Visual identity for Project Space Festival Juárez 2025, Operaciones aleatorias (“Random Operations”), at Museo de Arte de Ciudad Juárez.

From Wikipedia:

The World Goes On (Hungarian: Megy a világ) is a collection of twenty-one short stories by László Krasznahorkai. Originally published in Hungarian by Magvető in 2013, it was later translated to English by John Batki, Ottilie Mulzet, and George Szirtes and published in 2017 by New Directions Publishing.

The cover for the English edition was designed by Paul Sahre, who likes to slice up his type (see The Country Road and I Like Fun). This time, he repeated “The World Goes On” and the name of the Hungarian novelist and screenwriter six times, and cut through the lines horizontally. The title gradually disappears, the author emerges. The chosen typeface is Aperçu Bold. In 2017, it still was a leftfield sans from a hip indie foundry. Since the 2023 sale of Colophon, the font is another asset owned by Monotype.

László Krasznahorkai was awarded the Nobel Prize in Literature in 2025.

For Glasgow’s TRNSMT 2025, Alias Ano is used for the logotype and Instagram-friendly graphic posters. Ano is also used across the website and social media.

DJ Charlie Hedges

Logo and Klanghaus

From Studio Marcus Kraft:

For over 20 years, Klangwelt Toggenburg has been offering unique experiences on the subjects of sound, resonance, tradition, voice and much more. Embedded in the foothills of the Alps in Eastern Switzerland, characterized by an original singing and music culture. Just in time for the inauguration of the new Klanghaus (sound house) in May 2025, the institution is now getting a contemporary visual identity that reflects this special connection.

Studio Marcus Kraft accompanied the rebranding process for three years and developed a visual identity that conveys the complexity of the Klangwelt Toggenburg. The centerpiece is a tailor-made dynamic corporate typeface that can be modularly expanded using recurring letter elements – creating a typographic resonance inspired by overtones, sound frequencies and the mountains and valleys of the alpine landscape.

I had the privilege of helping to develop this font, a customization of Forma DJR called Klangwelt that is used across the entire identity. The basic family employs Forma’s double-story a and curled j as default characters, as well as introducing arrows for signage and a handful of other tweaks.

But the real fun was in working with Marcus to create the special Resonance style, which involved writing a Python script to automatically slice up the letterforms, create component glyphs for the parts, and duplicate them above and below the base letters.

The resulting font contains over 1,600 alternate glyphs that provide options for resonance position (duplicated above, below, or above and below) and resonance amplitude (duplicated one, two, three, or four times).

With so many glyphs, we worked to create a series of contextual rules that would automatically create a pleasing undulation of resonance peaks and valleys as words are typed. These rules take into account the presence of ascenders, descenders, and diacritics to ensure readability. From this “out-of-the-box” setting, designers can further customize their text using OpenType Stylistic Sets to access the remaining alternates, a typographic playground of near-limitless possibilities.

Brand introduction:

Embossing:

Klanghaus opening:

Website:

Resonance font:

Sound logo:

Booklet

Booklet spread

Stationery

Embossing

Environmental signage

Environmental signage

Flags

Posters featuring the Klanghaus

Design manual

Cover for issue 7/1966 of Typografia, the technical journal of Czechoslovak printers.

The design is by Oldrich Hlavsa (1909–1995) who contributed cover designs to the periodical already in the 1930s. For the one shown here, Hlavsa arranged the letters of the title in five lines, working with caps from a display cut of Times New Roman and utilizing repeating glyphs and the crop-and-repeat technique. The small text at the top is set in italic and bold styles from Empiriana Antikva, Grafotechna’s version of ATF’s Bodoni.

Yet another use of PLINC’s Plywood can be seen on The New York Rock & Roll Ensemble’s self-titled debut album, released in 1968 on the ATCO record label. Stanisław Zagórski is credited as being the album’s designer, featuring a painting by Dennis Corrigan.

