Brooklyn-based indie rock band They Might Be Giants have released their new album, The World Is to Dig. Alongside the album, the music video to “Get Down” was released.

Creative direction by Paul Sahre. Co-directed and animated by Takumi Segi and Anastasia Kharchenko. Driven by bold color palettes, dynamic typography, and a stream of imaginative, offbeat visuals, the piece captures the band’s signature wit and rhythmic spirit in a visually kinetic experience.

Design of the visual identity for Galette Party, a Lyon-based event dedicated to tasting traditional galettes des rois (king cake or Epiphany cake), bringing together a curated selection of the city’s best artisan pastry chefs.

The project includes the creation of the official event poster, social media visuals, and the “Galette Tour” pass, designed as a stampable card to be marked throughout the tasting journey.

The artwork aims to reflect the event’s gourmet, festive, and artisanal spirit while providing a strong and cohesive visual identity across all communication materials, created by the studio C’est par là.

Two undated specimens by Singapore Airlines from Edoardo Flores’ great collection of “Do not disturb” signs from all over the world. The typefaces – Buxom and Poster – suggest a date in the 1970s.

The Light weight of Glaser Stencil, put to early use by Milton Glaser himself, in the jacket design for Love Sounds by Gail Sheehy (1936–2020). “A novel” is added in Futura Light. Glaser’s stencil typeface also went by the names Neo Futura and Glaser Futura Stencil. The “Futura” part eventually was dropped, probably due to trademark considerations.

“The international bestseller” is added in caps from a Didot.

The raw, visceral energy of Akwaeke Emezi’s Little Rot finds a striking visual counterpart in the typeface Good Girl designed by Marion Bisserier. Set against a backdrop of intimacy, hunger, and defiance, the title design leans into the grotesque beauty of Emezi’s prose – unflinching, emotional, and gloriously corporeal.

Used for the cover treatment and supporting visual assets, Good Girl delivers sharp, sculptural forms that feel both confrontational and deliberately off-kilter. Its uneven rhythm and bold personality echo the themes of bodily transformation and emotional reckoning that run throughout the work.

Much like Little Rot itself, the typography refuses to be neat or easily digested. It’s typographic grit – loud, unapologetic, and perfectly aligned with Emezi’s fearless storytelling.

Front panel with a blurb by Bolu Babalola. Secondary type is in Voyage.

Audio book cover

We’re thrilled to share that one of our fonts, JT Olifer, has been selected by Delivereasy, a leading food delivery company in New Zealand, as part of their refreshed brand identity.

Delivereasy is a widely used delivery service across major cities in New Zealand, known for its friendly, fast, and modern approach. To strengthen their visual presence and brand personality, Colenso BBDO chose JT Olifer—a typeface that combines clean structure with a contemporary feel.

JT Olifer is featured across various Delivereasy brand touchpoints, from their logo to digital interfaces. With its balanced and approachable letterforms, JT Olifer perfectly aligns with Delivereasy’s values of simplicity, speed, and accessibility. It is supported by Founders Grotesk.

The logo is composed of a collection of different typefaces that blend together in harmony.

We just launched our new branding and website for our studio, Yellow Fellow. We worked on it for the past year with a team of talented designers and coders. The website's homepage is a playful interactive environment full of thumbnail animations inspired by the studio's symbol – the lemon eye.

We've also created the studio's brand style guide which is also based on the lemon eye symbol. The main typeface is TheBasics, a sans-serif font with a geometric and classic character, featuring varying letter widths that create playful touch and a unique rhythm. It’s used in proportional and monospaced styles. To complement the main font, the serif Abril Titling Condensed is used for longer texts. The website uses Abril Text.

The studio specializes in crafting graphics packages for films and series, building design systems for brands, creating stunning explainers and mind-blowing music videos.

We're passionate about making creative moving content which is wacky and stylish. We use a lot of mixed-media approaches in our style as we believe that taking different elements/ideas and combining them creates new and fresh visuals.

Screengrab from a series of short looping animations

Logo as shown on the website

Menu with selected projects on the website

Screengrab from a series of short looping animations

Screengrab from a series of short looping animations

KIND has developed the brand identity for Aliva, a patented system that revolutionizes the treatment of severe dry mouth – a condition affecting millions of people worldwide. Dry mouth not only causes discomfort but also diminishes essential life experiences such as eating, speaking, and sleeping. As many as 22% of adults and 27% of people over 65 experience the effects of this condition.

From Wikipedia:

Can’t Buy a Thrill is the debut studio album by American rock band Steely Dan, released in November 1972, by ABC Records. It was written by band members Walter Becker and Donald Fagen, and recorded in August 1972 at the Village Recorder in Los Angeles with producer Gary Katz. The album is one of Steely Dan’s most stylistically eclectic, encompassing the sounds of soft rock, folk rock, jazz rock and pop, alongside philosophical, elliptical lyrics. […]

The title of the album is a reference to the opening line of the Bob Dylan song “It Takes a Lot to Laugh, It Takes a Train to Cry”. The album cover features a photomontage by Robert Lockart. It includes images of muscle-men and a line of prostitutes […] waiting for clients, which was chosen because of its relevance to the album title.

