Posters for the Friday night event at London nightclub Fabric. Forms showcases lively house, techno, disco and more. Acts range from international stars including Virgil Abloh, to local names. Regular artists include Kasra, Fabio & Grooverider, Skream and Monki.

Alias Ano is used throughout.

The main part of the Flow Machines project is Flow Machines Professional. Flow Machines Professional is an AI assisted music composing system. Using this system, creators can compose melody in many different styles which he wants to achieve, based on its own music rules created by various music analysis. Creators can generate melody, chord, and base by operating Flow Machines. Furthermore, their own ideas inspired by Flow Machines. — flow-machines.com

Erik Herrström and William Oswin used Plaak to design the brand identity and album cover for the world’s first album composed using artificial intelligence, Flow-Machines, developed at Sony’s Computer Science Labs in Paris. Plaak, designed by Damien Gautier, is available from 205TF. Suisse Int’l is used for bits of body copy.

There’s a certain cinematic feeling that can’t be called film noir because there’s too much graffiti on the train, but the shadows are long nonetheless. And then in comes that synth, and somehow the beat the goes along with it isn’t quite for dancing, but seems more in rhythm with the pulsing of your heart as danger lurks. — Clrvynt

Europe By Night is the gripping and intoxicating debut album by Stockholm, Sweden based Metro Riders (real name Henrik Stelzer) and the first release on newly minted contemporary global imprint Possible Motive. — Possible Motive

Metro Riders — Europe By Night (PM01) 2017

Metro Riders — Europe By Night (PM01) 2017

Cover of the original CD release by Elektra / Akashic Records (Japan, 1997)

“GBI (German Bold Italic)” is a 1997 song by Japanese American music producer Towa Tei. It features vocals from Australian singer Kylie Minogue, who co-wrote the song with Tei, and from Japanese musician Haruomi Hosono. It is the lead single from Tei’s second studio album, Sound Museum (1997). The song is a “minimalist” house-techno track, with lyrics written from the point of view of a typeface called “German Bold Italic”.

The typeface was actually made, and is used in the cover art. It was designed by Tei’s long-time collaborator designing team, Tycoon Graphics for Graphickers. The font file was included in the data track of the Sound Museum CD as a bonus feature, and was available for download on Tei’s and Minogue’s official website. It can still be found in the archived version of the latter.

What follows is an excerpt from the lyrics, which might help you appreciate the typeface if you can’t listen to the song right now.

(Hello) My name is German Bold Italic
I am a typeface
Which you have never heard before
Which you have never seen before
I can compliment you well
Especially in red
Extremely in green
Maybe in blue (blue, blue)
You will like my sense of style (×4)
Gut ja! Ow!
[…]

I fit like a glove
Let me adorn you
The bold design of you
One, two, three!

Cover for the first CD by Arthrob (UK, 1998) including the Sharp Boys remix

Cover for the second CD by Arthrob (UK, 1998) including remixes by DJ Krust and Shy FX

MC cover by Arthrob (UK, 1998) with a mini specimen on the back

Donald Beekman, the Amsterdam graphic designer and bass player who was a member of type designer band Wolfraam as well as various hiphop bands, has many clients in the music industry. In the 1990s, his clients also included manufacturers of legal ‘smart drugs’ that were mainly sold in Dutch head shops. FF Stargate was originally drawn (in Illustrator) as part of Beekman’s design for this smart drug’s branding.

Top image from Dutch Type, Jan Middendorp’s illustrated compendium of type design in the Netherlands. Sold out since ca. 2007, the book will be made available again through crowdfunding in 2018.

Trax is France’s leading magazine and website for electronic music and culture. Founded in Paris in 1997, Trax was historically intermingled with its subject (from the early days of the “French Touch” to later major acts), witnessing, recording, and surviving the dramatic changes of the music industry and the rise of electronic culture. In 2013, the magazine was eventually bought by its own employees. Trax turned 18 in 2015 and decided to reflect these changes with a new format.

