Falter is a liberal, left-leaning Viennese weekly newspaper that covers politics and culture. This long-standing publication has recently made a successful shift in focus from print to the web. A comprehensive relaunch of the website was implemented to guarantee an accessible online experience while preserving the newspaper's independent and alternative character. Christoph Rauscher was significantly involved in the ambitious redesign. He writes:

For the FALTER website relaunch, we wanted to focus on the newspaper’s underground history, but also bring the site closer to the print edition. The characteristic Parkinson headline font and the sans serif Fakt Pro display font were already set. The print edition uses Lirico from Type By as its text font—a very delicate serif font with partially open punches and many swings. For screens and smaller text, we needed something that was just as high-quality but not quite as delicate – Pensum Pro has similar serifs, but looks a little more sturdy, especially on mobile devices. Previously, a Google web font was used throughout the site (one for everything). The new, slightly wilder font mix is a better fit for the brand and the playful design of the site.

From ECAL:

In addition to the Folklore Fusion website, the project includes a trading card game, a publication, and an augmented reality feature. All set in OCR-X by Maxitype and Heisei Maru Gothic by Adobe.

Ad Age is a global media brand that publishes news, analysis, and data on marketing and media. Its namesake magazine was started as a broadsheet newspaper in 1930. Ad Age appears in multiple formats, including its website, daily email newsletters, social channels, events, and a bimonthly print magazine.

In 2017 they embarked on a journey to reimagine Advertising Age into a single brand, unifying events, honorifics, a business intelligence platform, creative reviews and the award-winning editorial coverage under the newly shortened Ad Age moniker. With Champions Design the 2018 Ad Age Brand Book was released with a updated masthead by Frere-Jones Type who created a bespoke cut of Retina typeface to reflect the wordmark's original 1930s characteristics. The book also includes text by Exchange, a Frere-Jones typeface as well.

Created Brilliance is a lab-grown diamond jewellery brand based in London's world-renowned jewellery quarter, Hatton Garden. The collection consists of timeless, conscious jewellery designed to be treasured now and for generations to come.

Based on the insight that trust is everything when it comes to diamonds, Not Studio’s rebrand shaped a new strategic and visual world for Created Brilliance, emphasising elegance, longevity and – crucially – the equity of their Hatton Garden location. The resulting wordmark is set uppercase in ABC Arizona Flare with a customised sharp terminal on the C’s.

The rest of the identity uses a mixed palette of ABC Arizona Sans and Text, as well as GT Ultra Median and Standard, referencing the layers of historical type found across street signage and architecture to reinforce a sense of place.

Shallow is a 2024 publication by Simryn Gill, Charles Lim Yi Yong, Chanon Kenji Praepipatmongkol and Selene Yap, published by Stolon Press in Sydney with support from Singapore Art Museum. The book was edited by Tom Melick and designed and typeset by ruttens-wille.

The publication brings together text and images around living and working near the equator, with contents including Charles Lim Yi Yong’s Sumatra by the Side, Simryn Gill’s Shallow, Selene Yap’s Sea-view and Chanon Kenji Praepipatmongkol’s To Catch the Wind. It was published as a 92-page softcover leporello in an edition of 500.

The publication uses Store Norske Leif from Skriftkompani alongside Neue Haas Unica by Monotype.

Hjärnfonden (“The Brain Foundation”) is a Swedish non-profit foundation that focuses on research and treatment for the brain. In 2022, they hired Nord DDB Stockholm for a rebrand. In turn, Nord DDB hired Bloom Type to develop a custom typeface: Hjarnslapp Display.

With Hjarnsläpp Display, the goal was to create a typography that embodied the infinite diversity of the human brain, aiming to shape the diversity and specificity of each individual through a typographic collage that applies the same formula as the brain itself. Two parts come together in a lateral symmetry to form each glyph. These two forms share both the same meaning and structure: an A remains an A, but not the same signifier: each of the original typographical forms refers to a different story and impression.

The fusion of these two different forms creates a new one, strange, quirky and raw, unique in their asymmetry and the imperfection of their junction: they reflect the diversity of our brains and their stories.

It was built from six open source typefaces, for six different typeface genres:

• Inter (sans serif grotesque)
• Playfair Display (high contrast serif)
• Roboto Slab (slab serif)
• Terminal Grotesque (bitmap type)
• Work Sans (humanistic grotesque)
• Comic Neue (rounded type, a serious Comic Sans if you will)

The typeface itself was therefore also released under an open source licence.

