Front cover

“Raining (My Eyes Are Filled With Clouds) Remix” is the sole single from the British folk duo Ancient Beatbox. It was released in 1990 by Cooking Vinyl, and features guest vocals by Sheila Chandra. The sleeve is credited to Martin Brown at Rodeo Design.

The band’s name uses Neville Brody’s Typeface Five. Unlike Typeface Four and Typeface Six, Typeface Five was never released digitally, but it was shown in the 1988 book The Graphic Language of Neville Brody.

The single title on the front cover uses all-caps Onyx. “With Sheila Chandra” is in Trade Gothic Extended, which is also used for the text on the back cover.

[More info on Discogs]

Back cover

Typeface Five as shown in The Graphic Language of Neville Brody

CD cover

Flood is the third album by alternative rock band They Might Be Giants, released in 1990. The front cover features a union seal-style emblem. From Wikipedia:

The photograph used for the cover of the album depicts a man rowing a boat made out of strung-together washbasins. The image was captured by Margaret Bourke-White as part of a series taken to document the Ohio River flood of 1937. The cover, which was designed by band member John Flansburgh with Elizabeth van Itallie, originally featured only the photo; however, an emblem including the band's name, inked by Flansburgh's former coworker Barbara Lipp, was later added. The emblem resembles the logo of the International Alliance of Theatrical Stage Employees.

It’s not clear if the contoured caps for the title are from a font. The Black Extra Condensed style of Neuzeit-Grotesk comes close. Copperplate Gothic is used for the band's name and album title on the vinyl’s back cover and disc labels, while the Black Extended style of Univers, is used for the track listing on the LP, and for the band name/album title/track listing on the CD. It was also featured on the back of a promotional flat.

[More info on Discogs]

Vinyl cover

Long before he had success with Roxette, and shortly before achieving fame with Gyllene Tider, Per Gessle recorded the double A-side single “After School” / “Keep My Love Satisfied" with career-long collaborator Mats “M.P.” Persson.

The single didn’t set the record charts alight, and the design definitely had a homemade charm to it. The front cover used Embassy to set the band name and single title with a diabolo effect. The back cover also kept things very stark with Univers doing the heavy lifting with the credits. The layout and design are credited to “Shit, Peace and Eternity Art”, which appears to be a pseudonym for Persson and Gessle.

[More info on Discogs]

O Céu da Língua is a play that transforms the Portuguese language into living matter. Using words to talk about identity, history, politics and invention, the monologue is also a rehearsal, a manifesto and a game; where speech becomes body, rhythm and thought. The staging proposes visual listening: projections, moving typography and textual landscapes accompany the flow of language on stage. Starring Gregorio Duvivier and directed by Luciana Paes, O Céu da Língua has premiered in Portugal with sold-out sessions and toured 12 cities. In Brazil, it has already toured 33 cities, drawing nearly 300,000 spectators.

The publication visually reflects the structure of the performance. We drew inspiration from old Brazilian literacy workbooks to create a visual language that echoes the content of each act. Classic typographic blocks coexist with doodles, notes, erasures, drawings, and handwriting.

This project is shortlisted in the Editorial category at the 2026 Latin American Design Awards.

Interpretation and text by Gregorio Duvivier. Direction and dramaturgy by Luciana Paes. Direction assistance by Theodora Duvivier. The graphic design is by Maria Cau Levy and Ana David of Estúdio M-CAU. See more on m-cau.com.

Renate is a Munich-based bistro specializing in small plates, wine, and drinks. The identity by Herburg Weiland uses Gaya combined with Ready Active.

Commissioned by the agglomeration of the Pays de Gex, the bermuda curatorial team has taken over two heritage sites: the Fort l’Écluse and Voltaire’s Château. Une Clameur (“A Scream”) brought together around twenty local and international artists whose works range across the breadth of the visual arts, from painting to performance, by way of sculpture, film, photography and audio installations.