Production Type’s Jean-Baptiste Levée, in collaboration with Large design studio, rethought the new Trax from the ground up. Starting from a new magazine format and art direction, and a new logo drawn by Levée (based on Stunt Nord, a standalone style of the Stunt family, to be released), the overhaul extended beyond the magazine to all aspects of the Trax brand, such as the website, events, and digital products.

The type palette provided by Production Type is a compound of existing off-the-shelf types, new extensions, and previously unseen designs. The main text typeface is Cardinal, a serifed alphabet drawn by Yoann Minet & Quentin Schmerber under Levée’s guidance. Cardinal refers to many classic Jannon-inspired typefaces that were popular in 1990s digital culture, and distantly echoes the ill-fated typeface ITC Garamond. In this way, Cardinal Photo and Cardinal Fruit are two extra sidekicks, reminiscent of an era where the early photocomposition faces were swapped with their electronic counterparts. Stratos, Minet’s own design, while being unreleased at the time, was featured in the layout since the first issue redesigned by the team. Minotaur Lombardic & Proto Slab debuted on the cover of Trax magazine (respectively on issues 185 & 190), too. Existing designs from the Production Type catalog were also put to use across all Trax channels: Minotaur, Minotaur Sans, Minotaur Beef, Countach, and Proto Grotesk, which gained newly drawn weights specifically for the brand.

Read more about the project on It’s Nice That and see more pictures on Large website.

APA began in 1981 as Advertising Photographers of America. In 1992 Mark Fox hand-inked this logo based on the typeface Bronzo (later renamed UltraBronzo) by Rick Valicenti, released earlier that year by Thirstype. In June 2010, the name was changed to American Photographic Artists.

Though initially considered “ugly” and hard to read, a beta version of Keedy Sans, initially designed in 1989, was featured in the opening pages of Emigre's issue #15: Do You Read Me?, which tackled age-old questions about why we need new typefaces – but in the new context of digital design.

Keedy Sans' unconventional proportions, simultaneously sliced and rounded stems pushed against ideas about legibility and rationality in modern typeface design. The eclectic sans was later picked up and sold through Emigre Fonts, setting an example for experimental typefaces that would follow.

The small type used for this issue’s colophon and contents is Oakland 6 (1985), one of Zuzana Licko’s many bitmap fonts that were later compiled as Lo-Res.

Letterform Archive holds Emigre’s complete paper archive, including font catalogs and development files, and a complete run of Emigre magazine.

Ohr Records OMM 556 022, Germany 1972

Irrlicht / Quadraphonische Symphonie für Orchester und E-Maschinen is Klaus Schulze’s debut album. On the record sleeve, he is credited for “Music, production, recording, cover, photography, text etc.”

Wikipedia:

In 2005, Schulze said, “Irrlicht still has more connections to Musique concrète than with today’s electronics. I still never owned a synthesiser at the time.” Schulze mainly used a broken and modified electric organ, a recording of a classical orchestra rehearsal played backward, and a damaged amplifier to filter and alter sounds that he mixed on tape into a three-movement symphony.

Back cover of the PDU release. “Platten Durcharbeitung Ultraphone” is an “Italian label based in Switzerland that in the 1970s imported the sound of the German Cosmic Couriers on the Italian market”. — Discogs

Inside

Text on the inside of the front cover is set in Churchward Design 70 and Data 70. Both fonts are rounded by adding some weight.

Record label on the B side, showing two Kosmische Kuriere set in Ringlet. on the back of the record sleeve, the Kuriere are translated to English as “Cosmic Couriers” and “Cosmic Couriers Production”.

The record label on the A side uses a mix of different sans serif typefaces for information in a more classic look than the rest of the album, including Semplicità Nera (for “Klaus Schulze” — the asymmetrical ‘U’ is the giveaway) and Cairoli, Nebiolo’s version of the German grotesque series best known as Aurora-Grotesk. As the record was produced in Italy, Mr. Schulze was probably not involved in the design of this label, and the record manufacturer simply used what was common, and at hand. The labels of the original release on Ohr show a human ear — “macht auf das [Ohr]” (“open up the ear”), in tightly spaced Helvetica.