Fließender Übergang – poster for the annual exhibition of the BBK Bremen, the local association of visual artists, that took place at KH Künstler:innenhaus Bremen. The exhibition was curated by Clara Kramer and showed various artistic positions that dealed with flowing processes, mostly with the idea of water.

The key visual is based on the brackets of the typeface Ronzino, which form waves but also create a visual distortion. The idea of the visual was to create an easy neutral system that can be adapted to different forms, like the artists’ works, that were shown in the different rooms of the gallery.

The sleeve of this single that The Beach Boys released through EMI Electrola prominently features Roundel by Alphabet Photosetting.

[More info on Discogs]

Sound Drinks partnered with Redscout to create a brand identity that would help them become the beverage of choice for a new wave of customers.

As a grounding element, Redscout selected Raisonné by Colophon Foundry to complement the tessellating waves of color that span across the packaging. Its structure and subtle playfulness bring clarity and character, creating a typographic voice that feels confident, clear, and approachable.

Waterfront Blues Festival has kept Portland’s music community bopping since 1988. As a legacy brand, honoring the loyal fanbase who’s been there since day one while welcoming a new generation of music lovers is crucial. We pored over vintage concert posters to update the Waterfront brand in a way that bridges the past and the present to create something recognizable yet refreshed.

Verso Vino is a wine cellar and delicatessen based in Hossegor in south-west France, founded in 2023 by Sarah Bouteille. Surf culture is very much alive in this part of France near the ocean. This explains the brand mark: three bottles sharing a wave.

Grieg Seafood isone of the world’s largest salmon farming companies with brands in the USA, Canada, and Europe.

Mission Design made a new visual identity for Grieg Seafood built around a wave-like shape inspired by a creative concept titled “Ripple Effect”, symbolizing how small changes create far-reaching impact. This became the foundation of a flexible graphic system with vibrant colors, dynamic layouts, and an updated tone of voice. New imagery highlighted taste, connection, and the joy of eating, bringing the brand’s story to life.

The headline font chosen for this is IvyPresto. On the website, it’s paired with both FF DIN and DIN 2014.

Fonts from the Flea Market #1385

The cover of this Swiss release of “Mozart’s most beautiful melodies in the sound of the time” combines three typefaces whose names are all prefixed by three letters.

In G.K.W. Computer, they refer to Gustav Kuhle Werbung, a German advertising agency with branches in Berlin and Munich. Their close follower of Moore Computer was distributed by Berthold Fototypes and Zipatone.

The initials in MGB Patrician stand for Don Munson, Lynda Graham, and Ray Barber. Lynda is the widow of Barber who co-designed the typeface together with Munson, then Art Director at Ballantine Books.

Last but not least, the prefix in ITC Garamond denotes the International Typeface Corporation. Founded in New York in 1970, it pioneered the licensing of typeface designs for phototypesetting and dry transfer lettering. ITC originated a number of highly successful releases, including reinterpretations of classic designs, typically with a raised x-height and expanded to a range of weights.

[More info on Discogs]

Redcast Heritage Co. is a Madrid based menswear brand specializing Japanese influenced denim and vintage workwear.

Kerama Blue, their recent collaboration with Japanese denim label ONI, is a limited release of 158 pairs of selvedge jeans and 50 Type III jackets.

The artwork was designed by Canadian illustrator Jon Kutt (a.k.a. The High Road Design).

“Kerama Blue” is set in Dug by Central Type. Dug is also used for the secondary type “Intense Bio-Washed Natural Indigo Jeans”.

Occlupanids (bread clips) were once very common in my childhood, but it seems that in the UK they have largely been largely eliminated from bread bags (their presumed ancestral environment). I hadn’t seen one for years so it was with some nostalgic loss that I was browsing the website of the Holotypic Occlupanid Research Group; such a rich body of knowledge, but lying now largely in the past for me.

Imagine my excitement when I found a contemporary occlupanid on some bunched beetroot in our shopping. Possibly environmental loss and other pressures have forced occlupanids into new niches for their kind.

The main typeface is Rougant which otherwise hasn’t appeared on Fonts In Use yet.

The first Italian edition of the European Design Awards and Festival took place in Naples from 30 May to 2 June, with the partnership of AIAP (Italian Association of Visual communication). The visual identity sprang off from the collaboration between two Italian design practices. Naples-based studio Dotfog populated the identity with a series of bizarre figures taken from local history that evolves in infinite combinations, while Studio FM Milano worked on a theatrical representation of Naples inspired by the 18th-century postcards sold to the Grand Tour travelers from all over Europe. Three images based on the most traditional Neapolitan views were reconstructed, three bright colors (light blue, pink, orange) and three words were chosen (‘Volcanic’, ‘Tumultuous’ and ‘Sunny’).

