Leif Müller fulfills a long-held wish with Between Us: to create an album entirely detached from club conventions. The record moves between love, longing, reverie, and inner calm. Its atmosphere is melancholic yet never dark—inviting listeners to drift, reflect, and let go. Rather than dictating emotions, Between Us opens a space for each listener to reconnect with their own.

Designed by Bareis + Nicolaus, the artwork features Romie Italic, designed by Margot Lévêque and available at Claude Type, paired with what looks like Peace by Kia Tasbihgou.

[More info on Discogs]

Solæ in use for The Garden, an art exhibition in New York curated by Jeanette Spicer and inspired by “Le Jardin” (1978, translated as “The Garden”) by Monique Wittig, a major figure in feminist and lesbian theory. Drawing on her vision of radical spaces for lesbian existence, the project offers a contemporary interpretation of that utopian framework.

Bringing together darkroom prints, collage, scanned flowers, a card deck, portraits, and video, the exhibition at the Bureau of General Services—Queer Division (BGSQD) emerges at a time of renewed threats to LGBTQ+ lives. Featuring works by Rhiannon Adam, Deborah Bright, Sara Duell, Naima Green, Lindsey Perryman, Sunny Leerasanthanah, and Tray Tsui, The Garden centers lesbian vision, presence, creativity, and connection.

The italic is from Eugénie Bidaut’s Adelphe Germinal. Additional fonts used by designer Sara Duell are Kadabra by Dai Foldes and Victoria Rushton as well as BBB Baskervvol by Bye Bye Binary.

glug is a sensory throwback for the modern palate. A wine bar living inside an old arcade with classic cabinets, natural wine, and curated simplicity. Good things take time.

This Master’s degree project, realized at Elisava, goes beyond branding. It was created together with Shaina Suri. The digital motion was guided by Gerard Mallandrich.

Hitos del cine venezolano is an editorial and exhibition project by journalist and researcher Gil Molina. It is an unprecedented work within its genre, both in Venezuela and across Latin America, tracing 125 years of history through its most significant milestones.

Following four years of rigorous research – supported by filmmakers, critics, the CNAC, La Cinemateca Nacional, and La Hemeroteca Nacional, as well as the endorsement of 47 international film festivals such as Cannes, Venice, and Berlin – the project culminates in the book and exhibition titled Hitos del cine venezolano: 87 películas / 87 carteles. In this showcase, the graphic pieces have been reinterpreted by designers Ricardo Báez and Juan Mercerón.

The exhibition 2hochx about “physics and art between time and space” is a cooperation between Experimental Physics 2 and the Department of Art and Art History at TU Dortmund University. From the website of the venue, Dortmunder U:

Young artists have explored dimensions in time and space, starting with physical phenomena. The common denominator of both disciplines is that models, methods, devices, and cameras extend from large scales down to the nanoscale, making spatial and temporal leaps in scale visually tangible. The multimedia artworks move at different speeds from small to large worlds and back and were presented to the wider public for the first time in an exhibition on TU Dortmund University’s City Campus in the Dortmunder U.

This project provides insights into the works and the accompanying publication in the form of a continuous leporello.

Movie poster for the 1987 vampire film The Lost Boys, directed by Joel Schumacher, starring Keifer Sutherland, Jason Patric, Corey Feldman, Corey Haim, and Diane Wiest.

The title treatment is set in caps from Palatino (designed by Hermann Zapf), using a mix of sizes. The billing block is also set in Palatino.

The tagline is set in Caslon 540@ by the American Type Founders Company.

Orbit is a close follower of Village, which was shown by Photo-Lettering in 1968 – initially as Psychedelitype 5788 – and is credited to Ed Benguiat. Orbit appears in a 1970 catalog by Lettergraphics, without credits, and is distinguished by unflared letterforms and an R with vertical leg, among other small differences.

Here we get to see Orbit in use for American Pie. The second studio album by singer-songwriter Don McLean was released by United Artists Records in October 1971.

[More info on Discogs]

Poster for a concert at Stadthalle Offenbach, Germany, on June 13, 1972, organized by Mama Concerts. The information about venue and tickets features Helvetica and Helvetica Condensed.

The Visual Lexicon Vol.1 brochure for Dan Mauz’s exhibition at Park Royal Gallery in London was designed by Black Skew and Dogma Studio using Feraz Condensed and Times.

Multidisciplinary artist Dan Mauz shares his mind and unconventional visual approach in his solo exhibition Visual Lexicon Vol.1, which displays selected paintings, sculptures and installations conceived by the artist in the past five years. Considering art as a form of understanding and communication parallel to language, clarity of intention and simplicity in material translation are key to Dan's practice.

