Designed by the Slovenian design studio Ljudje, Indeks is Dacho’s debut album. The cover features a photo of the young rapper and mimics a student record book. Main title is set in Ergon, the stamp uses a typeface named Karlin, designed by Type Salon after a concept design by studio Ljudje, and the artist’s full name is written by hand. There are a few more typefaces making an appearance and extending the typographic palette: Helvetica, Notera and Cactus Jack.

24 Flags / 24 Flaggen is a project of the Kunstmeile Hamburg, shown from June to October 2025. The flyer was designed by NODE Berlin Oslo using Mimesis Regular by Laucke Siebein/Type.

On the 24 flagpoles along the Kunstmeile, artists Than Hussein Clark, Özgür Kar and Ketuta Alexi-Meskhishvili will show works developed especially for this space. With 24 Flags, the Kunstmeile Hamburg is sending a visible signal for cultural presence and artistic participation in public spaces.

Nieuwe Instituut presents SIDELINED: A Space to Rethink Togetherness, the Dutch contribution to the 19th International Architecture Exhibition—La Biennale di Venezia, developed in collaboration with curator Amanda Pinatih and social designer Gabriel Fontana. Hosted at the Rietveld Pavilion in the Giardini in Venice, the project reimagines the sports bar to question how architecture shapes social dynamics.

The museum describes the projects as follows:

How can architecture resist exclusionary social norms? How can we create spaces that nurture new ways of coexisting? SIDELINED explores these questions by presenting an alternative sports bar, continuing designer Gabriel Fontana’s investigation into social dynamics in through the lens of sport. By subverting traditional norms and suggesting deviations, the Dutch Pavilion strives to change the rules of the game.

Sport, as both a reflection and producer of societal conventions, shapes group identities and can often be divisive, polarising and exclusionary. Fontana challenges these structures by understanding sport as an architectural system—one that regulates spaces, bodies, and behaviour—opening the playing field to inclusivity, empathy, and solidarity.

In collaboration with designer Koos Breen, artist Jeannette Slütter, curator Amanda Pinatih, and including works by a range of artists, researchers, and others, SIDELINED shows how built spaces can be hostile or welcoming, encouraging new ways of thinking about bodies, spaces, and identities.

Responding to the Biennale’s theme of Intelligens, the pavilion stages encounters that disrupt the norms of sport and its architecture, inviting visitors to engage through play and observation. The font used for the pavilion is WT Skrappa by Jacob Wise.

Who Are We Cheering For? is the sports newspaper accompanying the exhibition.
The newspaper was developed by Gabriel Fontana and Amanda Pinatih, edited by Maia Kenney and produced with the help of Frank Verkade and Charly Blödel. It was designed by Doğa Gönüllü, using the typefaces Feraz by Giulia Boggio and Literata by Irene Vlachou, Veronika Burian, Vera Evstafieva and José Scaglione.

Karuta is a traditional Japanese card game where players listen to short descriptions read aloud from a reader’s card. Each turn, players race to grab the matching card with the corresponding picture or text, and the player with the most cards at the end wins.

Font Karuta is a variation designed for typography enthusiasts. Instead of pictures, the reader announces the font name and description on the reader’s card, and players compete to pick up the card displaying that font. The player who collects the most cards wins the game.

This edition is the “extension package” featuring only blackletter designs.

From top left to bottom right: Respira Black, FF Brokenscript, a couple letters from Breitkopf-Fraktur, Blackmoor, Claudius, an e and an exclamation mark from Old English, Wallau, Amador, Fakir, San Marco, American Text, Caslon-Gotisch, Engravers Old English, Marian Black, Fette Fraktur, Lucida Blackletter, JAF Herb, Gutenberg Textura, Alte Schwabacher, Goudy Text, Fette Kanzlei, and a tiny bit of Fette Gotisch. Featured in the game but not shown in the images are Deutsche Schrift and Wedding Text.