Confessionalism is a self-initiated series of ring-bound typographic cards created in 2026.

The project collects phrases, keywords, and confessions that lingered in the author's mind during late-night work sessions, reflecting on the realities of contemporary graphic design practice, particularly in Brazil, including creative fatigue, professional uncertainty, anxiety, and self-criticism. Each statement is presented on an individual card, set in large condensed typography that fills the format and reinforces the directness of the messages.

Printed in black silkscreen ink on red paper, the cards function both as a sequence that allows the reader to choose a different cover each time and as standalone typographic posters. The publication serves as a personal archive of thoughts, frustrations, and reflections accumulated while working as a Brazilian graphic designer.

Allis is a multidisciplinary branding studio with over a decade of expertise in crafting brands for notable placemakers, hoteliers, and new-to-world lifestyle companies. With offices in New York City, San Francisco, and Portland, Allis provides creative services to various industries, including premium health and wellness products, real estate, hospitality, and fashion.

Typography played a central role in defining the agency’s luxury positioning. Combining the sharp presence of Cardinal Fruit, the elegance of FH Alpha, and the timeless utility of Neue Haas Grotesk, the type system delivers a cohesive and sophisticated identity across digital platforms, presentations, stationery, and agency merchandise.

Tiki Type Wood is a typeface that seems to revisit an early-1970s design named Rosie. Designed by House Industries, it’s part of their Tiki Type collection, a set of eight type styles inspired by Tiki culture – an aesthetic that has more to do with US American stereotypes of Oceanian art from the second third of the 20th century than with actual Polynesian, Melanesian, or Micronesian cultures. The font set was originally released in 1997 on a CD-ROM that additionally included a set of clip art and “12 wave-crashin’ surf tunes” from Estrus Records.

Sometime around 2010, Tiki Type Wood was chosen for the box design of AMT’s Surfer Van, a model kit of a custom 1977 Ford Econoline van. Its alternating top-wide and bottom-wide letterforms are set on a bouncing baseline and embellished with a gradient fill. “1977 Ford Econoline” is in another style, Tiki Type Island, while the ampersand in “Surf & Woodie” comes from Tiki Type Magic. The patterned glyph between “Surfer” and “Van” as well as the Tiki decal on the van probably are part of the font set as well.

The bilingual sticker has squeezed Tiki Type Wood alongside all-caps Burbank. The 2 is a stretched numeral from Tiki Type Magic.

Source: www.disk-market.com Disk-Market. License: All Rights Reserved.

Pyramid was a US country rock band formed by Auburn Burrell, Joe Wilson, and Steve Sanders. In 1974, they released their self-titled debut LP with Bang Records in Atlanta, Georgia. Billboard described it as “a good mix of Southern rock and more traditional acoustic, folky sounds”, with “enough material here to give the group a home on both AM and FM stations.” Despite the accolades, it remained the group’s sole studio album.

The cover concept and photography is credited to “Raffaelli”, which probably is Ron Raffaelli (1943–2016). It seems to depict a Merlin-like magician with two women and a child holding seance around a white pyramid. The person to his right has a Vulture crown as worn by Great Royal Wives and female pharaohs in ancient Egypt.

The font choice follows the theme of band name and album title as well: in Rosie, all glyphs are shaped to fit a triangle.

[More info on Discogs]

Source: www.flickr.com Photo: Florian Hardwig. License: CC BY-NC-SA.

Glyph set for Round Rosie – a variant with round corners – as shown by Typeshop in 1973. The non-rounded Rosie is listed in Berthold’s 1974 catalog with Facsimile Fonts credits. Its designer is yet unknown.

Graphic design and production of physical materials for the book Livio Vacchini. La construction paradoxale de la forme (“Livio Vacchini. The Paradoxical Construction of Form”), published by Caryatide and Mendrisio Academy Press.

As the interior layout had been finalised before I joined the project, I designed the cover using my interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), to complement the interior layout, which was set in Garamond Simoncini and Akzidenz-Grotesk.

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.

Written by Josephine Berry, Art and (Bare) Life: A Biopolitical Inquiry explores the intersection of political philosophy with contemporary art theory, analysing the connections between current biopolitics and art’s drive to blur with life. The design of the publication makes subtle and oblique references to the contrasts and conflicts Berry explores within the text. Lining by A Practice for Everyday Life is used for titling on the cover and throughout.

Body text within the book is set in Spectral, which was designed as a screen-first font but is equally well suited to long-form reading.