[More info on Discogs]

The crop-and-repeat move is a technique that modernist typographers keep coming back to since the late 1960s. Perhaps the most striking execution – if you want to fill an entire page with type – is the crop-and-repeat that starts from both the top and bottom and ends with a complete title in the center. So far, our earliest example of this on Fonts In Use is Mencken by Carl Bode, designed by George Lenox in 1969. This exhibition catalog cover by Jacqueline Casey is the second. Once you open the wrapper to reveal the back cover, you see Casey took the technique even further, continuing the repeat in the lateral direction.

A profile of Casey from Display, where I just acquired this item for Letterform Archive’s collection:

Casey headed MIT’s Office of Design Services from 1955 to 1989 where she and her colleagues played a critical role in popularizing functional Modernism and the International Typographic Style in the USA. “My work combines two cultures: The American interest in visual metaphor on the one hand, and the Swiss fascination with planning, fastidiousness, and control over technical execution on the other.”

She designed the poster (see last image) for this exhibition of which she said: “Golub used strong, sweeping, horizontal brushstrokes. I wanted the type to respond to his technique and the colors to his sober subject matter.”

Graphic design for Night Dreamer Records’ amazing sounding release. Included is a double LP with photography book from the session.

Embracing the risk and vulnerability that comes with the live direct-to-disc process, Isaiah Collier and his band tapped into the frequencies of improvisation that fired up so many of the most timeless jazz recordings. “Recording direct-to-disc gave me a really fortunate opportunity to experience what our musical predecessors almost a hundred years ago were dealing with,” he explains. Cassette using high quality from RTM Industries. Available via all your favourite streaming platforms, and directly from Night Dreamer Records.

[More info on Discogs]

Dead Minutes is a storytelling game by Tom K. Kemp about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

As the players, you will act both as authors of this story, making zoomed-out, informed decisions about what happens next to the potentially billions of people in the afterlife, and also as point-of-view characters within the story, who are being impacted by these decisions and respond to them as individuals. The game will tell you when to make these switches in perspective.

You will all be working together to tell this story coherently, but will also be critical about the events that you create together, attempting to bring tension, gravity and stakes to the narrative. Throughout the game, you will all take on different responsibilities in order to help you do this.

By the end of the game, together you will have told a complex story about the afterlife, why it was bad, what dead people did to change things there, and how some of them feel about it long, long after.

This book contains the instructions you need to play the game, an essay by artist and theorist Patricia Reed, and a series of invented afterlives by writers Chris Beckett, Habib William Kherbek, Samuel Clarice Mui Shen Ern and Selma Selman.

Commissioned by STRP Eindhoven. Risograph printed and bound by no kiss? on EOS 100g/m² and EOS 120g/m² paper in black colour. Edition of 200, 36 pages.

Description of the project by New Studio :

With NIKE global we embarked on the branding of Nike's progressive new platform: NIKE Future Movement. Nike FM houses all community based initiatives from Nike, acting as a channel for programs such as Be True, La Familia, N7, We Are Born Ready, among others. [...]

But how do you brand community activism? We went back to the most basic step for starting a movement: spreading and propagating information. We took reference on traditional media broadcast formats and layouts, such as zines, newspapers and printed matter, from there we broke it up into a consistent but mutable and adaptable design system.

This campaign uses Pangram Pangram's PP Formula for its headline and body, a design choice explained by the designers on the Brand Identity website:

“We were looking for a typeface that has a bit of an activist character, something that is strong and rebellious,” Matos notes, further customising the A, M, V and W letterforms to appear more dramatically slanted. “It gives the typeface more character and supports the word ‘Future’ and ‘Movement,’” Matos concludes, “we also adjusted the weights here and there to give it a bit more of an imperfect feel,” embodying the grassroots contexts of many community causes across the brand, as well as the personal nature of the programme.

See the live website at nike.com. For more images, visit the website of Pangram Pangram and New Studio.

Sporting Lagos, also known as Sporting FC, is a professional football club based in Lagos, Nigeria.

Communities are built on relationships. Sporting Lagos draws inspiration from this relationship. The visualisation referencing communities is not centred on the static already existing relationships, but with one that is in constant motion, where people are meeting new people continuously. Where this continuous relationship happens is where the Sporting Lagos logo is crafted from.

