Front cover

Cover for the 1991 single “The Wave of the Future” by Dutch/Belgian duo Quadrophonia. The design is credited to Image Building.

The group’s name is in Variex, while Modula Sans is used for the title and the text on the back cover. The large Q is from ITC Benguiat.

[More info on Discogs]

Back cover (with the ARS logo in Stop)

A neighborhood neo-brasserie and festive bar, Boucan reinterprets the traditional codes of the bistro through a contemporary lens. The branding is built on a dialogue between visual heritage and modernity, conceived as a graphic reinterpretation of classic bistro references, turning the venue into a full experience rather than a simple destination.

The logo is developed through multiple variations, set in Ohno Blazeface by OH no Type Co. and Enfilade by JTD Type, reflecting the many facets of the space. The visual identity embraces bold graphic decisions, driven by expressive, sometimes playful type choices, most notably Grilli Type’s GT Haptik Rotalic, Animo by Heavyweight, and Roca by Elena Genova, which bring rhythm, movement, and character to the overall visual system.

Glitch Library is a knowledge sharing space and an idea exchange place. We stack books on art, design, cultural theory and everything în between: from visual culture resources to typography, illustration, photography, with a keen interest on poster design.

It is not just a physical collection of books; it’s a place where creative minds come together to exchange thoughts and build a community around the love of art and design books.

The library itself is housed in the Glitch Design Studio offices, surrounded by colleagues and friends who share a deep passion for art and design. This unique setting fosters collaboration, whether you’re here to work on a project, explore new ideas, or simply enjoy a good book.

The branding inspiration was found in print based elements such as letterpress blocks, trim symbols, color guide symbols and typographic experiments. The main font used is Inter from Rasmus Andersson for its clean aesthetic and paired with Bookmania by Mark Simonson Studio for it serif madness and appropriate name for a book library project.

Within the library's activities Glitch Studio DesignSessions (a talks series of events) was initated. I designed all of the event posters as part of Glitch Studio. All of them play on the general love of print that is also the basis of the visual identity. Beyond typographic and lettering experiments all posters use trim marks or color guides in different ways for cohesion.

For the last three DesignSessions talks, designers from the Netherlands were invited to give talks on book design and graphic design. The first of these events saw Esther de Vries on her book design experiments, as such the main focus was showcasing a virtual book cover for the poster. Following this Richard Niessen showcased his ongoing project The Palace of Typographic Masonry, inspiring the poster to focus on Graphic Languages.The final event was hosted by Liza Enebeis from Studio Dumbar/DEPT® on books and motion. The concept behind this poster was an animated form of letterpress blocks.

This project has been awarded in the Poster category of Local Design Awards 2025; it was also selected in the 29th International Warsaw Poster Biennale Main competition as well as shortlisted for the Antwerp Poster Festival 2025.

Creative direction by Dan Stănescu, project management by Ana Banu. Art direction and graphic design by Andrei Nicolescu. Photo credits: Mihai Ciobanu (posters) and Dragoș Hanciu (events).

Chirpin’ is the 1977 album by the Persuasions, an a cappella group that formed in Brooklyn in 1962. Art direction by Tony Lane, with a cover painting by Gary Meyer.

The typographic treatment pays homage to the lettering on the iconic Tube map for London Underground from 1908, with larger EndcapS and each letter enclosed in a tile-like box. The fonts used to emulate the hand-drawn sans are Futura Bold and Extra Bold

[More info on Discogs]

For comparison: detail from London’s 1908 Tube map

The Spanish Pavilion at FILBo 2025 is conceived as a series of landscapes connected by the movement of mobile libraries. Common in rural areas, these institutions constitute essential infrastructure for universal access to knowledge. Modest in scale and materially austere, they operate outside the logic of economic profit, linking readers in peripheral communities through their circulation. Historically, mobile libraries have played a vital role in both Colombia and Spain, providing access to books for broad segments of the population and often serving as a first point of contact with reading.

The Pavilion understands the mobile library as a form of architecture that links two kinds of knowledge: the written word, inscribed on the pages of books, and orally transmitted craft knowledge, embodied in materials such as handmade felt, macrame, netting, or fique. This dual condition resonates with universal semantic connections between words like text, textile, and tale—coincidences that appear in Latin (textum) as well as in Amerindian languages spoken in Colombia, like Wayúu (süchi).

The visit to the Pavilion unfolds as a sequence of welcome, gathering, and farewell, articulated through different program elements. A large entry plaza introduces visitors to the curatorial proposal. From there, they access a series of spaces: an exhibition of Spanish photobooks; another on historical memory and graphic novels; a 240-seat auditorium; an 80-seat forum; and a large bookstore-reading area. Visitors exit through a second plaza that opens onto a terrace-canteen.

To design this project, Murray Branding & Design studio used Garaje (Thomas Huot-Marchand) and Renotype (Radim Peško) , two typefaces distributed by 205TF.