The box front features the title in Amador, with Clairvaux for the list of included typefaces. The Japanese font appears to be DNP Shuei ShogoMincho. The Font Karuta logo is in Akko.

The German-language game instructions are set in Gutenberg Textura with a headline in Blackmoor, in caps of alternating colors.

Sheila Gaffney’s retrospective exhibition Embodied Dreaming is currently on display at the Blenheim Walk Gallery, Leeds Arts University, from October 4, 2024, to January 11, 2025. Curated by Marianna Tsionki, the exhibition showcases a diverse range of Gaffney’s works, including sculptures, drawings, video installations, and previously unseen models, emphasizing the importance of the creative process in her artistic practice. The exhibition draws inspiration from Gaffney’s doctoral thesis on psychoanalyst Christopher Bollas’ concept of “embodied dreaming,” exploring themes of identity, gender, and memory.

The exhibition is accompanied by an essay written by Griselda Pollock, offering a theoretical perspective on Gaffney’s central themes. The publication, edited by Christopher Sand-Iversen and Marianna Tsionki, was printed by Northend Print and published by Really Simple Syndication Press. Pollock’s essay delves into how Gaffney’s work bridges craft with psychoanalytic theories of embodiment and self-construction, presenting a rich intersection of practice and theory.

The publication's design incorporates the typefaces Silvana Text and Fusion, developed by Blaze Type. Printed on Fedrigoni paper, it reflects the tactile engagement Gaffney has with her materials, enhancing the conceptual depth of her work. This thoughtful publication design highlights the materiality central to Gaffney’s art, offering an intellectual and aesthetic framework for interpreting her oeuvre.

Moulin is the brand typeface of retreat enterprise Palstone. Their visual identity was designed by Studio Retama:

Palstone offer experiential, seasonal retreats from fringes of Dartmoor, South Devon. The retreat is hosted by rotating experts within five keys fileds: art, nature, yoga, healing and food.

The logo references the asymmetric five sided-shape of the stone inset the ancient wall that surrounds the farmstead. This asymmetric is also introduced by way of the font Moulin (Commercial Type). A fine balance between sculptural and calligraphic forms, the classical shapes of the typeface were near perfect match to the original stone-carved lettering we found throughout different sections of Palstone.

As the retreats are seasonal and varied, the identity adapts to each on through the use of colour.

Mr. Papa, a fast food restaurant located in Lima, Peru, is the place where you find the perfect balance between delicious potatoes and culinary innovation. With a typically Peruvian flavor, Mr. Papa stands out for its sustainable approach, offering maximum flavor with minimal environmental impact.

To reflect this joyful and sustainable essence, we created a fun and vibrant visual identity, using colorful illustrations and a careful combination of typefaces that bring rhythm and dynamism to the compositions. For the logo, we chose the Okkult typeface family from Good Type Foundry. Despite its roots in the seventies with influences from horror films, it has monumental characteristics that bring expressiveness and a bold touch to the brand, creating a striking contrast with the playful illustrations.

For titles and headlines, we opted for ABC Marfa Mono Black from Dinamo. This monospaced font creates interesting text blocks in larger sizes, adding a vernacular air that perfectly combines with the other graphic elements. Marfa Black Mono enriches the visual identity with modernity and originality.

I really love this jacket, the colour combination, the title ragged with a waterfall-like slope on the right, and the well-matched ornaments.

I didn't recognise the font (I wasn’t even sure it was one), but it turns out to be Richard Bradley’s Bible Script. Although written in 1937, the collection of short stories didn’t find a publisher until 1979, which happens to also be the year that Bible Script was released (although this jacket, being from an English edition, comes after that).

From Wikipedia:

When Things of the Spirit Come First is Simone de Beauvoir's first work of fiction. It consists of five short stories woven together in a way that is structurally similar to a more traditional novel.