There's an operation that can’t be patented. Not because no one invented it, but because it’s been invented a thousand times—and each time anew. You take something that's not yours. You tear it out of context. You place it somewhere new. You see what happens. Sometimes—nothing. Sometimes—something that never existed before. This isn’t a quotation. A quotation keeps the source visible, acknowledges the debt, puts quotation marks around it. This isn't plagiarism: plagiarism hides the source, pretends it never happened. And it's not a remix in the banal sense that word has acquired in the age of streaming services. It's a sample.

Still magazine is an educational project made at Central University in Moscow, under the supervision of Ivan Velichko (Shuka).

I was honored that Brownfox allowed me to use the Antonym font in the project. I chose it for its unique mix of sans-serif and serif style, as the magazine issue was dedicated to sampling. The accompanying sans is CoFo Gothic by Contrast Foundry.

Koridor Yayınları published Turkish editions of books by Thích Nhất Hạnh (1926–2022). Known as the “father of mindfulness”, the Vietnamese Thiền Buddhist monk and peace activist was a major influence on Western practices of Buddhism. The book series includes Zen ve Gezegeni Kurtarma Sanatı (Zen and the Art of Saving the Planet, translated by Sıla Tanilli), İletişim Sanatı (The Art of Communicating, by Eda Çaça), and Yaşama Sanatı (The Art of Living, by Sona Ertekin).

The typographic cover designs by Feyza Filiz use FH Enso alongside Proxima Nova.

Written by Josephine Berry, Art and (Bare) Life: A Biopolitical Inquiry explores the intersection of political philosophy with contemporary art theory, analysing the connections between current biopolitics and art’s drive to blur with life. The design of the publication makes subtle and oblique references to the contrasts and conflicts Berry explores within the text. Lining by A Practice for Everyday Life is used for titling on the cover and throughout.

Body text within the book is set in Spectral, which was designed as a screen-first font but is equally well suited to long-form reading.

Art and (Bare) Life: A Biopolitical Inquiry was first published in 2018 by Sternberg Press.

Lots of all-caps ITC Korinna in two of its weights, for the cover of Bantam-Seal’s 1981 paperback edition of And No Birds Sang. From Wikipedia:

And No Birds Sang (published in 1979, revised in 2012) is Canadian author Farley Mowat’s autobiographical account of his military service as a junior Canadian infantry officer in the United Kingdom and Italy during World War II. The book describes Mowat’s transformation from a young man hoping to share the perceived glory of his father’s generation’s victory in The Great War to a combat veteran struggling to cope with the seemingly unending loss of his friends.

The cover art is by Paul Lehr

Milk Magazine is a cultural and fashion publication focused on kids, and families in general. It also features in-depth interior design reports of cultural figures’ apartments or houses. The Milk Magazine website was updated by FCINQ, followed by its print version, designed by Claire Aupois under the artistic direction of Karel Balas. It features Karl by Source Type and Self Modern by the Bretagne type foundry. The sans used for the English slogan at the bottom of the cover is Aperçu. The logotype remains unchanged.

mini studio is a French design atelier based in Paris and Tokyo, founded by Mia Thibierge and Justine Magnat-Biermé.

In 2025, we decided to rethink the identity to establish ourselves within the landscape of French and international graphic design studios.

The logo, inspired by medieval illumination and nature, reflects the founders’ appreciation for ornamentation and precious details—echoing the actual name of the studio.

GT Maru (Grilli Type), with its generous curves and playful demeanor, sets the studio’s name and geographical anchors, Paris and Tokyo. Its inspiration, Japanese signage, perfectly underscores mini studio’s international setting.

It is complemented by Matthieu Cortat’s Louize (205TF), whose typographic elegance, tinged with literary charm, reflects the studio’s affection for printed matter and typography.

It all comes together in the studio’s letterpress printed business cards.
The Japanese text on one of the cards was set in Yoshimichi Ohira’s Zen Old Mincho.

