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ATF’s Stymie Light came with two alternate forms for the capital A, a round-top one and an asymmetrical right-leaning one. The latter can be seen in use on this album cover. The alternates were made for the upright only (at least in the foundry version), suggesting that we’re looking at a slanted setting.

This album with a recording of Gustav Holst’s The Planets by the Bournemouth Symphony Orchestra with George Hurst (1926–2012) was released by Contour Records in 1974.

[More info on Discogs]

Bruno Tomberg. Disaini leiutamine / Invention of Design was an extensive retrospective exhibition and monograph of Bruno Tomberg’s work at the Estonian Museum of Applied Art and Design in Tallinn, curated by Kai Lobjakas. The exhibition offered an overview of Tomberg’s nearly six-decade-long career, exploring for the first time in greater depth his roles as both designer and educator. It also brought a wealth of previously unknown and unexhibited materials to the public.

Bruno Tomberg (1926–2021) was an interior architect, designer, artist and educator, recognised as a leading voice in Estonian design during its intense development from the early 1960s onward. Through his diverse creative, pedagogical and administrative activities, he embodies the story of Estonian applied art and design.

For this occasion, the display typeface Bruno 100 was created by Tüpokompanii. The font is based on Tomberg’s poster designs from the 1970s, strongly reflecting his style as a product and interior designer where diagonal lines and rhombic shapes were frequent motifs throughout his career. A fuzzy texture was added to the type in the graphic design (by Indrek Sirkel), and exhibition wall texts were roll-painted over stencils to achieve a fabric-like surface to echo the materiality of Tomberg’s textile work and rug designs. The accompanying typeface is Ladna.

While Bruno 100 was custom-made for this project, it can be licensed to the public, so feel free to reach out to Tüpokompanii if you’d like to use it.

Telarc’s 1986 release of The Planets as recorded by the Royal Philharmonic Orchestra under the guidance of André Previn (1929–2019) has a cover that depicts the planets – and not only the featured seven, but all nine planets of our solar system, including Earth and Pluto.

Cover design by RasicArt with an illustration by A.I.R. Studio Inc. and art direction by Ray Kirschensteiner (1942–2021). The featured typeface is Germanic Sans. Designed by Acey Cypres for Headliners in 1970, it’s similar to Harpers, which was also used for an album cover for The Planets.

[More info on Discogs]

Four years after Classics for Pleasure reissued a recording of The Planets by the BBC Symphony Orchestra, the budget label released an album with another interpretation of Gustav Holst’s suite by a British orchestra, this time by the Hallé from Manchester, with conductor James Loughran (1931–2024).

The single-stroke display typeface chosen by cover designer Tony Baldwin is Eggomania, a Face Photosetting original created by his namesake Tony Yates. It’s supported by Serie II of Weiß-Initialen, with both its forms for E and the G as found in its later incarnation, Weiß-Lapidar.

[More info on Discogs]

Cannon is Lee Lai’s follow up to the Lamda Award winning graphic novel Stone Fruit. The title and author’s name on both the cover and the spine are typeset in Velzyland. On the cover, the wavy letterforms of Velzyland pair nicely with the rhythmic bird feather motif. And the angled baseline on the cover works especially well with Velzyland’s extreme slant of 25 degrees. On the spine, “CANNON” is stacked vertically alternating from red to black, further echoing Velzyland’s wavy rhythmic effect, and it’s sandwiched between the author’s name and the publisher name, D+Q, shorthand for Drawn & Quarterly. All of the type appears to be hand-rendered, as evidenced by the organic edge details which are not in the typeface, though the spacing is consistent with the typeface.

The poster for the tour with Tom Gauld and Mimi Pond uses Noto Sans.

Berlin-based designer Stefanie Leinhos signs the identity of the 2025 edition of Losing the Plot, a festival organized by the the Comic Gewerkschaft, a union connecting comic book practitioners in Germany. The festival features round tables, talks, and workshops.

Leinhos uses the freshly released NaN Archy as the unique font for the whole identity. She mostly uses NaN Archy Off in its lightest style, with the alternate one-story a. The small bolder weight artifacts characteristic of Archy (its punctuation, the connections between curves and stems…), rhythmize the texts and echoes the illustrative language used in it, evocative of scribbles and ink stains.

Plaster is an independent art magazine covering visual culture and offbeat stories from the contemporary art world. Founded in 2020 as a poster zine and relaunched in 2023 as a print and digital publication, the magazine positions itself as “the art magazine that won’t hurt your head.”

The logotype is based on the sharp, zeitgeisty serif Cirka – informal and connected, yet structurally tight. It sets the tone for a brand that resists academic rigidity while staying firmly rooted in graphic design culture.

Three typefaces define the magazine’s typographic system. Brubeck, a condensed display typeface with loud, expressive forms, is used for headlines, section openers, and large typographic moments that demand attention. Its compressed rhythm and distinctive counters give the magazine an edge in web and social media applications.

For body copy and general content, Brut Grotesque provides contrast and readability. Its pragmatic, slightly awkward geometry lends the layouts a human, non-neutral tone – consistent with the magazine’s editorial voice. Boogy Brut, used for subheads and pull quotes, adds an informal punch with its compact proportions and gestural details. Rather than creating a strict hierarchy, the three fonts interact dynamically, creating shifting layers of tone and emphasis.

Fish Butchery. Mastering The Catch, Cut And Craft is a book by Josh Niland. It was designed by Daniel New. Titles are set in Kobe from VJ-Type. The body text is in Robert Slimbach’s Minion.

Fish Butchery won the 2024 ABDA award for Best Designed Cookbook. From Niland’s website:

James Beard award-winning author and culinary game-changer Josh Niland returns with the ultimate guide to the art of Fish Butchery, with expert techniques and groundbreaking recipes that are an urgent call for action on culinary sustainability.

Josh’s multi award-winning debut The Whole Fish Cookbook created a new blueprint for fish cookery, while its bestselling sequel Take One Fish unpacked 15 different species to reveal their true gastronomic potential. In this latest book, Josh continues to open our eyes to the potential of fish in the kitchen.

Presented in three stunning sections―Catch, Cut and Craft―it’s both a challenge to the food industry to do things differently and a dazzling manual to the eye-popping potential in each and every fish.