Together with these design decisions, the choice of Roma Neue – practical, clean, legible, perfect for exhibition design and corporate identity – contributed to create a sort of visual tapestry able to express the essence of design and celebrate European culture.

Louis Möckel commissioned Sigrid Schmeisser to collaborate on the promotion and design of a vinyl record for their research project: “What acoustic traces do mass-produced items leave along their supply chains, and what ecological impacts do these sounds have?”

Sound behaves differently in air, water, or soil, and different species perceive it uniquely—dolphins, for example, hear frequencies far beyond the human range. These distinctions raise critical questions about how to evaluate the ecological impact of industrial soundscapes.

Sonic Footprints explores the sonic connection between the industrial noise of a plastic toy dolphin’s supply chain and the sensitive acoustic habitats of real dolphins. Through interviews with four scholars, the research examines sound ecology from diverse perspectives: Gianni Pavan, assesses the harm industrial noise inflicts on marine life. Robert Rosenberger, postphenomenologist, investigates how sound data, shaped by human technologies, can reflect subjective biases. Tim Ingold, social anthropologist, redefines ecology by emphasizing the relational dynamics of sonic perception. Salomé Voegelin, sound studies scholar, reframes sound as a primary way of understanding, challenging visual-dominant knowledge systems.

This project reimagines ecology through sound, uncovering the often-overlooked consequences of industrial noise. Accompanying the text are recordings from the toy dolphin’s supply chain. Musicians Inland and SHXCXCHCXSH reinterpreted these soundscapes into compositions that are available on vinyl and online.

Sonic Footprints invites readers and listeners to listen differently, framing sound as a crucial lens for understanding the hidden interconnectedness of ecosystems and industrial processes.

I used Harber (variable) to create the main identity for the project, including a couple of pre-launch videos that introduces the research and project.

The vinyl record and publication are available at SetMargins’.

Photos by Louis Möckel & Sigrid Schmeisser, as well as Annette Behrens (commissioned by SetMargins’).

Sonic Footprints publication (cover)

Simple, geometric shapes, large, expressive typography and the distinctive, relaxing color of blue created the visual identity for a unique project: a pro-frequency campaign for the city of Sopot, Poland, for the local elections, held in April 2024.

From the press release (auto-translated):

Sopot joins the ranks of Polish cities that are activating residents to participate in local elections through a pro-frequency campaign. The Sopot campaign will launch in mid-March under the slogan "You live, you vote, you decide." Specially designed graphics will appear in public spaces and social media, among other places. The aim of the campaign is to reach the widest possible group of residents of the Sopot resort and get them to actively participate in the April elections.

The project was intended to be understandable to both young and older audiences and to evoke positive emotions. There are a lot of older people living in Sopot, and the City wanted to build electoral awareness also among young people who live and exist here on a daily basis. We wanted to encourage all residents to go to the polls and decide about their neighborhood. It was certainly a difficult task to make the campaign design reach every group of residents. The city also wanted to raise a strong awareness of the possibility of actively deciding about their small homelands. Yet, as tourists are not this campaign’s target audience, we focused on aspects of living in Sopot that are close to everyday life.

The arts weekender website and leaflet is maximalist, quirky and a riot of colours and shapes. Weston is a slightly weird place and we wanted the site to embrace that and challenge the conventions of a typical arts festival website.

Rooted in Westons unique coastal landscape, Promenade considers an ecology of place, and our relationship with the environment we live in.

Established in 2009, Music Tasmania is the peak industry body representing Tasmania’s music sector. Music Tasmania exists to amplify the voices of musicians, festivals, technicians, and artists. The music created in Tasmania is very much of the island. It has a unique DIY-ness and it is un-phased by popular trends and mainland fashions. The organisation needed a rebrand to relate to its members on an artistic level.

The two typefaces – ABC Maxi Round by Dinamo and Untitled Sans by Klim Type Foundry – typify Music Tasmania as an organisation that represents a contemporary and expressive music scene: one typeface is expressive with odd glyphs, while the other is an elegant font designed to be unseen.

The ‘wave’ logomark situates the brand at the intersection of sound and nature, as waves are found in topographical contour lines, water and air, as well as oscillation in sound. The nine bands represent the nine Tasmanian Aboriginal nations, the Traditional Custodians of this land. The brand colour palette was selected from Tasmanian flora – the hyper colours of waratahs, wattle, and apple-berries; and the muted blues and greens of the water and sky surrounding the island.