Beauvoir submitted this collection of interlinked stories to a publisher in 1937. But it was turned down by both Gallimard and Grasset. Gallimard eventually published it in 1979. The first English translation came out from Pantheon in 1982.

Looks like the jacket makes use of the alts and ligatures available in the font. I checked a few, but not all of them.

This edition was translated by Patrick O’Brian and published by André Deutsch and Weidenfeld and Nicolson.

Make sure to also check out the jacket of the U.S. edition by Pantheon Books, designed by Louise Fili with lettering by Craig DeCamps.

Visual identity and website for FLOR, a youth movement that promotes nature and biodiversity. The objective? To build a platform for Danmarks Naturfredningsforening (Danish Society for Nature Conservation) that supports local initiatives and youth communities fighting the biodiversity crisis in the middle of which we find ourselves.

From planting trees and scattering seeds, to spearheading national campaigns, FLOR connects youth with the environment, ultimately paving the way towards a flourishing and biodiverse future.

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

January 1990, ft. an unidentified rounded sans

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

February 1990 ft. Italia Bold

C82 is the website of Nicholas Rougeux, a Chicago-based designer and data artist. One of the many great things one can find on C82 is his collection of train tickets sold by Metra. Every month, the commuter rail system in the Chicago metropolitan area releases a new ticket design. In 2004, Nick started collecting. Over the years, and with the help from other ephemera enthusiasts as well as of Metra, the archive considerably grew in size. At the time of writing, it includes an impressive 1,395 tickets, spanning more than fifty years of commuter history.

This post highlights the monthly tickets from 1990 and 1991. In a recent blog update, Nick comments:

In the early 90s, ticket designs varied significantly with new typography and visual styles appearing each month. I can’t say these are some of my favorites but I recognize that this may have been in an effort to curb counterfeiting. However, I do enjoy some of the typography from the 1990s tickets. I owe a big thanks to fellow collector John for these and others.

Each of the tickets features a different typeface. Many of the chosen fonts stem from the libraries of ITC (Korinna, Quorum, Serif Gothic, Zapf Chancery, …) and Letraset (Caxton, Italia, Romic (Letraset), …). There are also classics that go back to the era of foundry type, like Beton, City, or Optima, and Monotype originals like Albertus and Plantin. The typographic smorgasbord is completed by designs as diverse as Moderne Schwabacher, a turn-of-the-century blackletter; Salut, an upright script first cast by Gebr. Klingspor in the 1930s; and Checkmate, a futuristic sans with chamfered corners, dreamt up at Schaedler in the 1970s – all of which were either used still as phototype, or in the form of early digitizations.

For the year 1990, all abbreviated month names are shown in vertically stretched letterforms. The source of the stacked numerals (“90”) was identified by Quinn as City Bold, see comments. The bitmap caps (“D/A”) are likely custom. While the spelled-out month names and the ticket numbers are similar to OCR-B, the specific font appears to be a proprietary design with some differences, probably from a specialized printing machine.

The Metra logo seen on the depicted train as well as on some of the tickets is Crillee. See also the dedicated post about it.

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

March 1990 ft. Macbeth

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

April 1990 ft. City Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

May 1990 ft. Checkmate

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

June 1990 ft. Roberta

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

July 1990 ft. what appears to be a version of Filmotype Amber (or a similar face)

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

August 1990 ft. Salut

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

September 1990 ft. Moderne Schwabacher a.k.a. Chalet Text

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

October 1990 ft. Clarendon Condensed

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

November 1990 ft. Beton Bold Condensed

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

January 1991 ft. ITC Quorum Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

February 1991 ft. ITC Kabel Ultra

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

March 1991 ft. ITC Serif Gothic Heavy with the pointed forms for M and A that were omitted from the digital version. “March 1991” uses ITC Korinna and Times New Roman.