The logo leverages an important existing element, being the centre of a budding community of sports enthusiasts. In the search for what truly represents communities we landed on a resolution that emphasises “All roads lead here”. The colour scheme for Sporting is predominantly yellow and blue. This yellow reflects the base colour of Lagos’s vibrancy paired with a deep blue that acts as an alternate for the expected black.

The jersey designs are inspired by patterns that both represent communities. The home jersey is inspired by roads – being the pathway for community building, and the away jersey, is inspired by flocks of birds, tightly knit into a intertwined pattern.

The entire Sporting identity is laced with the excitement of Lagos visually narrated with a combination of with repetitive patterns, Lagos-related typography and colour, and vibrant messaging.

Druk Wide and Druk Condensed are paired on the website of Tiger Milk. From the article on type.today:

Tiger Milk is a chain of restaurants in France and Belgium; the brand was named after a marinade made with lime juice and red onion. Besides its slightly wild illustration, the project website offers a booking option, a chance to explore the menu, and a form to apply if you’d like to join the team.

The headings and subheadings are set in Druk Wide by Commercial Type; a narrow typeface from the same collection is charged with all the info graphics.

Smaller text is set in Hoefler & Co.’s Archer.

Picture from a sign using Obviously at Taubira’s candidacy announcement rally

In a French political landscape with standardized visual codes that all look alike, the teams of Christiane Taubira, France's former Minister of Justice (2012–2016) partly known for having promulgated the law on marriage and adoption for homosexual couples, wanted a campaign with distinctive visual languages to represent the woman who hoped to unite the left-wing parties.

The logo is based on Norwester. Obviously was chosen for its “handmade signs” aspect, recalling the militant victories of past decades and the hope represented by a Taubira candidacy. Its “American” look also reflects a desire to link up with the progressive movements represented by a section of the American left, such as Alexandria Ocasio Cortez and Bernie Sanders. The fact that Obviously exists in dozens of different styles is also ideal from a presidential campaign perspective, to adapt to all the media that count today: from placards to digital.

See more images on the portfolio page.

Social media content

Social media content

Website

Source: paris-paradis.leparisien.fr License: All Rights Reserved.

Acier Noir + Acier Outline

Paris Paradis is the name of an annual open-air festival held since 2018 in the Parc de la Villette in the northeast of Paris. It was initiated by Le Parisien, the leading daily newspaper of the French capital when it comes to paid journalism. The festival spans over a weekend from Friday to Sunday and unfolds between two stages dedicated to music performances and the “Cabaret Sauvage” reserved for French humorists. The program and the many activities between the stages are deliberately eclectic: paradise has to offer a space for everyone.

Since its beginnings Paris Paradis uses the combination of a script for “Paris” and modernist all-caps for “Paradis”. This combination is actually reminiscent of French letter painting after 1950. While the script is probably an individual lettering piece based on House Script, the word “Paradis” uses a bichromatic setting of Acier.

Commissioned by Charles Peignot of the famous Deberny & Peignot foundry in Paris, Acier was originally designed by A.M. Cassandre in the 1930s. Yes, that Cassandre. The metal type family had two members, Acier Noir (black) and Acier Gris (gray, filled with thin strokes) that were meant to be printed in two colors on top of each other – If you will, a modular system allowing for many different effects in print.

Being the first to revive Acier for the digital era, Jean-Baptiste Levée not only studied closely the printed specimens but also decided to pick up on the inherent modularity and carry it further. He broke the whole design down into its elemental parts (solid, outlines, strokes) and made them into single fonts that you can recombine at will. This way he extended on Cassandre’s typeface. The digital Acier is available in two optical sizes from Production Type.

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Acier Solid for the festival map

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The 2023 comedy lineup. For this year’s edition, Acier is supported by ITC Avant Garde Gothic – which is quite similar, but offers a range of weights and more conventional numerals.

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The 2023 musical lineup. The word “présentent” is set in House Script.

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Kalika will present her debut album at Paris Paradis 2023.

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Franglish will perform live at Paris Paradis 2023.

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Acier Gris for signs on the venue, here for the kids’ space

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Pauline Croze live on stage

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Acier Gris in use for the 2018 edition

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Acier Noir in use for a visual review of the 2021 edition

Everett in use for Marro – Société immobilière, a real estate company based in Québec, designed by Simon Gauthier. The logotype features two unicase straight r.

