Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields.

Issue 21–22 spans 136 pages and was Risograph printed in black and blue on two types of paper: Favini Remake Sky and Favini Shiro Echo.

Bicycles & Public Transportation: New Links to Suburban Transit Markets is a book written by Michael Replogle and published by The Bicycle Federation in Washington D.C., 1983.

The cover typeface is Revue. It’s used mostly in all caps, with tight letterspacing, and featuring its alternate dotted I and the descending N.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library

Following the initial À table ! poster and T-shirt, this project expands the culinary universe into a fully playable card game. À table ! is a reimagined take on the classic Jeu des 7 familles (Happy Families), heavily inspired by the mechanics of Fachorama. The objective is to gather cards from different categories to build complete menus – starters, meat & poultry, seafood, and desserts – while navigating special joker cards designed to spice up the gameplay.

The game is a satirical tribute to the outdated, unappealing, yet completely unironic recipes found in French cookbooks from the 1960s, ’70s, and ’80s, sourced directly from parental cupboards and internet archives. Mirroring the concept of the original poster, the 45-card deck celebrates the bizarre aesthetics and questionable plating of mid-century gastronomy.

Production-wise, the 45 cards were printed using two-color Risography, then finished with a silkscreen varnish to set the ink. Each category features a distinct color profile. The custom templates for the card boxes were also designed from scratch and followed the same artisanal production process.

Special thanks to @bouricooo for the finishing (façonnage) and Sacrés Caractères for the die-cutting of the cards. This project was created during my residency at Atelier Garage in Lyon, from March to June 2026. 35 decks of cards were produced. The typefaces in use are (in alphabetical order) Bookman Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono, and Zipper. Bon appétit !

The Chubukos was an alias used by the LA-based studio group Afrique for the release of two singles. For this particular single, the B-side is a rerelease of an Afrique song of the same name, while the A-side is a novelty funk number that expands on the sound and feel of Afrique’s cover of Manu Dibango’s “Soul Makossa” by taking inspiration from David Seville’s chipmunk-voiced “Witch Doctor”.

The cover art for the German release of this single provides examples of two rarer typefaces: Yum-Yum is used for the artist's name, while Stagg Shaded is used for the song titles.

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This self-titled LP was the first and only studio album by Jackson C. Frank (1943–1999). Recorded by Paul Simon with contributions by Al Stewart and Art Garfunkel, it was released in December 1965.

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This leporello was designed for the presentation of the documentary Casina·Pio·IV, L’Architettura del pensiero (“The Architecture of Thought”), produced by Morgana Studio (Eleonora Faccio, Flippo Genovese). The film was directed by Dario Edoardo Viganò and distributed by Rai Cultura, with Fujifilm Italia as its technical partner.

The leporello was printed on Fedrigoni Arena Natural Smooth paper. On the first page, the project is introduced as follows:

In the tumultuous 16th century, architect Pirro Ligorio, drawing on his extraordinary encyclopedic knowledge, created the architecture of the Casina Pio IV, a treasure trove of beauty in the heart of the Vatican that became a mirror of the radical socio-religious changes of the era, from the violent Sack of Rome to the momentous Tridentine Reform.

Written by art historian Jan Ivanega, Život Na Sídlišti (“Life in the Housing Project”) traces the origins and history of housing estates in Pardubice, from the postwar enthusiasm for construction and the challenges of building a “better world” to the transformation of older neighborhoods. The book explores both realized and unrealized urban plans, the development of infrastructure and schools, and, above all, the everyday lives of residents. Drawing on eyewitness accounts and historical photographs, many of them published for the first time, it offers a detailed portrait of life in Pardubice’s housing estates across decades.

The book was published by Východočeské muzeum v Pardubicích in a design by Milan Nedvěd Studio using KTF Compact from Kyiv Type Foundry, Grilli Type’s GT America and ABC ROM Mono from Dinamo.

From the preface:

Here, a debate between two artificial intelligences is staged: on one side, an AI that resists innovation, fears technocracy, and recalls the importance of tradition; on the other, an AI that embraces progress, looking to the future without fear or limits. The two AIs, however, avoid conflict; they prefer a smooth, rounded language, free of friction. This behavior of artificial intelligence algorithms can be interpreted as appropriate and even necessary, especially in a digital ecosystem often marked by verbal aggression and division.

Un modo per diventare più umano (“A Way to Become More Human”) is the edition linked to the artwork “XXYY”. The work presents a dialogue between two generative artificial intelligences (today’s chatbots) exploring scientific and technological progress from two diametrically opposed perspectives – one technophilic, the other technophobic.
In addition to the conversation between the two AIs, the volume includes a critical essay by project curator Daniela Cotimbo and photographs of the “XXYY” artwork.

Size 10,5×25 cm, 56 pages, Risograph printed on recycled Favini paper

Source: rockers.de Rockers. License: All Rights Reserved.