In Royal Chambers, Wang & Söderström present a collection of five works exploring the evolving notion of home amid today’s digital and environmental transformations. Together, these pieces trace the interplay of shifting power structures and perspectives in an increasingly ‘phygital’ world—where the physical and digital realms intertwine. Beyond showcasing the artworks, the book delves into their creative processes and features essays by five contributors, each unpacking home as a dynamic, multifaceted ecosystem. A meditation on belonging, space, and identity, Royal Chambers invites us to reconsider what it means to inhabit a world in flux.

Die Filiale der Hölle auf Erden: UKRAINOMANIA – Revue eines Lebens nach Texten und Motiven von Joseph Roth (in English: “A Branch of Hell on Earth: UKRAINOMANIA – A Retrospective of a Life Based on the Writings and Themes of Joseph Roth”) was published by Spector Books as a companion volume to an international theatre production by Volkstheater Wien. Inspired by the writings of Joseph Roth, the publication retraces the author's journey through Lviv and the Galician countryside and documents the development of a contemporary stage production presented in Lviv and Vienna. Through literary texts, essays, photography, and illustration, the book reflects on memory, displacement, cultural identity, and the continuing relevance of Roth’s observations on Ukraine and Eastern Europe.

The publication was edited by Claus Philipp and Tobias Schuster. It includes texts by Jan-Christoph Gockel, Oksana Lemishka, Oleksandra Matwijtschuk, Jurko Prochasko, Joseph Roth, and Karl Schlögel, alongside illustrations by Sofia Melnyk and photography by Jacob Suske and Marcella Ruiz.

It was designed by Lyosha Kritsouk with the typefaces KTF Cirk (Kyiv Type Foundry), William Text (Typotheque) and Suisse Int’l (Swiss Typefaces).

Diploma Days bring together graduating students from KTH School of Architecture and its associated programmes, to showcase thesis projects spanning architecture, lighting design, urbanism, and related fields.

During the summer sessions, the School opens to both the public and the wider KTH community, offering access to the full range of thesis work. Invited jury members, students, and staff come together for presentations and discussions addressing contemporary topics in architecture.

Historically, important documents like diplomas were written with care, time and a bit of ceremony. This thought became a way to treat the letters as heavy, shaped, layered and a a bit too much perhaps. Almost like contemporary calligraphy, but built out of digital shapes, masks and architectural blobs. The forms also borrow something from the school itself, its rounded building and the many different projects, questions and voices that fill it during Diploma Days.

The posters were designed by Frostner Studio (Martin Frostner and William Vellinga). Thanks to Janek Ozmin and KTH School of Architecture.

Bien:( is the first extended play record by Spanish singer-songwriter and rapper C. Tangana. From Wikipedia:

Written by Tangana and co-produced with Alizzz and some other usual collaborators, the EP was released on May 14, 2020 through Sony Music. Mainly composed during the COVID-19 pandemic national lockdown in Spain, the extended play shows Tangana's evolution to a more emo and melodic rap field.

The cover includes an original photograph by Javier Ruiz. The graphic identity was developed by Paula Vila and Víctor Clemente, founders of the agency Realmente Bravo.

[More info on Discogs]

First edition, Newnes, 1988

A book about vehicle technology that nicely uses the Light and Heavy weights of Gill Sans to refer to the light and heavy vehicles of the title.

Later editions switched to different typefaces – Futura Condensed and Futura – but maintained the Light and Heavy conceit in the cover typography.

Second edition, Newnes, 1992

Third edition, Butterworth-Heinemann, 1998

Fourth ediiton, Routledge, 2006

Body Matters, Physicality in the Video Art of the 1970s brings together video works from the 1970s that treat the body as a medium – direct, physical, sometimes uncomfortable.

By the late 1960s, video and film had become paradigmatic forms in contemporary art. The Ludwig Forum’s video archive holds some 200 works from the 1960s and 70s, many of them seminal moments from the history of the moving image in art. The 1970s are regarded as the pioneering phase of video art and saw artists experimenting with video and film cameras, consciously distancing themselves both from established art forms and from television, focusing instead on the body, experiences of self and other, feminist critique, meta reflections on the medium itself, and on socio-cultural analyses.