Photos by Javier Agustín Rojas (Pavilion) and Alexander Gümbel (artisans’ process)

Source: gallica.bnf.fr License: All Rights Reserved.

Issue 6, April 25, 1928

French weekly magazine Vu was the brainchild of Lucien Vogel (1886–1954). It was first published on March 21, 1928, with a logo designed by Cassandre. 637 more issues followed until May 29, 1940. Vu is best known for pioneering photojournalism, featuring works by contributing photographers such as Cartier-Bresson, Man Ray, Brassaï, Robert Capa, and André Kertész.

From the very start, it included a section titled “Les distractions de la semaine” (“The week’s distractions”) with various puzzles, or problèmes. Initially, the crosswords came with handwritten numbers, see this example from issue 5. In the sixth issue from April 25, 1928, Vu introduced solutions for the crosswords. These no longer used lettering. Instead, they were composed from a special font. Simply named Mots Croisés (French for “crosswords”), it offered blank and black squares as well as such with capital letters for clues and solutions, internal and external numbers, and border elements. Mots Croisés is shown in Deberny & Peignot’s Spécimen Générale from around 1936.

Last month, Poem released Phông, a digital typeface inspired by crossword puzzles. It was created by Khải Quang Nguyễn during his research residency at Atelier National de Recherche Typographique. While his primary inspiration were the puzzles in Phong-Hóa, a Vietnamese satirical journal first published in 1932, he also looked into Vu – which led me to Mots Croisés. Cảm ơn, Khải!

Source: gallica.bnf.fr License: All Rights Reserved.

Detail from issue 21, August 8, 1928

The other fonts in use for “Les distractions de la semaine” are worth a look, too. While the dancing fat face with the checkered fill used for the title is lettering, the thin caps for “Résultats” in the first image are typographic: they come from the generically named Antique Fine. The puzzles themselves are set in Beaudoire’s Elzevir, which started about 1860 as a commercial copy of Louis Perrin’s Caract. Headings are in the accompanying Elzevir Gras, which has more in common with Alexander Phemister’s Old Style Antique No. 7.

Source: gallica.bnf.fr License: All Rights Reserved.

Issue 21, August 8, 1928

The bold italic caps used for the solution du problème № 37 (above) are from Sphinx italique. One of the sans serifs seen in issue 249 from March 1933 (below) is Consul, which was available from several French foundries, including from Peignot & Fils as Antiques maigres larges.

Source: typedrawers.com License: All Rights Reserved.

Detail from issue 259, March 1, 1933

Clarence Carter’s Patches is a soul album released in 1970 by Atlantic Records. The album cover was designed by Loring Eutemey and features typography set in Stencil.

The album title appears in bold caps, with each letter boxed with a dotted line, positioned above a sepia-toned close-up portrait of Carter (by Joel Brodsky). The typeface’s cutout style was widely used in the late 1960s and early 1970s for its strong visual presence.

[More info on Discogs]

HipSoft. License: All Rights Reserved.

Jig Words is a word puzzle game developed by HipSoft and released on May 25th, 2005. The primary typeface chosen for the game art is Estro. Aldo Novarese’s casual slab with horizontal contrast is used with shaded caps for the letter tiles. Secondary UI elements are in Tahoma. See more of the game in Gage Brown’s playthrough video of the RealArcade release.

Source: www.youtube.com HipSoft. License: All Rights Reserved.

Back cover

Jeroen Wille has designed the cover for Står op med solen, an album by Danish saxophone player, composer and bandleader Amalie Dahl. Typefaces used on the back cover and the labels are Store Norske Bass, Store Norske Gangster, and Store Norske Geita – all from Skriftkompani. The cover art is by Juliane Schütz.

[More info on Discogs]

Front cover

The DC19 audio plugin interface

The interface for DC19 — a new audio plugin from Goodhertz — features a number of variable fonts. DJR’s Nickel Gothic was used for the plugin logo and display size text, while HEX Projects’ HEX Franklin was used for static control labeling. A few controls leverage Nickel Gothic’s width axis to pack words in multiple languages into regular rectangles.

HEX Franklin was also used for promotional material, including print ads and this launch video:

All interactive/dynamic type in the plugin is set with Mass Driver’s MD System, which is used throughout the Goodhertz audio plugin suite as our, well, system font.

Also featured are the unreleased Papanek by HEX Projects (used for “[A Little Weirdo]” in the top left), as well as an in-progress custom handwriting font (currently named “Ghz Hand”) by OH no Type Co (used for the word “Free” near the center of the interface).

All static interface text and promotional materials were typeset with Coldtype, while all dynamic/interactive text is set with Skia. Both libraries use Harfbuzz internally.

