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.

Clément Le Tulle-Neyret designed the book Magdalena Abakanowicz. La Trame de l'existence / The Fabric of Existence for the eponymous exhibition that was presented at musée Bourdelle in Paris from 20th November 2025 to 12th April 2026.

He used his own interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), for the main text, in order to add warmth to block text without loosing the spirit of Akzidenz-Grotesk – rough, industrial, and, paradoxically, organic. Akzidenz-Grotesk from Berthold is used for italics.

He paired his typeface with Dutch 801 to embody texts by Magdalena Abakanowicz, and with EB Hymne for the titles, all typeset in full capitals.

The French-language publication has 168 pages with 84 colour and 15 black-and-white images and measures 210×280 mm. It was sewn-bound and printed in 3,000 copies.

Altera Italia is a tactile, sensorial book by visual artist Alessia Rollo, published by Miracoli Visivi. Its exposed-spine binding lies flat, referencing the book’s circular narrative, while a solid blue paper dust jacket and copper ink details contrast with the bare structure. Coarse paper stock reinforces the sense of personal investigation. The book is set in Rapida, a typeface by fellow Italian designer Michelangelo Nigra, which contributes to the uniqueness of the book. In the words of design studio Gruppo:

Rapida was chosen for its ability to balance a classical presence with a more contemporary tension. Its traditional proportions and soft curves are countered by sharper details, creating a voice that is both familiar and unexpected. This duality resonated with Rollo’s practice, where observation and cultural memory coexist with acts of intervention and transformation.

Situational is a graphic design MFA thesis that positions design as a tool to analyze and construct situations. The book is divided into five chapters: Site, Situate, Situational, Situationist, and Archive. Each key term is defined by an opening essays and illustrated with design work and interviews.

The Chinese title of this book, 情境中 (qíng jìng zhōng), translates directly to “within the situation”. Yet separately as three individual characters, qíng jìng zhōng means emotion, scene, within. A situation in my language is inherently an emotional scene, which requires us to account for more than the objective conditions, such as the geographical, economic, and social circumstances, as well as the subjective and affective experiences of individuals.

How can design analyze the context of given situations and construct new situations? The key terms organizing this book describe a movement. Site establishes the levels of context in which any practice is embedded: place, organization, body, and their continuous interaction across time. Situate names the conditions that shape the maker's partial positionality within sites. Situational describes the practice of reading those conditions analytically and responding to them fluidly. Situationist takes all of that outward. Having understood the context, named the position, and learned to respond to conditions, the question becomes: what new situations can be constructed for others? How do you use that understanding to intervene in the world rather than simply describe it?

To read the full book, visit Rhode Island School of Design’s digital commons.

The bilingual publication (English, Chinese) has 272 pages, is Swiss sewn bound and measures 166×220 mm.

Change Maker: Turn Your Passion for Health and Fitness into a Powerful Purpose and a Wildly Successful Career by John Berardi was designed by Rodrigo Corral using Garage Gothic from Frere-Jones Type.

From publisher BenBella Books:

In this definitive career guide, John Berardi—co-founder of Precision Nutrition, founder of Change Maker Academy, and one of the most successful people in the history of the health and fitness industry—shares his blueprint for becoming the ultimate change maker, one with a powerful purpose, an enthusiastic client base, and the ability to fund your own ideal lifestyle.

This chapter opening spread pairs Garage Gothic with Dom Diagonal and what appears to be handwriting / lettering.

Tandem edition

John S. Allen designed about twenty display typefaces for Photo-Lettering, several of which were featured here on Fonts In Use before, including Riptide, Stingray, and Cubist. His Lancet is a boxy sans with horizontals that are thinned toward the center. It was first shown in the Alphabet Thesaurus Vol. 2, with a number that indicates a release shortly before the catalog’s publication in 1965.

Lancet can here be seen used in stretched caps on the cover of Witchcraft in the World Today. C.H. Wallace’s book was published in 1967 by Awards Books (US) and Tandem Books (UK). From the back cover:

Explore the Fascinating World of Witchcraft

• Learn About Love Potions
• Share the Secrets of a Caribbean Voodoo Ceremony
• Discover the Incredible Extent of Belief in “The Evil Eye”
• Trace the Mysterious Power

Award Books edition

Le fiabe sono vere… Storia popolare italiana / Fairy Tales are true... Italian Folk History reimagines the Museo delle Civiltà’s folk art collection, making it more physically, intellectually, and culturally accessible.

