shows the font in use across title cards, posters, social channels, crossover banners, promotional materials, press events, and interviews.

Bookmania takes the familiar warmth of classic Bookman serifs and gives it a crisp, contemporary edge—fitting for a series that blends sincerity with humor. As the show heads into Season 2, the continued use of Bookmania keeps its visual voice cohesive: smart, contemporary, and charmingly offbeat.

Jubilat is the titling typeface used on the website of Ocean Mist Farms.

Headquartered in Castroville, California, Ocean Mist is the largest grower of fresh artichokes in North America. On their website, the company shares everything you need to know about artichokes, from their anatomy and nutritional value to guides for how to eat and cook them. A popular section of the website is concerned with cooking ideas. Let Jubilat guide you how to prepare stuffed, grilled, or roasted artichokes. If the delicious thistle variant is not for you, there are recipes for asparagus, broccoli, and many other vegetables, too.

Darden Studio’s tight-setting slab serif is used in green and blue, complementing the mouth-watering photography. The headlines in Jubilat are paired with text in Mark Simonson’s Proxima Nova. Adam Ladd’s Braisetto adds a handwritten touch here and there.

It won’t get any greener!

Founded in 1994, Wachusett Brewing Co. is young by brewing standards, but CODO’s recent rebrand adds a sense of history through its typeface selection.

Dreamboat brings warm Americana character with its vintage curves recalling hand-painted signage; Fort Foundry’s Industry anchors the typographic system, delivering clean neutrality for copy with its familiar stovepipe style; and Typodermic’s Octin Vintage font family adds additional collegiate charm. Together, they breathe fresh life into the brand’s Central Massachusetts microbrewery. CODO has developed a flexible system that shifts easily across packaging, signage, and merchandise.

Cover design for O poråo (“The basement”), using Mudstone Sans and Salted, both by PintassilgoPrints. About the book (translated from the Brazilian Portuguese):

A rescue inside the most dangerous building in Latin America. This is Samantha's objective in The Basement, a gamebook set during the Brazilian civil-military dictatorship. Citing real characters and situations experienced during the armed struggle during the resistance to the military regime, the narrative fluidly and emotionally interweaves fact and fiction.

The story takes place shortly after the signing of AI-5, the most brutal period of the era, when torture and violence against government opponents were institutionalized. Cecília was captured in an ambush by DOPS agents and taken to a police station where detainees are held in degrading conditions. Samantha immediately decides to storm the DOPS building. It's up to the player-reader to determine how impossible this rescue mission is, and to do so, they'll need to make choices and roll dice, relying on both their wits and luck—and perhaps rewrite the course of history.

Illustration by Carlos Sekko.

The synopsis is set in Bookmania, with all-caps Helvetica Condensed for the URLs and social media handles.

Keymaster Games is releasing a new version of their Campy Creatures game. The main display type is Bearklaw and an unreleased typeface from Fort Foundry (working title: Silverberg) in addition to custom lettering and illustrations by Josh Emrich. The primary body copy in the rulebook is Metallophile Sp8.