For the design of the latest EP of Chichester’s Traams, Stewart Amstrong chose a grunge approach, mixing together his own illustrations with graphic elements inherited from Great Britain’s late ’70s early ’80s underground CB radio (counter-)culture.

On top of a generous amount of hand-drawn letterings, the typography deploys Luke Prowse’s NaN Holo for most textual contents. Amstrong, to double down on the photocopy æsthetics inherited from its collage, applies a roughening effect/texture on the text, blending it smoothly with the other graphical elements.

Art Direction: Stewart Armstrong & TRAAMS
Design & illustration: Stewart Armstrong
Additional illustration: Daniel David Freeman & Beth Longmore
Cover image: Emily by Scarlett Platel
Band photography: Steve Gullick

The artwork contains elements originally published in Eyeball Cards: The Art of British Radio Culture by William Hogan & David Titlow.

Polish movie poster for Soviet sci-fi art film Solaris (1972), designed by Andrzej Bertrandt. The film title “Solaris” is set in Disco (with a custom A). “Stanisław Lem”, the author of the 1961 novel from which the film is based, is set in Calypso. The director’s name, “Andrei Tarkovsky”, is set in Helvetica Black Extended. Castellar is used for “MFF” and “Cannes”. Additional fonts include Univers 53 Extended, Clarendon Medium, and Baskerville Old Face Regular.

From Wikipedia, regarding the film’s plot and accolades:

The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises.

Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was nominated for the Palme d’Or. It received extremely positive reviews from critics. It is often cited as one of the greatest science fiction films in the history of cinema.

This book offers a collaborative panorama of Belgian graphic design history from a multiplicity of perspectives, with essays on type design, colonisation and labour relations among other subjects. Contributors include historians, practicing designers, teachers and first-hand accounts. With hundreds of previously unpublished illustrations such as posters, signage, typography, book design, logos and archival photographs.

Off the Grid: Histories of Belgian graphic design is available from Occasional Papers.

Track cover art for the 2020 album SATELLITE etc by Baltimore-based rapper and producer beardy. The art direction is inspired by ’90s Generation-X CD covers, experiences on the early Internet, and y2k techno-optimism.

Space Grotesk and its older monospaced cousin (used in the little “BEARDY” logo) provide a dose of modernity to clarify that the work is looking back on the 2000s from the present and not simply emulating them whole cloth. We discussed a lot of directions, all balancing the vibes of growing up online, dealing with broken connections both digital and personal and the twin lost arts of physical music media and software packaging.

FF Screen Matrix works double duty conceptually. Sure, it evokes ideas of “cyberspace” and technology, but it also evokes memories of a time when those were new ideas.

When reviewing the finals for these we realized they look “small”; almost like Minidiscs or some other proprietary music format that kids would be encouraged to collect and trade.

The covers are based on a simple two-column layout; elements can move up or down but not horizontally. The stickers, like a real sticker, are slapped on in “random” locations not constrained by the grid.

Gza and Aperçu in use for a three-day rap festival in Reykjavík, Iceland. Design by Bobby Breiðholt in 2016.

Empty your calendar for this three-day rap fest. Attendance mandatory for hip-hop enthusiasts and those interested in the crème de la crème of Reykjavík’s hip-hop music scene. (...) Put on your kicks, practice your dab and sashay your way to Húrra, we assure you you’ll fit right in with the city’s freshest crowd.