Poster designed by Justin Colt at The Collected Works for The National and their Homecoming Festival in Cincinnati. They created an overall concept of “returning home” with a typographic system that has a sense of movement, even when sitting still.

All typography is set in Agrandir Grand, except the festival title which uses Albuquerque.

“For the rock group Earth Quake, Danziger created this fragmented typographic treatment by photographing type through a prism. He amped up the visual tension by using blue and red of equal value for the background—an op-art treatment that causes the image to vibrate as the color wavelengths hit the eye simultaneously.” — Louise Sandhaus, Earthquakes, Mudslides, Fires & Riots: California and Graphic Design 1936-1986, p. 106

“One of the very few album covers I ever designed … The group liked the cover so well that they adopted it for their band’s logo.” — Louis Danziger, ArtCenter News, 2013

The original model for the title lettering appears to be Chubby, a phototype face released not too long before this album was released in 1971. According to Discogs, art direction was by Roland Young.

Taito's promotional flyer for the Japanese release

From Wikipedia:

Space Invaders is a 1978 shoot 'em up arcade game developed by Tomohiro Nishikado. It was manufactured and sold by Taito in Japan, and licensed to the Midway division of Bally for overseas distribution. Space Invaders was the first fixed shooter and set the template for the shoot 'em up genre. The goal is to defeat wave after wave of descending aliens with a horizontally moving laser to earn as many points as possible.

1978 promotional flyers for the Space Invaders arcade game.

The game's title is based on ITC Machine and rendered in an imposing perspective with repeated lines in alternating colors, suggesting a falling motion, much like the descending waves of invaders in the game itself.

On Midway's arcade machine, the text on the control panel is set in what appears to be Eurostile and the points-per-invader on the monitor bezel are set in Countdown.

A flyer for Universe Affiliated International's table top edition features the game's title set in an unusual combination of Burst Caps and ITC Pioneer.

Midway’s promotional flyer for the North American release. “The world’s hottest game” is in Helvetica.

On Midway’s arcade machine, the text on the control panel is set in what appears to be Eurostile. The 1 seen here is likely custom.

On Midway’s arcade machine, the points-per-invader on the monitor bezel are set in Countdown.

1978 flyer for Universe Affiliated International’s table top edition, featuring Burst Caps and ITC Pioneer. The copy and the address use ITC Zapf Book and ITC Avant Garde Gothic.

Julia Fletcher designed three recent show posters for the band Sextile that feature three fonts from my Megafonts series, Megazoid, Megascope, and Megavolt.

In the San Francisco poster, Acumin, Benny One (Castcraft’s copy of Stan Control), Hellenic Wide, and Automania make appearances in supporting text. She also gave Megazoid a colorful bevel that I would love to add to the typeface itself. (Fletcher has previously customized Megazoid to great effect.)

The more recent New York poster deploys Acumin and Automania as well, adding a bit of Fake Receipt for good measure. The Brooklyn poster from 2022 uses Benny One, Automania, and Berlin Bold.

I appreciate that Fletcher is unafraid to stretch type, and manages to do it in a way that feels of a piece with the warping and stretching of two-dimensional space that is happening in the layouts.

Founded in 1989, Africolor is a music festival centered around African music and the impact it had/has on music worldwide. The festival wants to offer an auditory experience showcasing the outcome of merging and combining music from all parts of Africa, which ultimately is the consequence of historical and political upheavals such as forced urbanization as well as migrations (chosen or not).

Since 2017, Montreuil-based studio God save the screen designs a new visual identity for the festival each year, with no exception as to its 30th anniversary in 2019.

This look is built around green and red. They are almost always seen next to each other as they serve as backgrounds or even as filters on pictures, making them monochromatic.

Trash is broken down and translated onto a grid to create an intriguing rippling effect reminiscent of sonic waves within headlines.

The overall identity opts for contemporary accents, getting it away from stereotypical exoticism, recalling the festival’s wish to aim for experimentation and freshness while digging into the history of African music.

The accompanying sans serif used for body copy is BR Shape [see comments].