Ruby album cover

Jennie dropped her most-awaited first studio album Ruby on March 7, 2025. The album design features three fonts used consistently throughout the album promotion: Vivaldi, Snell Roundhand and Apoc Italic.

[More info on Discogs]

“Jennie” in Vivaldi

“Zen” version of the Ruby photobook

Ruby album roll-out schedule

The Ruby Experience by Jennie. Secondary text on this poster is in Gill Sans.

Ruby listening event in Los Angeles

Double Clutch is a “content platform for the classic car connoisseur. (...) From road-testing rare treasures to revisiting timeless icons, we deliver a feed that takes pride in savouring the epitome of automotive culture and sophisticated style.”

Their visual identity by Unlearn Studio draws inspiration from the retro automotive world. Typography, color, and layout work together to evoke a sense of vintage elegance and sophistication, capturing both the heritage and enduring beauty of classic automotive design.

The combination of Millionaire Script (whose lowercase letters match the uppercase ones of Millionaire Italic) with OC Highway enhances the nostalgic dimension of the typographic language. OC Highway is a digital version of the historic alphabet used for road signs in the United States. The wordmark is set in Gatwick.

This book, written by Joséphine le Foll, is the first general history of the figure of the flower vase in art, and its corollary, the bouquet. Published in 2023 on the occasion of the exhibition Flower Power at the Musée Giverny, it has 208 richly illustrated pages. Designer Félix Müller used Selva Script for the cover and titles, accompanied by A2 Antwerp.

The publisher, Citadelle & Mazenod, describes the book as follows (translated):

Although nothing is more commonplace these days than flowers in a vase, this practice has long remained unknown in the West. Although the first objects specifically designed and made to contain a bouquet date from the end of the 16th century, the image of the vase filled with cut flowers is much older. It was invented in the 13th century, in a sacred context, to represent the unrepresentable incarnation of the Son of God in the body of a young virgin. The conceptual and symbolic power of this “flowery container” enabled it to be taken up again in the secular sphere, in portraits and still lifes in particular, adapting its meaning without losing the original value of its theological content. Perhaps not coincidentally, it was at a time when the practice of putting cut flowers in a vase was beginning to be better documented - in other words, during the Age of Enlightenment, when religious sentiment was on the wane - that a painter like Chardin set about painting a bouquet as he saw it, rather than with the “eyes of the mind”. But it was not until the Impressionists and the development of horticulture that artists began to reproduce on canvas the “real” bouquet placed in front of their easel. Used again and again from the 17th century until the third millennium, the motif reveals the power of an attraction that cannot be justified by the traditional, moralistic interpretation of the bouquet as a symbol of vanity and the ephemeral nature of existence. Invented to represent the mystery of gestation, the image of the vase of flowers has become a metaphor for inner, fertile, living creativity.

Never Better is a design studio based on the internet. For their own website and identity, they’re using a range of fonts, including Mabry, Panama in upright and Iranic (its left-leaning italic style), Bourrasque 45 Est (another “contra italic”), Cucina and Selva Script. They even made embroidered caps!

A Girl in Capri fragrance by French fashion house Lanvin conveys the carefree atmosphere of Mediterranean summer holidays. It’s the scent of playful, daring femininity, where citrus and bergamot reign supreme.

Golden Plains, created by BLKBK, used for both the bottle’s logo and packaging, beautifully reflects the essence of the fragrance. The font is defined by lighthearted strokes and imperfect contours, bringing to mind the authenticity of a handwritten note or a casual journal entry. This informal elegance tells the fragrance’s story – walking under the Capri sun, feeling the sea breeze, and reveling in the scent of fresh citrus fruits.

The pairing of Golden Plains with the modern sans-serif typography of the Lanvin logotype adds a layer of sophistication to the design. The script’s curves balance the more structured elements of the logo, emphasizing the fragrance’s dual nature: youthful spontaneity and quiet luxury.

Season booklet

New identity, posters and booklet (pdf) for the 24–25 season of Le Préau, a theater in Vire-Normandie, France. Photographs by Éléonore Lubna.

Season booklet

Posters

Season booklet

Season booklet

Poster

Founded in the mid-1970s, the Osor Musical Evenings continue to adhere to its primary premise even in the fifth decade of its continuing existence – encouraging the creation of Croatian musical works. The Renaissance Cathedral of Osor, the central stage of the festival, has so far hosted nearly eight hundred concerts with over three hundred works commissioned by the festival from all generations of composers. The festival programmes, in addition to canonical classical music works from all periods, examine works of key figures of modern and contemporary music in Croatia, including Boris Papandopulo, Stjepan Šulek, Ivan Brkanović, Miroslav Miletić, Igor Kuljerić, Stanko Horvat, and others.

The visual identity for the 49th edition was designed by Neva Zidić using Stroy Grotesk and Stroy Mono by Hot Type with Dinamo’s ABC Honeymoon.

Nine years after his first book, You Can’t Print That!, George Seldes (1890–1995) used a very similar title: You Can’t Do That is “a survey of the forces attempting, in the name of patriotism, to make a desert of the Bill of Rights”. It was published by Modern Age Books in 1938 and includes a selected bibliography on civil liberties in the United States, compiled by Clarice A. Rosenthal, M. Meeker, M. Ottenberg, and others for the American Civil Liberties Union.

For the title, book designer Robert Josephy chose Signal – a typeface he already used two years before, for Edmund Wilson’s Travels in Two Democracies. The author’s name is in Tempo Heavy with its long-legged R. The articles appear to be set in Futura. The full-circled C in “Congress” and the straight comma and semicolon don’t match Futura, but I’m not aware of a closer match. Maybe Josephy touched up the setting manually [Bryson identified it as Vogue with alternates, see comments].

The back of the jacket advertises the Seal Books imprint. It features Bauer’s Quick, known in the United States as Trafton Script. Copy is set in Sans Serif, Monotype’s copy of Kabel, which is distinguished by the lower bar in A and the top-heavy S, among other things. The bottom line is Tempo Medium Italic with its distinctive flat exit strokes.

It is always lovely to see an RATP leaflet with the familiar artwork by Georges Redon who was one of their most prolific illustrators of the post-WW2 period. This is entitled Connaître Paris est votre rêve or “Knowing Paris is your dream” and describes a series of ‘tours’ available by using regular Paris daytime bus services as well as an advertisement for the excursion tours operated.

While the title on the front panel with Redon’s illustration of the Eiffel Tower uses lettering, most other text in this leaflet is typeset. Of the three typefaces in use, two are by the local Fonderie Typographique Française, or FTF for short, which at the time operated at 4 Rue Napoléon-Chaix in the 15th arrondissement.

The compressed oblique sans-serif caps with contrast are from the medium (demi-gras) weight of Enric Crous-Vidal’s Paris (1953). The pen script is Clipper (1952), designed by Louis Ferrand. All other text is set in various weights and widths of Monotype’s Gill Sans. It’s the version featuring alternates for M a g t u and other characters, bringing the design closer to Futura.

Printed by Imprimerie Hénon.

Detail

Detail