Hitori + Kaiso 1998–2001 is Casino Versus Japan’s fourth album and first compilation of unreleased tracks. The album was released on January 30, 2004, via Attacknine.

Century Gothic is used for the artist name on the front cover with a slight drop-shadow. In the bottom right corner, the album name is set in Arial. There is heavy tracking used on most text.

The track list on the back cover uses Arial Bold, also with heavy tracking.

The cover design/concept is credited to Hologramrinse/Erik Alwell, who is a cofounder of the Attacknine label

[More info on Discogs]

After The College Dropout, Kanye West released his second studio album Late Registration on August 30, 2005. From Wikipedia:

Late Registration is the second studio album by the American rapper Kanye West. It was released on August 30, 2005, through Roc-A-Fella Records and Def Jam Recordings. West recorded the album over the course of a year during sessions held at studios in Hollywood and New York City, in collaboration with Jon Brion. The album features guest appearances from Adam Levine, Jamie Foxx, Common, Brandy, Lupe Fiasco, Jay-Z, and Nas, among others. […]

The art direction and music packaging design for Late Registration were both handled by Brooklyn graphic design studio Morning Breath, Inc, while Louis Marino served as creative director. The photography was done by Sarah A. Friedman and Kris Yiengst, the latter of which also did art coordination. Styling and grooming were handled by Charlene Roxborough and Ibn Jasper, respectively, for the company Partos, while Doug Joswick was responsible for package production. Similar to the cover art of The College Dropout, the artwork features West’s “Dropout Bear” mascot, showing it at a child’s size and stood in the center of two large wooden doors at Princeton University.

Visual identity of the quarterly booklet, the quarterly program posters and the posters for all events for Maison CFC, a bookstore in Brussels, Belgium.

Photo studio and designer to be determined

Class Photo Bordermania

Two display typefaces, Algerian and Ravie, both in use for an official class photo of a freshman section in the school year 2009–2010 in provincial Philippines.

Filipino graphic designers and layout artists never shy away from combining two typefaces, oftentimes working with available resources at hand–in this case, typefaces that come bundled with Microsoft Windows. You know what they say: the more the manyer.

The standard typeface for road traffic signs in Indonesia is Clearview (Terminal Design), just like in the the United States, Brazil, Canada, Israel, the Philippines, and Sri Lanka. It’s also used for the toll gate directional signs on the Cikopo–Palimanan Toll Road which opened in June 2015 as part of the Trans-Java Toll Road network and in accordance with the Ministerial Regulation No. 13/2014 about Traffic Signs.

The directional signs for the Cikopo-Palimanan Exit 98 (Kalijati Toll Gate) forms an exception: it uses the non-standard (supplementary) Arial. This typeface is used on road traffic signage in Azerbaijan, Belarus, Estonia, Lao PDR, Lithuania, North Macedonia, Moldova, Mongolia, Myanmar, Slovenia, Taiwan, Türkiye, and Ukraine.

Cikopo-Palimanan Exit 98 signage (500 m to exit toll gate ahead)

The front cover of the Marble Hornets Blu-ray release

Marble Hornets is a found footage web series created by Troy Wagner and Joseph DeLage, based on the original Slender Man mythos. The YouTube series ran for three seasons between June 20th, 2009, and June 20th, 2014. The main story follows Jay Merrick as he attempts to uncover what happened to his friend, Alex Kralie, following the sudden cancellation of his unfinished student film named Marble Hornets as something starts invading his life.

Every episode (or entry as is called by the series) starts with a title card and is accompanied with snippets of text throughout the video written by one of the main characters to express their thoughts, current predicament, actions they'll take or describe contents on tapes they've found. All of this text is set in Verdana Bold, which continues to be used in the 2025 spin-off series, Rosswood.

Outside of the episodes, Marble Hornet’s branding exclusively uses Camcorder, a fitting typeface for a series revolving around cameras. It is used in promotional material, comics, merchandise and physical releases. It is also used in most of the videos by totheark, a separate YouTube channel existing within the Marble Hornets universe that uploads cryptic and genuinely unnerving videos pertaining to events and characters of the main story.

The very first episode, aptly titled “Introduction”

From Entry #52. They started outlining Verdana Bold in black around the start of Season 2.

An instance of Camcorder used for the VCR overlay in Entry #37, accompanied by a familiar face, or lack thereof.

From Conversion, by totheark

From Isolation, by totheark

Marble Hornets’ Season 3 DVD front cover

Inside the Season 3 DVD case

Front cover of the first comic for Marble Hornets. Camcorder is used for the names.

My low-tech HTML website lets you switch between system fonts and enjoy random color combinations. It’s fully accessible, with alt texts, dark mode, and a responsive layout.
Cookie-free and energy-efficient – boasting a smaller CO₂ footprint than 93% of designer portfolios (source unknown).

