The title combines caps from MTM Cascorro 18’s Lisa and Classic styles. The latter is distinguished by spurs.

Poster-booklet for En las Fiestas del Futuro (“At the Parties of the Future”), an exhibition by Paco Graco collective about recovered shop signs at La Casa Encendida art center in Madrid, Spain.

Designed by Ricardo Barquín featuring fonts by Madrilenian Typographic Manufactures, Riccardo de Francheschi, and Alexander Colby, with texts by Miriam Martín.

The exhibition reflects on the vanished city and memories through the commercial signs rescued by the collective in the neighbourhood where the art centre is located.

As the booklet reads:

in the face of Madrid's destruction: in the fire of what was, burns what will be

The inauguration took the form of a popular party with music, wine and the owners of the closed shops coming to see their signs saved from the dump at the last minute.

Photos: Daniel de Jorge

“Madrid será” uses Vampiro. Text is set in Lacrima Italic and Serif.

Installation with vintage signs from shops and pubs

For the 60th Chicago International Film Festival, Ogilvy 485 crafted a unique identity and scaleable design system that honors the festival's visual heritage while embracing an evolution of cinematic expression. Building upon Neue Helvetica – the longstanding cornerstone of the festival’s identity – we developed a custom typographic language that celebrates six decades of film.

The design system retains the timeless appeal and objectivity of Neue Helvetica, setting the screen for custom designed numerals that act as windows into the past and present of cinema. The graphic 60 was designed to reflect cinematic aspect ratios, further fusing together different eras of film.

In turn, these numerals inspired Cinema 60, a custom typeface whose dynamic letterforms allowed the design to breath life into the typographic expressions by framing iconic movie moments.

The result is a dynamic interplay between the familiar and the fresh, a typographic testament to the festival's enduring legacy and bold future.

Style frames from the Criterion Channel's 2024 John Waters film collection. The collection featured the films Hairspray, Female Trouble, Polyester, Cry-Baby, Serial Mom, Multiple Maniacs, Cecil B. Demented, and Desperate Living.

Each month the Criterion Channel releases a handful of curated collections. Each collection getting some stylized typographic treatments used for a teaser trailer and style frames (thumbnails) for the collection as a whole plus a few select films within the collection.

The John Waters collection is branded with lettering in the style of mid-century, hand painted advertising and signage.

The lettering designs feature bold, condensed, sans serif type complimented with various brush script fonts and a few dingbat ornaments.

The large titles use Linotype's Flyer (a.k.a. Filmotype Flyer), while the smaller names and titles use Red Top by Studio K. The brush script fonts used throughout work seamlessly together because they all come from House Industries’ beautifully crafted Sign Painter family. Fonts used from that family include Brush, Script, Upright and Slant [or rather Dom Diagonal Bold, see comments].

In addition to the typography, also peppered in are arrows and underlines from House’s Ad Art (also from the Sign Painter family) and a star ornament found in Gutterball, from House’s Housearama font family.

Tchatche is a performance art project, a mix of debate, dance and music. The Boson Project comments:

The unique format of Tchatche brings back the art of informed discussion and sophisticated thought. Tchatche is a unique, no holds barred fast talkin’ event. The form is crazy: a wrestling ring, audio, dancers, and DJs. The substance is fearsomely exacting: intellectuals of different persuasions debating an issue facing society. The ‘show’ mixes codes from the first folk universities, the circus, wrestling, and debating competitions to give traditional talking a new look.

Alias Harbour is used for main title text throughout.

Media Sans is the face chosen by New Era Cap for their “We Reign As One” campaign.

The manufacturer of the official cap of MLB (Major League Baseball) uses the typeface exclusively in all caps from the Extended Black style. Production Type’s display sans provides a confident typographic voice in videos, ads, social media cards, as well as for headlines on the landing page of the website. Thanks to the bold, compact shapes with small apertures, Media Sans can be placed on all kinds of backgrounds without compromising its impact. It is contrasted with Matthew Carter’s Big Caslon which is featured primarily with its slender italics.

Moving away from a traditional sports bar look and feel, Melbourne-based sports bar Kicks creates a contemporary space, welcoming to people of all ages, from loyal sports fans to local students hoping to kick back and play a game of pool after class.

Inspired by 1980s sports and gaming, the branding and signage for this space utilise a bright colour palette, geometric graphic forms and a playful typography built with Sideshow and Hardy (both released by and available from The Designers Foundry).

Alias Harbour was one of the typefaces used for posters the Gotta Shine launch in New Orleans. It was also used separately as 3-D display type, on t-shirts, and as one of the stickers given away with the shoes.