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

April 1991 ft. a bold variant of Plantin

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

May 1991 ft. a bold variant of Albertus

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

June 1991 ft. Caxton Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

July 1991 ft. Optima Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

August ft. ITC Cheltenham Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

September 1991 ft. ITC Zapf Chancery Bold with the alternate swash caps

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

October 1991 ft. a bold variant of Century Oldstyle

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

November 1991 ft. Romic (Letraset) Bold

Source: www.c82.net C82 / Nicholas Rougeux. License: All Rights Reserved.

December 1991 ft. ITC Berkeley Oldstyle

Translation from Joonseok’s description:

We have gathered the works of Greenbee and Yaz produced during the year 2022. Greenbee, a small graphic design group, and Yaz, a small illustration group, share their own direction and come together in R777. We filled the walls with memories, created a tree with posters, and made gift wrapping paper using leftover paper to exchange presents. This winter, Green Bee and Yards unite through a retrospective exhibition like this, emanating a vibrant energy similar to a Christmas festival.

Here, PoW Limerick is used in its Circle style.

Sundown is the second solo studio album by singer Eddie Chacon. Produced by John Carroll Kirby, it was released on March 31, 2023, on Stones Throw Records.

The cover was designed by Justin Sloane, using a photo by Jack McKain and Sloane’s own Notre Ami. This typeface is an ongoing exploration inspired by the cover lettering of the book Notre ami Louis Jou from 1929. It’s used for the title as well as a sort of logotype, with swashy caps and a nested Ch pair. The supporting sans is another unreleased design by Sloane currently titled Office Grotesk.

Read more about the album in the reviews by Margeaux Labat for Pitchfork and by Alexis Petridis for the Guardian.

[More info on Discogs]

Record label

Track list, credits, and lyrics are set in LTC Remington Typewriter with titles in Notre Ami.

Dinked Edition 235 is a limited pressing of 500 copies on 180g opaque silver vinyl that comes with a fold-out 18″×24″ poster and a banderole.

Detail of the Dinked Edition. The monospaced font is LTC Remington Typewriter; the Japanese font is Arial Unicode.

Notre Ami already appeared on the single artwork for “Holy Hell”, released on August 11, 2022. The bold sans is Greed by Displaay Type Foundry.

Single artwork for “Sundown” (March 2023), “Comes and Goes” (November 2022), “Step By Step” (January 2023), and “Holy Hell” (August 2022)

“Holy Hell” (Mndsgn Remix), December 2022, also with Greed

This booklet was published as a debriefing and contemporary document for the PEW PEW PEW art festival, organised by the Austrian artist group edition: between 2021 and 2022. The folded event poster on glossy paper serves as the cover, the core is printed on slightly greyish, uncoated paper – which creates a wonderful tactile experience.

The assemblage of mobile phone photos, cut-outs and strictly continued monospaced typography combine to create an exciting mix of impressions around the festival. The back of the magazine is to be understood as a subordinate mini-poster that documents the evening of the zine’s release once again.

About the festival, from the artist group’s website:

The highlight of our annual program is the PEW PEW PEW festival. The festival’s name illustrates laser-beam sounds and sets the pace. Artist groups (two or more people) are invited to stay for mini-residencies (4–5 days long) in Linz, in which they collaborate on a show of their work, which will be presented on the mini-residency’s last day.

A dizzying amount of caps from Tendril, for the cover of an album with compositions by Albert Ketèlbey (1875–1959), performed by Eric Rogers (1921–1981) and the Royal Philharmonic Orchestra. The illustrated triptychs are early works by Susan Obrant. The layout and typography is uncredited. The record was released by Decca in the UK. This is the US release by London Records, with identical artwork.

[More info on Discogs]

Someone took issue with the top-heavy R in Windsor Elongated: in the title (but not in the smaller lines below), this glyph was replaced with the one from Cheltenham Extra Condensed. The liner notes use an interesting typeface, too: it’s Rudolph Ruzicka’s Primer.