From publisher Hartmann Projects:

Twelve Waves—the simple title points out the number but not the type of waves Jörg Gläscher introduces in this book. 
In terms of physicality, a wave is an undulation that spreads out periodically, or a disturbance of equilibrium. Gläscher’s “waves” are the antithesis of this. Made with found, broken pieces of wood, these “standing” waves are sculptures constructed in the forest. These wooden waves are both the expression and the result of a long phase of unaccustomed silence, contemplation, doubt, and uncertainty, which arose during the lockdown that occurred as the first wave of the novel coronavirus swept the globe in 2019. For Jörg Gläscher, the forest was a refuge during this span of time. Out of his experiences and explorations of nature emerged ideas that led him away from his usual field of documentary photography and toward the twelves waves in this book.
These pieces expand beyond the medium of photography (to which he devoted himself after studying under Professor Timm Rautert at the HGB Leipzig) but do not abandon it entirely. He documents his sculptures in photographs that contrast the isolated atmosphere of the forest with dynamic wave formations, making it possible at last to perceive the waves in all of their might and mystery.

The book was published coinciding with Jörg Gläscher’s exhibition wood, waves and energy at Stadtmuseum Paderborn. The hardcover (layflat) comes with a booklet and a poster. Printed by Sachsendruck Plauen.

Source: archive.org Bitsavers. License: All Rights Reserved.

April 1970 issue ft. Amelia

Modern Data was a professional trade journal “for corporate and technical management, systems analysis, EDP managers, software specialists, and computer systems and operations managers.” It was published by Delta Publications, Inc., Framingham, Massachusetts, from around 1968 to 1976, initially with the subtitle “Products, Systems, Services”.

For the first volumes and at least until 1974, Optima was used for the logo, in tightly spaced caps. No art director is credited, but the cover art for most issues from this period is by William Kwiatkowski.

By January 1976, John W. Kelley, Jr. had assumed the role of art director and introduced a new logo based on Blippo Black (not shown here).

Source: archive.org License: All Rights Reserved.

January 1970 issue with “Modern Data” in two lines and the subtitle “Products, Systems, Services”. “The Videofile System” is in Optima, too.

Source: archive.org License: All Rights Reserved.

June 1970 issue ft. Helvetica

Source: archive.org License: All Rights Reserved.

July 1970 issue ft. Folio

Source: archive.org License: All Rights Reserved.

November 1970 issue, again ft. Amelia

Source: archive.org License: All Rights Reserved.

December 1970 issue ft. Akzidenz-Grotesk extra and Helvetica

Pearla Pigao is an Oslo-based artist, musician, and craftsman. Drawing on her background in both music and textile art, her work explores the relationship between sound and material, drawing on the commonalities between weaving and musical composition to create digitally hand-woven textiles that create visual, tactile experiences of sound structures.

Her 2020 installation Wave Shaper at Soft Gallery Oslo was accompanied by a limited edition LP of the same name. The album art was designed by Norwegian graphic designer and letterpress printer Ane Thon Knutsen fittingly (“Do I hear LTypI?”) using Kinckq by The Pyte Foundry paired with the uber-classic Univers by Adrian Frutiger.

On this exhibition poster, the title Internet Surfing is in Neue Helvetica, a classic in contempory art. The font contrasts with the retro style of the old system window that creates a waveform. The Chinese font used for “網路衝浪手冊” is yet unidentified [it’s Hiragino Kaku Gothic, see comments].

The date of the exhibition is in Roc Grotesk Wide Extra Bold.

From the Yo-Chang Art Museum at National Taiwan University of Arts (NTUA):

How do we ride the waves of the surging and foaming Internet?

This exhibition is titled Internet Surfing: A Handbook for Surfing the Internet.
Through the function of a “manual”, each point of attention becomes a guideline for practicing the exhibition, and at the same time reveals the overall structure of the exhibition.

Through the artworks on display, we re-experience Internet Surfing and explore what we might see and hear when we ride the waves of the Internet.

A multicolored use of Jester Ornamental, which was Photo-Lettering’s adaptation of Alphabet Fantasque, for an album of Hawaiian music by Leo Addeo (1914–1979) and His Orchestra, released in 1972 by RCA Camden. The letterforms of the decorative 19th-century alphabet were color separated: some structural parts and all shadows were printed in cyan and magenta, resulting in a dark purple. The fills alternate between orange with red and green with blue. These colors are likewise achieved by overprinting process colors, as the partly imperfect registration reveals.

[More info on Discogs]

Detail

The Next Wave is an annual festival of theatre, music, dance, literature, art and other forms of alternative culture. The 30th annual event was conceived as a look back at three decades of the festival, and the most important personalities who have performed in the festival were invited. The festival was held in Prague and Brno, and a number of posters, banners, leaflets and other materials in various colour combinations were produced. As a reference to the 20th edition, the poster again features a detail of Hokusai Katsuhika’s famous woodcut The Great Wave off the Coast of Kanagawa. The typography is based on the Megazoid typeface, which itself is the distinctive face of the festival.

Festival poster in Prague

Negative and positive version of festival poster

Tsunami – a printed festival newsletter. Megazoid is paired with text set in Adelle.

Spread from Tsunami – a printed festival newsletter