The German sleeve for Althea & Donna’s 1978 hit single “Uptown Top Ranking” features four typefaces that were all available from Letraset at the time. None of them was an original creation by the English manufacturer of dry transfer lettering, though: Kabel Black (“Top Ten in England”) and Futura (“An Original Lightning Recording”) are adaptations of geometric sans serifs originally made as metal type in the late 1920. Neptun as used for the song titles is even older than that: it’s a revival of a turn-of-the-century oddity from AG f, a foundry in Offenbach, Germany.

Photo: Florian Hardwig. License: All Rights Reserved.

Style overview of the Yankee family as shown by Alphabet Photosetting in their 1984 catalog. Yankee Shadow here is listed as Yankee Outline Shadow.

The shaded slab-serif caps chosen for the artists’ names – here misspelled Althia & Donna – were released by Letraset just a few months earlier, in 1977. Yankee Shadow was drawn by Tony Geddes. It’s one style out of a family of eight, shown by Alphabet Photosetting in London. Yankee is a collegiate slab not unlike Tal Leming’s United Serif, Christoph Koeberlin’s Winner, and Weichi He’s LL Champion. The outward-facing unilateral serifs in its boldest styles remind me of City Bold as designed by Georg Trump in 1930. Unlike City, it’s drawn entirely without curves. In this regard, it’s similar to Aldo Novarese’s Colossalis.

Source: letraslut.com Letraslut. License: All Rights Reserved.

A sheet of 72pt Yankee Shadow for dry transfer lettering, issued in 1977 in Letraset’s Letragraphica range as LG2606. There was also a 48pt size. The Shadow style was the only one from the Yankee family to be adopted by Letraset. Scan courtesy of Letraslut.

Yankee Shadow was digitized at least twice: by Mickey Rossi as Jim Thorpe (2000) and by Nick Curtis as Sis Boom Bah NF (2007). To my knowledge, other styles from the Yankee family haven’t been revived yet.

You can read about Althea & Donna’s surprise hit on Wikipedia – and listen to it in the video below.

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Flyer for a punk hardcore gig with Iron Deficiency, Black Drosera, DTRS and Bancale and Corps Vidés, April 3th, 2026, at Cafard’naüm in Saint-Étienne-Lés-Remiremont, France.

A striking typographic cover design for Beyond the Crisis in Art, featuring the overweight Gill Kayo in a single size. The book by British art critic Peter Fuller (1947–1990) was first published by Writers and Readers in 1981.

From the back cover:

During the Civil War there were many many patriotic covers (envelopes) printed, both by the North and the South. This unused one from the “Know Nothing Party” uses a patriotic flag typeface very similar to the one used in the 1870s by Robert Malcolm, as did a number of Northern envelopes. It might be a different size of Johnson’s National – or a close follower – and was printed in two runs. Note how the two colors don’t align perfectly.

National was patented in 1856, and the Know Nothing Party was dissolved in 1860. The envelope thus is probably from the second half of the 1850s.

Front cover, featuring the firemen with their instruments. Group name set in Tuscan Egyptian (Vanderburgh-Wells, 1877); album title and catalog number set in Karnak (Black Condensed; Ludlow, 1936). “GOOD TIME JAZZ” set in a yet-unidentified ornamental Tuscan typeface – seems to be a more decorative version of Tuscan Ornamented #3 (Figgins, c.1846). “Trade Mark Reg.” set in a generic Scotch typeface.

Goes South! is the fifth album from the Firehouse Five Plus Two after their four-part Story series, first released in 1954 as an EP by Contemporary Records through its Good Time Jazz imprint. As well as showcasing the seven firemen and their musical talents as they travel the hallowed ragtime lands of Dixie, the album features Walt Kelly’s famed Southern swamplander Pogo Possum on the back cover as an unofficial member.

The songs on the album – all of which are now in the public domain – are led by Disney lead animator Ward Kimball (trombone and siren) alongside fellow Disneyites Frank Thomas (lead animator; piano), George Probert (assistant director; clarinet, ocarina and soprano sax), Danny Alguire (assistant director; cornet), Harper Goff (production designer; banjo – second recording session only) and Jimmy MacDonald (sound effects supervisor; drums – third recording session only); they are joined by Dick Roberts (banjo – first and third recording sessions), Ed Penner (tuba) and Monte Mountjoy (drums – first two recording sessions).

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Back cover, featuring Assistant Fire Chief Pogo charming a hose snake using a clarinet (illustrated by Walt Kelly). “WHY POGO DOES NOT ENDORSE THIS ALBUM” set in P.T. Barnum (ATF, 1933); “By A Tinwhistler’s Mother” set in Alternate Gothic (No. 1; ATF, 1903). Kelly’s essay set in Times New Roman (roman and italic; Monotype, 1932). Liner notes, track listing and credits – as well as other indicia – set in ATF Garamond.

A late 1980s guide for how to play the didgeridoo.

The bold, unconnected casual face used for “Didjeridu” is Hand-Drawn No. 5, an early Letraset original for which the designer is unknown. Roger Excoffon’s Mistral (also offered by the dry transfer company) is used for the secondary stuff. Interestingly, several of the letterforms are either alternates or completely new ones, the latter of which were probably constructed from other letters.