Park Royal Gallery is a non-profit gallery in West London. They host exhibitions and events, supporting local artists, makers, and the community.

Inspinniert is a combination of workspace visits and art fair, held in Rapperswil, Switzerland. The artwork for the 2025 edition was designed by design studio Stellwerk Ost and set in Bourrasque ​​​and Brut Grotesque.

Teylers Museum in Haarlem is the oldest museum in the Netherlands, founded in 1784 based on the legacy of Pieter Teyler van der Hulst, a banker and philanthropist with Enlightenment ideals. In his will, Teyler left provisions for the establishment of an institution to house scientific instruments, natural history collections, and art, with the goal of promoting knowledge and learning for the public good.

The museum's Oval Room, originally the primary exhibition space, was designed to reflect the intellectual values of the time. With its elliptical shape and high dome, it provided a setting for the display of objects and scholarly study. Today, it continues to house scientific instruments and geological specimens. As the museum expanded, additional galleries were built to accommodate its growing collection, but the Oval Room remains a central and historically significant feature.

For several decades, Teylers Museum has used DTL Documenta and DTL Haarlemmer for its signage and publications, including captions in the glass cases and information typeset on the walls during exhibitions. However, it is unfortunately unclear who first introduced these typefaces or how their use at the museum began.

Over the years, several studios including Bregt Balk, Gracia Lebbink and Studio Wesseling have worked on (parts of) the museum’s identity. It’s not clear which of the shown items was created by whom, except the image showing the ‘chiseled’ T, which is part of Studio Wesseling’s previous visual identity for the museum (they are also responsible for the current branding).

1977 pressing by Jubilee

Jackie McLean was born on this day in 1931. The debut album by the jazz alto saxophonist from Harlem was also the first release by record label Ad Lib, in 1956, under the title Presenting… Jackie McLean, with a cover by Parboo Singh.

When Jubilee Records reissued it in 1957, they commissioned Sy Leichman with a new cover. The only common feature between the two designs is the cat, here depicted with wings (or is it an owl with cattail?), miscellaneous geometric forms, four pairs of hands playing various instruments, and a blissful smile that echoes the sickle moon.

The typographic lockup is composed from the lightest weight of Peignot (Deberny & Peignot, 1937), with a superscript C.

[More info on Discogs]

Seymour “Sy” Leichman was two years younger than Jackie McLean: he was born in Brooklyn in 1933. In 1954, he graduated from Cooper Union (see his portrait in The Cable, the school’s student annual). Within a few years and together with photographer Charles Varon (an assistant of Richard Avedon), he accounted for about 100 record covers, according to a 1959 article in the Gettysburg Times. Leichman served as art director at KGA Sales Promotion Agency [Art Direction] and in 1961, he was with Ehrlich, Neuwirth & Sobo. [Art Direction] He co-founded Spencer & Leichman, later known as The Leichman Group, and also art directed at Ted Bates.

After this “short stint in the world of commercial art, Leichman visited Spain, to study Goya, and Mexico, to study the art of Orozco and his contemporaries. Leichman began exhibiting his work in New York around 1970. Today his art is included in such major collections as the Butler Institute of American Art. Seymour Leichman also taught as an art educator at the Art Students League of New York. Perhaps his best known works, however, are his children's books which he both authored and illustrated.” [RoGallery] Leichman died April 10th, 2016 in Manhattan. [obituary]

Detail

1971 reissue by Deep Groove, Japan

Druga skóra / Second Skin is the result of the international project Interweaving Structures, exploring textile as material, method, and medium through seminars, residencies, and research. Hosted by the Central Museum of Textiles in Łódź with academic partners in Kraków and Bergen, the exhibition brings together contemporary installations that reinterpret museum textiles as vessels of memory. Artists engaged with the collection’s institutional context, challenging systems of classification and conservation to reveal hidden narratives. Organized into four thematic groups: Binding, Repetition, Unravelling, and Repairing; the works explore fabric as both personal and collective skin.

This exhibition catalog is designed by Daria Malicka and uses Romie Regular and Italic, designed by Margot Lévêque, as the headline typeface. The text typeface is David Březina’s Skolar.

A poster using Signal Compressed by Production Type to combine EXPO and Parade. The exhibition will present the graduation projects made at Design & Art School Kortrijk (DAS). Other text is in RM by Mash Creative. The photo is by Nataliia Martynova, a student at DAS.

Our font Pitanga gives a genuinely Brazilian touch to Rua Walls, one of the country’s largest urban art festivals!