Lying in the Weeds is a 64-page book dedicated to decolonizing social injustice in war. The Guatemalan Civil War is infamous for the countless lives that were killed, tortured, and traumatized. Using my own family’s story, who fled in search of asylum, this book is an effort to preserve and share the testimonies of those who have been silenced.

Although the book itself seems to be of no particular note, it does feature Susan Kare’s New York as it is intended to be seen: In all its pixel glory. The cover is a mock-up of window graphics done in the pixel style of the Macintosh era; it may even not be a mock-up, it could be produced directly from Macintosh System Software screen graphics. The window titles are in Chicago, the same as the window title font in the Macintosh System.

Modula-2 was a popular programming language at universities (created by Niklaus Wirth and probably helped in academia by his association with ETH Zurich), and was used for some systems programming, but never became a well-known or well-used programming language on the Macintosh.

Originally published in Mercurius magazine (2024), this piece contextualizes how I approached my gender identity during the formative years of my childhood.

Brackets were used to produce a cocoon-like structure with letters containing the word “male” and an inner core encasing the text “fe-” representing my spirit.

Altogether, to embody the word “female."

The standard album cover for The Normal Album.

Pictured is Musician Will Wood leaning out of a window waving, surrounded by a black border on a retro zig-zag line image pattern design reminiscent of the 1950s. “Will Wood” and “The Normal Album” are displayed in URW Antiqua, and the pink promotional sticker's slogan displayed in a modified version of New York. The sticker reads “INCLUDES THE HIT SINGLE ‘LOVE, ME NORMALLY!’ AND MORE NEW, ORIGINAL SONGS!”

The Normal Album is Will Wood’s third studio album, released July 10th, 2020. The album’s genres range from ska, punk, jazz, cabaret, surf rock, pop, and even doo-wop. The track “I / Me / Myself” is Will's most streamed song, after it went viral on TikTok and exponentially grew his popularity.

The Normal Album got a new mix after parting with one of the original album’s main producers. The new mix, The New Normal!, included three extra 2018 demo tracks, and a remaster of every song, each now paired with a sillier version of their original titles, except for the track “Love, Me Normally”. The New Normal! was released on August 9th, 2024.

The covers for The Normal Album and The New Normal! display both Will’s name and the album’s title in Georgia. Both album versions include a sticker in the bottom left corner with a silly commercial slogan saying various messages depending on the version.

The Normal Album has only had one version of the sticker on its album art, with the message “INCLUDES THE HIT SINGLE ‘LOVE, ME NORMALLY!’ AND MORE NEW, ORIGINAL SONGS!” displayed in stretched Sitka.

The New Normal! has had many different album covers, plausibly depending on the type of media it’s consumed through. It and the very elusive 2023 Edit use Times New Roman for their slogans.

Artwork by Angelica Pasquali and Mike Diebold.

[More info on Discogs]

The album cover for The Normal Album (2023 Edit).

This album cover is the same as the original, except for the central image of Will being titled at an angle, and the promotional sticker is now green and displayed in Times New Roman. The promotional message reads “~ NEW ~ MODERN STEREO MIX! *2023 EDIT*”

The standard album cover for The New Normal!

The album cover is very similar to the original The Normal Album cover art. Instead of Will waving, his arms are spread open as if to welcome a guest. The zig-zag pattern background has been hue-shifted to look green and yellow instead of pink and blue. And the sticker in the bottom left corner is a bright purple instead of pink. The promotional sticker reads “~13~ MOOD-SWINGIN’ TUNES & EMOTIONAL OUTBURSTS! ~NOW WITH~ 400% MORE HINDSIGHT!”

Another The New Normal! Album cover found through Apple Music.

Will Wood rests one elbow on the banister, holding his fist to his chin, while his other arm rests out the window as looks out the window longingly. The promotional sticker reads “NOW IN STEREO! ~ plus ~ 33% MORE ‘CONTENT!’”

Another The New Normal! Album cover found through Deezer.

Will grasps the window banister and holds his other hand flat to his forehead, perhaps trying to see something in the distance. The promotional sticker reads “NOW IN RECOVERY! ~ plus ~ THREE BONUS DIAGNOSES!”

The album jacket for the tour exclusive vinyl pressing of The New Normal! / 2023 Edit. This is also known as the “worst edition” because they had to rush production for the tour according to reddit user u/AutumnnMay

The zig-zag background is hue shifted to look blue, green, and purple. The space where the type for “The Normal Album” is has a very tiny “2023-2024 Mix” squished right beneath it, also in Georgia. The promotional sticker is now salmon colored, and displayed in Superclarendon. The promotional sticker reads “*100% GENUINE WORST EDITION PRESSING! ~RARE!~”

Tooth & Nail is a queer, artist-run ceramics studio and gallery based in Milwaukee. Designed by TART NYC, the visual identity reflects the studio’s grassroots, collaborative ethos, drawing inspiration from zine culture, punk ephemera, and analog collage.