Art and (Bare) Life: A Biopolitical Inquiry was first published in 2018 by Sternberg Press.

Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields.

Issue 21–22 spans 136 pages and was Risograph printed in black and blue on two types of paper: Favini Remake Sky and Favini Shiro Echo.

Genetwister is a biotechnology company specializing in molecular breeding and bioinformatics for agricultural, horticultural, and ornamental plants.

Their identity, set in Sprig Sans, combines clear typographic structure with bold, expressive illustrations to communicate a mission centered on advancing plant genetics through data-driven research and innovation.

OMO used HY Lingxin in Chinese laundry care visuals. As a household cleaning brand, OMO needs typography that can express cleanliness, brightness, and clear product benefits. HY Lingxin gives the Chinese copy a bold and structured appearance. Its geometric forms help the message feel clean and organized, which matches the brand’s focus on washing, freshness, and product performance.

HY Lingxin is useful for packaging, promotional posters, and digital materials where information must be read quickly. It can make product messages feel bright and energetic without becoming too complex. For a laundry care brand, this is important because consumers often look for simple and trustworthy information about cleaning results. The font supports this need by giving the Chinese text a strong but clean visual tone. It helps OMO’s communication feel modern, fresh, and easy to scan.

Rebel Patch is an independent, female-owned sustainable fashion brand based in Bristol, UK, that creates limited-edition, artist-designed patches for clothing repair and upcycling. The company aims to make textile repair accessible and fun by offering wearable art alternatives to traditional iron-on patches, using organic cotton and eco-friendly manufacturing methods.

The visual identity of Rebel Patch is a blend of raster and vector elements. The art direction draws heavily on nature-inspired imagery, grounding the brand in an authentic, organic aesthetic that underscores its commitment to sustainability. In contrast, the graphic elements introduce a layer of energy and optimism.

Brand identity for MoMoney, Museum of Money by Studio Chong. Created for a Dallas-based museum dedicated entirely to the world of money, from cowrie shells to crypto. Studio Chong built a bold, maximalist identity that holds analogue charm and digital energy in the same breath – graphic coins, punchy headlines, and a verbal voice cheeky enough to put “For Buck’s Sake” on a fridge magnet. Finance just got a lot more fun to look at.

Cover of the original 1969 album, with “No 1” added in Helvetica

Starting in 1969 the BBC began releasing albums compiling sound effects from the BBC Sound Effects Library. A large number of albums would follow in this series, covering a range of themes and topics, with the last one being released in 1984.

For the first nine releases, a consistent design was used: A collage of images in a grid, tinted in a small number of colours to create a striking effect. For No. 1 to 6 and 8, the title was set in a two-color setting of Lettres Ornées. No. 7 and 9 instead use Stark Raving.

The first nine albums were later reissued with completely different cover designs. These new ones featured a different font for each release, which are covered individually below.

The design for the first four albums is credited to Roy Curtis-Bramwell. No designers are credited for the remaining albums or the reissues.

[More info on Discogs]

Volume 7, the first to use Stark Raving for the title. “No 7” is added in Univers Bold Condensed.

A compilation of all nine original album covers

The reissue of No. 1 features Warlock Inline.

Up & Down for the reissue of No. 2

The typeface chosen for the reissue of No. 3 is unknown. Perhaps Alpha?

Italia for the reissue of No. 4

The reissue of No. 5 uses Mickey Tick.

We get to see Napoli Serial for the reissue of No. 6.

Syncopation was chosen for the reissue of No. 7.

The new cover for No. 8 has broken glass and the elusive Brutus.

Lastly, the reissued No. 9 uses Stymie.

Wikipedia:

Sound Affects is the fifth studio album by the English rock band the Jam. The album was released on 28 November 1980 by Polydor Records. It is the only Jam album to be co-produced by the band themselves, and contains the only album track co-written by the entire band, “Music for the Last Couple”.

The cover art is a pastiche of the artwork used on various Sound Effects records produced by the BBC during the 1970s.

Jam frontman Paul Weller has opined that Sound Affects is the Jam’s best album.

Despite being a tribute to the BBC Sound Effects records, the album title uses a surprisingly different font: Vineta, in italic caps with shadow. “JAM” and “NO. 80” appear to be added in Univers Bold Italic. “POW!” is in Stencil. The artist and title on the back useEurostile Bold Extended, accompanied by Helvetica.

The back cover of the album features an excerpt from Percy Bysshe Shelley’s poem The Masque of Anarchy.