The festival, which takes place in Morro do Pinto, in Rio de Janeiro, chose our typeface to bring life to their new visual identity, created by Tipograma. With light, organic, and loose strokes, Pitanga brings that irreverence that perfectly matches the event’s urban and social transformation proposal.

Seeing our font in the streets, contributing to a project that includes 20 initiatives highlighting Brazilian cultural identity and heritage, fills us with pride.

3,466 meters above sea level: No other literary prize in the world is awarded at a higher altitude.

The name and logo alone allude to mission of the European literary prize 3466. A triangle indicates an altitude and the superscript 4 alludes to the location of the award ceremony: a peak in the Savoy Alps. But let’s start from the beginning…

Founded in Paris by Le Grand Continent, the first Prix 3466 was launched in 2021 and the annual prize honors a major work of European literature every year. Thanks to an exclusive partnership with the cable car operator, Skyway, the award, which comes with a prize fund of a very generous 100,000 Euros, has found a home in the heart of the Mont Blanc massif. The award ceremony takes place at an altitude of 3,466 meters on the Pointe Helbronner, which can be reached by a luxurious 360° glass gondola. The Pavillon du Mont Fréty stopover at 2,200 meters serves as a beautiful meeting place for the nine-member jury.

Creative agency Tundra, which was founded in Turin in 2009, is responsible for the visual identity of the renowned literary prize. Francesco Busso, Matteo Pont, Pia Panzanella and their team developed the memorable logo, website and printed and digital materials. They chose selected styles from Christoph Koeberlin’s Pangea family (Fontwerk) as the house font and combined them with Joshua Darden’s serif typeface Freight Text (The Freight Collection).

Double page spreads from the annual report of the Literary Prize 3466, set in Pangea Light and Medium by Christoph Koeberlin and the serif typeface Freight Text by Joshua Darden.

The current winner of the Prix Grand Continent 3466 is the German author Martina Hefter.

Graphic identity by Nora Freynet using Gaya for the art association Non-étoile and its exhibition space No No No.

Non-étoile introduces itself as follows (translated by the contributor):

Non-étoile is a self-managed collective made up of around a hundred artists, designers, writers, curators and musicians from a wide range of backgrounds, all working together to share workspaces and production resources.

Non-étoile is behind a number of events and exhibitions. The association also runs the nonono space, a place dedicated to exhibitions and experimentation, and hosts the web radio stations Radion and Lyl radio.

Two posters for my lecture about 50 years of working in graphic design and typography. A combination of my initials, E and D, in different colors and a selfie photo in the background.

TT Fors is used on the CRUSH Collection website. The logo is based on Friz Quadrata.

CRUSH Collection is an international knitted and crocheted clothing brand that has delighted customers with warm and sophisticated Old Money style clothing for many years.

As a student assignment at the ArtCenter College of Design, instructor Charles Lin presented the following context:

Simon & Schuster, a publishing institution with a century-long legacy, undergoes a strategic rebranding following the US government’s intervention to thwart Penguin Random House's acquisition bid. This shift heralds a new era for the company, positioning it as a champion for underrepresented voices and diverse narratives.

Simon & Schuster now serves as a beacon for small-scale and marginalized authors, reshaping the literary landscape by elevating unconventional forms of expression. This rebranding initiative encapsulates the company’s commitment to fostering dialogue and inclusivity, envisioning a literary culture that transcends boundaries and embraces controversy as a catalyst for meaningful discourse.

The logo design utilizes the S from the typeface Voyage – which also reads as an ampersand. The ampersand symbolizes the brand’s commitment to unity, collaboration, and the joining of voices. Just as the ampersand brings together separate entities into a cohesive whole, the rebrand strives to amplify voices that have been marginalized, and illuminate stories that have been overlooked.

Editorial New, crafted by Pangram Pangram, elevates the brand with a sophisticated and contemporary aesthetic. Its lighter weights exude elegance, refinement, and subtlety, making them ideal for sub-headers. The heavier weights make bold statements, boasting lush curves and exaggerated forms for enhanced expressiveness. Additionally, the luscious and curvy italics serve as a pattern system, adding dynamic flair to the brand communication.

The brand voice echoes the harmony of the emotional and rational, the timeless and contemporary. IBM Plex Serif combines components from classic typefaces like Bodoni and Janson into a contemporary serif, bridging the gaps between Simon & Schuster’s long-standing heritage and relevance in the modern era.

Cover art for the single release of “Nuria’s Not Coming To LA” by the San Diego band Pelican Club.

The typefaces are featured over a photo of the San Diego skyline filling in for Los Angeles, evoking the West Coast Pop and Latin influence of the single.