The exhibition transforms the showcase from a protective device into an open, flexible archive. Objects are presented not as autonomous artworks but as carriers of collective memory. Drawers, sliding surfaces, and layered narratives invite direct engagement and multiple readings.

The printed catalogue, designed by Omnigroup and edited by publisher Treccani Arte, translates the exhibition’s structure into twelve standalone chapters, encouraging a non-linear reading within a unified narrative. Each booklet offers an in-depth analysis of the topics presented in the corresponding section of the exhibition, exploring Italy’s ethnographic heritage through cultural spaces such as the forest, the sea, the countryside and the village. Colour serves as a means of identification within the catalogue, echoing the thematic sequence used in the exhibition to guide the visitor’s experience avoiding hierarchical order.

In response to the metaphor used in the title, the fairy-tale narrative unfolds through a stream of object portraits, identified from among the more than 500 items on display, and weaves through the arc of Italian history in the 19th and 20st centuries under the lens of millennial traditions that can serve as a potential archaeology of the present.

The typographic identity of the catalogue is tuned around the unreleased serif typeface OT Kairo, used in a single weight and in a few text settings, in order to provide solid yet discreet support for the content, already populated by countless individual stories with the aim of providing a stable backdrop against which to articulate plurality.

There are two language editions, Italian and English, the latter of which is shown here.

Czerny's Symposium. License: All Rights Reserved.

Czerny’s Symposium, issue 001: “Kodoku” is a 204-page publication that revolves around the Japanese idea of 孤独 (kodoku)—exploring how isolation and loneliness creep into the lives of visual artists, writers, and creatives alike. Select contributors offer an intimate insight into their creative process, share how they find resilience in the face of solitude, and reflect upon the emotional journey they navigate in the act of creating.

Pantasia (Wei Huang / Counter Forms) serves as the primary typeface for the visual identity of Czerny’s Symposium—as seen in the logotype and used throughout the publication across section headings, running footer labels, and speaker identifiers in interviews. Herbik (Daniel Veneklaas / Counter Forms) is the secondary typeface used for all body text. Neue Haas Unica (Toshi Omagari / Linotype) provides visual contrast to the previous two serif typefaces as a functional and unassuming sans serif; it is applied to page numbers, artwork captions, and footnotes at smaller sizes, while blown up in scale across pull quote pages.

The inaugural issue was published in 2025 in an edition of 100. The publication includes a foreword and introduction by Junpei Satyapan, along with contributions from Charlie Broadhead, Dakota Butler, Daylen Seu, Ethan Ming, Lola Dement Myers, Shi Hong, and Weihong Zheng.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

Czerny's Symposium. License: All Rights Reserved.

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.

OT Magister is used for AB Collection. Design studio Soup describes the project as follows:

AB Collection is an ever-evolving printed archive of works acquired by a private collector. The identity of the collection centers on the fortuitous initialism of the collector’s name, and is used to form the basis of an alphabetical index that runs throughout.

We produce a cloth-bound box annually to document all pieces acquired that year. Within, each artwork is reproduced as a loose sheet in a range of formats and stocks to complement the piece, with blind embossing and UV varnish finishes used to further accentuate formal features of selected artworks. The loose sheets are sorted alphabetically into four folders, and a coding system assigns each artwork a unique reference number for easy location. An accompanying bound book comprises a text about each artist and a visual index with key artwork information. Each volume also includes a poster with an overview of all artworks added to the collection that year, reproduced to scale. Here, a spot UV is applied to the images, giving them a tactile finish against the matte paper stock.

Missing sign is a collection of short stories “with pieces of letters inside”; stories that linger where language begins to falter and letters slip from certainty into doubt. Moving between future obsolescence, unexpected discoveries, and quiet rebellions, Missing sign watches what happens when the signs we rely on start to flicker.