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The debut album by Jamaican reggae singer Jennifer Lara (1953–2005) was recorded at and released by Studio One in 1981. For the cover typography, designer O’Neil Nanco worked with Letraset’s Manuscript Capitals, using both forms for the letter R.

Hailing from Kingston, Jamaica, Nanco studied Advertising Art & Design at New York City College of Technology (class of 1978) From May 1978 to 1996, he served as art director at Bantam Doubleday Dell in New York. He went on to work for Penny Publications.

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From Desisto:

“Tertúlias Gráficas” are informal meetups for enthusiasts in the field, held at our studio in Santa Apolónia, Lisbon. Before we head off for a summer break, we’ve invited [João Queirós] to come by and share a bit about his work and journey.

Desisto is a graphic design studio established in 2013, and based in Lisbon, Portugal. They also operate a Riso printing lab. They have been organizing the “Tertúlias Gráficas” at their studio since July 2019. Porto-based designer João Queirós was invited for the 19th edition, taking place on July 17, 2025.

The type-only banner-like poster was Riso-printed in two colors (brown and gray) and features Plain Form’s Ready Active, together with Helvetica.

Promotional brochure for a show at KOP, an exhibition space at Project(OR) in Rotterdam, run by and for artists and designers. The exhibition featured works by Willum Geerts and David Herbert.

KOP – short for Kunstenaars Ontmoetingsplaats (“artists’ meeting space” in Dutch) – was dedicated to displaying the diversity of modern art and design by means of various exhibitions, projects and publications based on contemporary concepts. KOP also organized lectures, forums and (club) events that lessen the distinction between art and low-culture.

Designer Rob van Hoesel used a prototype version of what later became Botter, together with LL Typ1451.

The research zine Publishing Anecdotes brings together insights and reflections from thirteen practitioners – both individuals and collectives – across the diverse field of artistic and critical publishing. Each contributor was invited to share a short anecdote from their practice, be it a thought, an image, a memory, or anything they felt relevant.

Contributors include Björn Giesecke, Peter Schmidt (Books People Places), Simon Wahlers (Edition Zweifel), Samuel Bänziger, Rosario Florio, Olivier Hug and Larissa Kasper (Jungle Books), Sabrina Fernández Casas & Patricio Gil Flood (Macaco Press), Paul Soulellis (founder of Queer.Archive.Work), Lauria Joan (Pseudopress), Vida Rucli (Robida), Roland Früh, Eléa Rochat, Léa Gallon, Julien Guazzini, Vincent Chanson, Pablo Arnaud, and Camilla Brenni (Sans Soleil), Freek Lomme (Set Margins’), Jonas von Lenthe (Wirklichkeit Books), and Mio Kojima (Futuress).

The publication was initiated, edited, designed, and published by Roman A. Karrer in August 2024 and marked the end of his research residency at ABA Berlin.

It It has 48 pages measuring 138×190 mm and was Riso-printed by Drucken3000 (Alexander Branczyk & Florian Haberstumpf) in an edition of 100 copies, using Medium Blue and Silver Metallic inks on Clairefontaine Tropheé Rose 80g/m² and Metapaper Rough Warmwhite 90g/m².

Special thanks to: Pro Helvetia, ABA Berlin, Emma Affoua Kouassi

Home to a taxidermy collection of over 700 bird specimens, the Bird Gallery at the museum has been a visitor favorite since 1908. This image was sourced from an archived museum newsletter.

The Everhart Museum, established 1908, is located in Scranton’s beloved Nay Aug Park.

For the banner redesign, I focused the messaging to describe what the museum continues to accomplish since its founding. Using verbs like Revealing, Inspiring, and Preserving, in tandem with imagery and artifacts from the collection, the banners celebrate the core tenets of the museum – natural history, science, local and folk art, mining heritage, and ornithology – as well as the vibrancy of the park it resides in.

See also the post about the museum’s general identity.

The Enlightening banner is a lithograph, Coal Town, by local artist, Michael J. Gallagher (1898–1965). The artwork not only speaks to the mining heritage of the area, but also the style of home that many families still live in today.

At the beginning of spring, a nearby bush sprouts beautiful flowers matching this exact shade of purple. The artwork featured here is Shimmering Wisteria by local artist and screen printer Jon Carsman (1944–1987). The museum holds many of his works.

The Revealing banner incorporates several of the fossils on display in the Natural History and Science galleries.

The Discovering banner is a collection of Dr. Everhart’s pressed flowers from his world travels. It not only speaks to the nature within the park, but to the founder’s curiosity and whimsy.

This album combines two violin concertos performed by David Oistrakh (1908–1974) together with the Russian State Symphony Orchestra under conductor Alexander Gauk (who, like Oistrakh, was born in Odesa). Opus 44 by Nicholas Myaskovsky was recorded in September 1939 and Violin Concerto No. 1 in D Major, Op. 19 by Sergei Prokofiev in June 1953.

Period Records released the album in 1955, with a cover design by Lily Gruen Zepel.

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