Le régime parfait is the first novel by writer and researcher Estelle Benazet Heugenhauser, published by Rotolux Press in 2022. Through an interior monologue and with a cruel sense of humor, the book builds up the portrait of a woman, Madame Perez, who, waiting for her children to come home, remembers scenes from her past.

The book was designed by Léna Araguas and Alaric Garnier and typeset in Berthe (Abyme, 2018). The cover lettering, screenprinted in olive green, is a bespoke, slightly heavier version of Deberny & Peignot’s Caractères Latins Étroits, drawn by the book’s designers.

Freetown was a contemporary art village at the Fire is Gold music festival. The idea was to create a refugee-like town, put up with basic materials. Twelve aspiring artists of color were given a stage to show their work.

Keen was commissioned to create the identity. The logo is an animated flag that is used in several versions in print and digital. Colors and typefaces are a clash of styles with red and yellow, and Cinderblock and ITC Clearface. The color choice was also practical because the colors had to work well in every application, from a small screen to a 6m banner.

Freetown is a project by The Constant Now, art space for diversity; S.M.A.K., the Municipal Museum of Contemporary Art in Ghent; and ART United.

Founded in 1891 (then named Bohemian Brewing Co., and renamed in 1896), the Atlas Brewing Co. served beers even throughout the prohibition years—when it was one of six Chicago breweries to be permitted to serve “near-beers”, and later ½% beer—until it closed in 1962.

Below are various variations on the same advertisement used throughout 1899–1914. The serif typefaces used are different cuts of De Vinne (c. 1892). I’m not sure what grotesques were used, but from 1909 to 1914, ‘BEERS’ seems to be set in Gothic No. 2.

Atlas Brewing Co. advertisement, 1903

Atlas Brewing Co. advertisement, 1904

Atlas Brewing Co. advertisement, 1904

Atlas Brewing Co. advertisement, 1908

Atlas Brewing Co. advertisement, 1909. Note the alt R of De Vinne Condensed in “Brewing”.

Atlas Brewing Co. advertisement, 1910. Note the alt R of De Vinne Condensed in “Brewing”.

Atlas Brewing Co. advertisement, The Chicago Eagle, December 5, 1914, Page 7. Note the alt R of De Vinne Condensed in “Brewing”.

Gospoda Glembajevi (English: Messrs. Glembay) is a drama by Croatia’s most prolific author of the twentieth century, Miroslav Krleža. It deals with the decay of a bourgeois family at the eve of World War I and the position of an artist in that society. The play premiered in 1929 at the Croatian National Theatre of Zagreb (HNK). The poster here on display advertised its new staging at the same venue, in 2017.

Two typefaces are in use on the backdrop of the photograph. Chap, the theater’s corporate typeface designed by Schick Toikka in 2016, a sans serif with marked stroke contrast. And, making for the big title, Rector, a serif typeface in the tradition of inscriptional and incise models. Rector was designed by Hrvoje Živčić and this poster shows the typeface at an early stage of its development: the full family was only released in 2021 by Production Type, winning its designer several awards.

These are some of the results of the workshop called “Read Me” that Stephanie Specht gave in November 2021 during the Google Visual Design Summit by Google Design:

A short hour where participants received a folder with a selection of typefaces, color swatches and guidelines so they could create a simple typographic poster in InDesign using all kind of treatments. They also had to collaborate in pairs on their design. Minimum input, maximum output! From the 23 typefaces they picked Terminal Grotesque, Selva Script, Editorial New, Mineral Solid and Millionaire.

For the cover I used all designs on top of each other. Wondering what could have been done in one day with this workshop though … many more layers and collaborations could lead to something super vibrant!

Throughout the publication, ABC Monument Grotesk and ABC Monument Grotesk Mono are used for information.

Grand Cuisine is a creative consultancy based in Paris working with brands to produce campaigns, commercials, identities and events. Large designed the agency’s visual identity and website using Malamocco Regular.