The book is entirely set in Plain Form’s unreleased Ferro and its monospaced companion. It uses its “clean” version (numbered I), with a cameo from the most altered stage (numbered IV) on the title page. Each story is preceded by sort of typographic landscapes: Ferro is used in its four stages of digital decay, piled-up, merged together with an additional soft blur-like effect.

The book was written and designed by Lucas Descroix and published by Plain Form. It has 72 pages measuring 108×160 mm and was offset printed in November 2025.
ISBN: 978-2-9597254-2-5.

The catalog for Best Book Design from All over the World 2026 was designed by Florian Lamm of Lamm & Kirch, using OT Scholar and photographs by Attila Hartwig.

Из жизни Петербурга на рубеже XIX–XX веков: Записки очевидцев (English: “From the Life of St. Petersburg at the Turn of the 19th–20th Centuries: Eyewitness Accounts”) is a book by lawyer Dmitry Zasosov and railway engineer Vladimir Pyzin, representatives of the St. Petersburg democratic intelligentsia. It’s the first book in a series for Academia Books. The softcover publication measures 128×174 mm. 3,000 copies were printed by Ulyanovsk Print House in Ulyanovsk, Russia. ISBN 978–5–6053589–0–8

Mint is an annual architecture magazine made for Fresh Architectures. Each issue discusses an architectural project from several angles: societal, technical, economical or ecological. Mint invites professionals to talk about topics related to the project.

Opus (edition) 3 tackles the transformation of a nautical base taking climate change and water preservation into account. More broadly, this issue tackles the future of French coasts.

The typography changes with every issue. In this edition, the design by Travaux-Pratiques pairs Roman Grotesque with a yet unidentified serif typeface [edit: it’s Lyon, see comments].

See All This is a quarterly print magazine made in Amsterdam, exploring new ways of living through the lens of beauty, art, and nature. The magazine’s art direction is led by Sabine Verschueren, and issues are published season by season in both Dutch and English, often with guest curators.

Since issue no. 39 (fall 2025), the typography pairs Store Norske Gangster from Skriftkompani with ABC Monument Grotesk from Dinamo, combining a literary, editorial feel with a sturdier grotesque for headings and navigational elements.

Cover and album design by Jaemin Lee for Elaine’s debut album titled 1, released with the Korean label Beatball Records.

Words from the designer:

Elaine’s debut album “1”, previously released only on CD, has been reissued on LP for the first time with a newly designed package. In place of images or artwork, I used a short line of copy to make a statement of debut—bold and direct, yet precisely typeset. The silver-foil element at the bottom catches the light like roots and a stem, hinting at a beginning and what may grow from it.

Herbus Serif is used for all display typography. The typefaces used for the lyrics are YMG Munche Gothic (Korean) and Atacama Extra Condensed Light (English).

BVH Stef is a new custom typeface collection created for La Cité du Design in Saint-Étienne as part of a design project by studio vu-huu. The new visual identity, which is based on a large and playful variety of typographic characters, was launched during the 13th International Design Biennial of Saint-Étienne in May 2025. The typeface is distributed by b•v-h type.

This catalog has been published as part of the Biennial exhibitions whose theme was Ressource(s), présager demain/Resource(s) – in English: “Foreseeing the Future”.

This typeface includes a wide range of alternates that closely imitate the variations typical of handwriting.

There are two versions of the typeface: a text version and a display version. The display version places greater emphasis on the fluidity of the hand-drawn stroke.

Film posters for the feature documentary Shelf Life – observing the parallels of the cheese aging process and the human experience of growing old.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

“Garnier – Everyday Touch” is a student rebrand identity project made as part of the Packaging Design 2 class taught by Ania Borysiewicz. It reimagines the brand through the lens of ritual, sensuality, and evolving heritage.

Hair is a ritual, evolving with every new chapter and reflecting our heritage. Infused with nourishing botanical ingredients, each formula transforms the everyday into an intimate act of care. More than maintenance, this is a return—to touch, to tradition, to the quiet sensuality woven into daily life.

The identity uses Univers as the primary typeface for its clean, modern precision and structural clarity across the system. IvyPresto is used exclusively for the logotype, its expressive serif forms introducing elegance and softness that echo the brand’s botanical heritage and refined sensuality.