The full DC19 interface, including the advanced controls

A magazine ad featuring DC19 in the studio

The Korean language version of DC19, which replaces Nickel Gothic with Minjoo Ham’s Dunkel Sans, yet another variable-width face

The French version of the static interface, rendered by Coldtype before interactive elements are added to the interface in the running plugin

Rixius AG is a German company in the packaging industry with 140 years of history. Since a relaunch in 2021, the logo uses Client

Reuse, Renew, Recycle: Recent Architecture from China focuses on eight recent small-scale interventions by Chinese architects on the theme of sustainability. This idea of small-scale interventions inspired the design of the wall with the staggered title. The projects, numbered one through eight, interrupt and displace the oversize exhibition title. Inside, the numbering system continues on a map, and as headers that give structure to the space.

Karin Reiter’s Strumpfboutique on Akazienstraße in Berlin-Schöneberg was a fashion store specialized in stockings. Its sign contrasts a custom script in green letters affixed to a wooden strip with monospaced caps from Pretorian, with each letter placed in a (once) lighted box. The fascia lettering below features ungainly stretched Brush Script. Shortly after this photo was taken in June 2023, the boutique closed its doors for good.

During the 1970s, cultural shifts saw a rise in the popularity of the occult and the psychedelic. This wasn't just a movement confined to underground scenes or countercultural pockets—it permeated mainstream consumer goods too, even those targeted towards children.

This Palmistry kit was part of Mattel’s fortune-telling line, “Mystique”, that use an eclectic mix of colors and typefaces to create a sense of play and magic. The series logo is in lowercase Neptun. Palmistry uses Victoria for the title.

This blend of commercialism and countercultural wasn't exclusive to Mattel during this era; brands like Hallmark, Burger King, Heinz, and even Shell adopted themes and aesthetics resonant with an interest in the esoteric!

See also Mystique Fortell Cards and Mystique Astrology.

The Character Computer Chart uses Folio breitmager for the title. “Mystique Palmistry” combines Othello and Times New Roman. The copy is set in Century Schoolbook. Labels are in Helvetica caps, numerals come from Folio Extra Bold and Torino Italic.

The transparent hand sheets are labeled in Folio with biform alternates. Headlines are in Marschall.

GOG – Gäste Ospiti Guests – is an exhibition of the projects developed by the students of the Faculty of Design and Art of the unibz – Bolzano, South Tyrol, Italy. At the end of each semester, the work produced by the students in the fields of visual communication, product design and art is displayed in the spaces of the Italian university.

The visual communication developed for the winter semester 2022/23 edition of GOG uses the Baustraße font designed by Fantasia Type. It’s supported by Folio. The unibz logo uses FF DIN.

Packaging

Modular sofa company Allform utilizes Bungee for a reconfigurable logo. Serving as the primary font in the branding with square proportions and rounded edges, Bungee echoes Allform’s sofa designs.

A casual lowercase setting of Cortado contrasts the all-caps logo while complementing its playful tone. In longer text, Raleway maintains the friendliness in a subtler way.

In late 2018, Other Office (Simon Sweeney and Shauna Buckley) designed the identity and website for Girl Outdoor Magazine:

Empowering women adventurers – Girl Outdoor Magazine is a collective of Irish wanderers, photographers, videographers and writers with one thing in common, a love of the great outdoors. We are adventurers, sharing our knowledge and passion with those who love an active-lifestyle.

The main typeface of the website is Founders Grotesk (Klim Type Foundry, 2010), combined with copy in Spectral, designed by Production Type and released the year before by Google. Both play a modest role, leaving it to the travel photos and a color palette in five variations to grab the visitor's attention.

The logo is an unexpected but all the more celebratory application of Ceremony – a comprehensive typeface family for cartography and information design. Studio Joost Grootens developed, refined and expanded – and most importantly applied – their typeface collection in designs for books, maps and atlases for a long period before it was released as a retail typeface via Optimo in 2015.

The link of both Ceremony and Girl Outdoor with maps is obvious. But while SJG’s information design strictly links different frames and colors to specific meanings and functions, Other Office simply looked for a cheerful combination of frames from its extensive toolbox (77 styles!): the logo ended up using eleven different styles, for eleven letters.

I love this record.

I had assumed that the “Kano” type was Futura condensed oblique, but the crossbar on the A is too high. It’s kind of driving me nuts trying to match it.

I have no idea about the “New York Cake” type, but any insight would be appreciated.

First released in Italy by Full Time Records, this is the cover of the U.S. release on Mirage. Cover concept by Novella Massaro, art direction by Michelangelo Farina.

[More info on Discogs]

A series of posters for [sic], a community club for Mexico City’s LGBTQ scene, and a “nocturnal playground for the queer”, playing house, club, disco, and techno. Design by Andrés Higueros, using a variety of fonts.

Eddy Manson (1919–1996) was an American harmonica player and arranger. His album Ping Pong Percussion and the Harmonica (from around 1960?) was released by various labels, with at least three different cover designs. The sleeve shown here is the one by Promenade Records, featuring reversed boxed caps from Radiant Extra Condensed integrated into a harmonica.

[More info on Discogs]

Detail. The logo of Promenade Records is based on Filmotype Hindu, supported by Vogue Extra Bold.