A spatial and graphic framework that holds this tension without adding noise. Reduced, precise, and structured — giving the works room while guiding through the exhibition.

With works by Marina Abramović & Ulay, John Baldessari, Ron Hays, Joan Jonas, Hakudō Kobayashi, Robert Morris, Bruce Nauman, Jacques-Louis Nyst, Ulrike Rosenbach. Curated by Holger Otten.

Toronto-based agency newkid (a play on the concept of the newly-arrived kid in town, or in school) claims to nurture the visual Identity as well as the verbal identity when approaching a client. They did so beatifully with their all-encompassing rebranding of Primer, a Florida-based network of teacher-led K-8 schools that is expanding its presence to other parts of the US.

As stated in the project page, Primer resorted to newkid to rebrand and overhaul its footprint, which entailed “brand strategy, full identity system, website, and brand launch film”. The website is not a mere window display, as the company seeks investors and parents alike to join its network.

The website rebuild brought the full brand system to life across a complete digital experience (...). Built to serve families at every stage of consideration, from first encounter through enrollment, it also functions as a brand statement for investors, press, and prospective Primer Leaders.

As we’ll see, a playful and colourful Mondrian-like grid and two gorgeous fonts support this effort: Sirca by the Parisian foundry Edito and Söhne by Klim Type Foundry from Aotearoa/New Zealand.

Sirca Medium is employed in the six-letter wordmark and it embodies the charisma and the gravitas of a brand that exudes the privilege of quality private education and the promise of multifaceted creative learning.

Söhne Buch is used for buttons, some explanatory or secondary items headlines and body copy, but Sirca still reigns supreme, just like San Diego’s famed news anchorman Ron Burgundy in the 70s.

One thing to note is that typographical hierarchy here is definitely not constrained by customary web-based typesetting, as no headline is too loud or strident from a design point of view to outshine the Primer wordmark.

For instance, the news section header, “Latest Primer news”, is 2.5rem– or 48px tall, only slightly bigger than the Primer wordmark: the logo SVG seems to be rendered by the browser at circa 32px—pun intended. Then, each headline features 1.75rem/33px headlines.

So the scale used purposely avoids excessive contrast in the headline line-up and adopts a smooth sizing approach.

One exception would be the often-neglected footer section, which has been cooked to perfection, meaning grid, typographical contrast and use of photography. The size contrast is enough to parade the wordmark in all its glory, although the designers chose to use a blue-coloured dot at the end to punctuate —pun intended—the brand.

Some of the signature traits of Sirca are the sharp edges in the m’s and w’s and its distintictive letter a, which seems to have lost weight due to a bout of melancholy. They cannot be spotted in the Primer mark, but the reader can still catch them in the headlines.

As for the marketing copy, claims and leading ideas have been fitted into very short headlines that extend the glow of the flagship serif employed in the project. Nothing is out of place or necessarily in the expected place in the website, and the sans/serif pairing works like a son cubano choreography: leader and follower both shine in their respective roles.

In a time of Claudemania, AI imagery and design copycats, the Primer brand and editorial vision serves as a showcase of what fine art direction, fine photograpy and videomaking, fine typography and fine copywriting—all of them human-based—are capable of. Cheers to human craft.

Wordmark

Website footer

BST Spyre Epoch Book and Book Italic are used throughout Zao Wou-Ki: Master Printmaker. The 260-page publication by M+ explores the printmaking practice of Chinese-French artist Zao Wou-Ki (1920–2013) and accompanies the eponymous exhibition.

Designed by HATO, the book brings together reproductions of Zao's prints, scholarly essays, a chronology, and excerpts from illustrated poetry books, tracing more than five decades of graphic work. Spyre Epoch provides a distinctive editorial voice, supporting a publication centred on artistic experimentation, cultural exchange, and visual poetry.

Edited by Yann Hendgen and Wu Mo, with publication managing editor Sonia So.