Typography is central to the system’s voice. The primary logotype usesArial Bold, with each letter individually set and distressed to create an intentionally handmade feel. Choosing a default system font like Arial nods to accessibility, DIY tools, and “anti-design” traditions.

The supporting type palette adds expressive contrast. Broke Grotesk contributes compressed, angular energy in headlines. Mono Total introduces mechanical irregularity through its monospace rhythm, while LFT Etica Mono offers a clean, humanist counterpoint for body text and smaller applications. Lo Fi Copy brings a photocopied texture reminiscent of activist flyers and homemade zines.

Designed to work across signage, printed materials, and the website, the typography stretches between rawness and order. Decorative halftones, hand-drawn elements, and scanner artifacts layer over structured layouts, reinforcing a collective, community-first spirit.

Photographer: Kat Schleicher

Photo and computer graphics, 50×70 cm. This poster was selected at Richter 83, a social poster exhibition held in 2014 at the Iranian Artists Forum in Tehran.

This book was published on the occasion of Felix Burger’s exhibition Medizinisch Psychologische Untersuchung, which was on display from April 5 to June 23, 2024 at Brutus in Rotterdam. It was published by icon Verlag Hubert Kretschmer:

Burger transformed the former industrial complex into a chamber of wonders full of absurd world concepts. Singing puppets, orphaned circus performers, little men, talking dogs, lecturing polar bears and moronic priests occupied the building. The almost 5000 square meter exhibition space became a walk-in stage set and a self-contained microcosm. In addition to his monographic work, collaborations with Lion Bischof, Böhler & Orendt and Otakar Skala, Sophia Süßmilch were also shown.

Swiper is an artist’s book chronicling an unlikely sequence of events that unfolded in the summer of 2023: After going out for drinks with a man named Joshua whom she met on Tinder, 25-year-old New York City resident Alexis Dougé spent the night with her date back at her Brooklyn apartment – only to find out the next morning that he had stolen her pair of tabi. Alexis posted a series of videos on TikTok recounting the situation, which immediately took social media by storm and sparked an Internet-wide craze for the newly dubbed “tabi swiper.”

The publication documents the story’s viral reception across social media, stylized in the visual language of early means of Internet-mediated communication such as text-based chat clients and message boards, while shining a spotlight on the Internet lore surrounding Maison Margiela’s iconic split-toe silhouette.

Swiper is set in Courier, drawing upon the history of monospaced typefaces commonly observed throughout early Internet chat clients and message boards, as well as Martin Margiela’s use of the typeface across written materials during his tenure at his eponymous fashion house. Selected messages are reproduced using San Francisco and a spread with news flashes has texts rendered in Arial. The embossed cover title is set in Garamond Premier.

Swiper is a 2024 recipient of the Visual Artists: Creation grant from the Toronto Arts Council. Published by flāna flāna books in 2024, counting 68 pages and measuring 4.375×7 inch, ISBN 978-1-0690508-0-9.

Computer graphics, 50×70 cm. The text is Article 19 of the Universal Declaration of Human Rights. Poster selected among the winners of Poster4Tomorrow’s international competition on the theme of freedom of expression.

In its very first issue, Bebe Magazine offers a broad constellation of possibilities for queer understandings, beyond identity-based reduction. Using the prefix trans- (across, beyond, through), each of our eight co-curators chose a term and formed mini collectives to destabilise its accompanying pre-established, societally accepted, conceptions—from transversal lines to transactions.

Bebe Magazine is a publication born out of the Ghent-based collective Bebe Books, focusing on collaborative and experimental approaches to cultural production. It provides a space for contributors to work together in exploring fresh perspectives and questioning established norms.

With a strong emphasis on collective creation, Bebe Magazine brings together curators, artists, and thinkers to navigate complex ideas and reflect on the shifting boundaries of contemporary culture. Each issue is shaped by the diverse voices and shared efforts of its contributors, making it a dynamic and evolving platform.

Das S, eine Spurensuche is a book about the Cool S. This symbol is a graffiti sign in popular culture that is typically doodled on children's notebooks or graffitied on walls. The exact origin of the Cool S is unknown.

Poster design for Rings of Light, an event by research-inspired jewelry brand Open Archive in collaboration with Rauric. Music by John Heaven.

Identity design for Poetic Array, a swimwear brand based in Barcelona. We used Times New Roman for the logo.