The album contains some of the group's best known hits including “Do It Again”, “Dirty Work”, and “Reelin’ In the Years”.

While the band logo is custom lettering, Lockart used a font for the title: it’s Roger Excoffon’s Mistral. The liner notes one the back are credited to Tristan Fabriani – a pseudonym for Walter Becker and Donald Fagen, They are set in Trump-Mediäval featuring its italic with some swash alternates and terminal forms.

[More info on Discogs]

Poster and communication for Dôme d’Amour, a queer party at Silodom in Saarbrücken, Germany. Illustration and hand lettering made for a nice pairing with DJR’s flamboyant Megascope.

Front cover

Talk Talk is of course the British band with Mark Hollis who were active between 1981 and 1991. The Party's Over was their first album, released in 1982. For the 1997 re-issues of their first four albums, the covers were slightly changed to have a matching design.

All their albums have a very stylish design with a colourful drawing and simple but recognisable lettering and layout, which was even stronger in this series of four re-issues.

For the covers of these 1997 re-issues, Univers Ultra Condensed was used. The band name and album title are in all-capitals on the front, back, and spine. The back cover have the track listing in Univers Ultra Condensed as well, but now in title case.

Univers Ultra Condensed is used even more. The inside of the booklet also has the band line-up, the band name and album title plus the year of release, and all song titles above the lyrics in all-capitals. Below each of the lyrics are the names of the people who wrote the lyrics and music, which are in title case. The text “lyrics reproduced by kind permission” is also in title case.

The drawing on the front was made by James Marsh. The original design was done by Bill Smith, the artwork for this re-issue by Rob Crane.

[More info on Discogs]

Back cover and spines

Page 2 and 3 of the booklet

Hosted at Somerset House in London, co-curated by Iain Forsyth & Jane Pollard and Claire Catterall, The Horror Show! was a journey to the underbelly of Britain’s cultural psyche. The exhibition presented an alternative perspective on the last five decades of modern British history in three acts – Monster, Ghost and Witch. Recast as a story of cultural shapeshifting, each section interpreted a specific era through the lens of a classic horror archetype with thematically linked contemporaneous, new works and a survey of the counter-culture of the time. We were tasked with designing all 2-D aspects of the show. The graphics inside the exhibition, the marketing, publicity and the catalogue. Each one needed to fit seamlessly with the other and explain the complexity of the exhibition in a sympathetic form.

To accompany the exhibition, The Horror Show! catalogue is constructed with a unique, irregular concertina fold. When closed, this features a “Frankenstein’s monster” face, grotesquely confronting the viewer. Whilst once open and fully extended, it is revealed that the face is made up of photographs of artworks and cultural figures from in the show. This collaged cut-up is a metaphor for British society, consisting of the mainstream and counter-culture, the two constantly pressing and grinding against each other. The back of the catalogue features the main collage used in the publicity for the show, with the addition of a very important key, so that you understand who everybody is in the image.

Once you have opened the catalogue, you are confronted with three sections which, as in the show, are designed completely differently from each other with contrasting typography and paper stocks for each. The Introduction section is dark black and takes its styling from the combined spaces in the show. Monster puts on the stinking clothes of Punk DIY. Ghost is grey and washed out, never fully materialising on the page. Witch is bold, proud, modern and old – daring you to disagree.

The catalogue design needed to refer to the decades in the exhibition – the 70s, 80s, 90s and onwards but also be something very contemporary. This meant a selection of fonts which referred to the era of the ‘feeling’ of each section but were used in a contemporary way. They are thrown up against each other in ugly juxtapositions, symbolising how counter-culture needs to push into the mainstream to change us all and move creativity and society forward. The layouts also referred to this historical context. The Monster section is based on the 70s and 80s and is an updated version of the DIY punk fanzine. Ghost is ethereal, with typography almost not there. Witch is bold, alchemic, and strongly gothic but looks towards the future as much as the past.

The title on the spine brings together Ouroboros, Infidel, Trickster, Nylon & Draylon, Bastard, Virus VujaDe, Terminal Grotesque, Tourette Extreme, and Bradley DJR (for the exclamation mark). The O’s are custom drawn pictograms.

Back cover: “A twisted tale of modern Britain” combines Ouroboros, Serpiente Display, Trickster, and Nylon & Draylon.

Text inside the mouth is set in Combat. The fonts used for the “MONSTER” letters include Ouroboros, Bastard, Trickster, Fleshy Font, and Newspeak

Spread with text set in T1 Korium and Combat. “Freak Scene” combines Gandur Alte with Trickster. Year dates are from Zloy.

The “Ghost” letters are taken from Lapicide and Marian Black. The italic for the text on the ear is from Faust.

More Marian Black and Lapicide, with Melancholia Italic used for captions

Captions feature Faust Italic, upright Melancholia, numerals from Gosna, and Tourette Normal.

The text on the left half of the eye is set in Ni Resolution Blackletter. The “WITCH” letters are from Infidel, Nylon & Draylon, Ni Resolution Blackletter, Virus VujaDe, and Prototype.

Titles feature overlapping letters from Ni Resolution Blackletter and Nylon & Draylon. The byline is in Terminal Grotesque, the text in Larish Alte.

More text in Larish Alte, with initials and page numbers from Ni Resolution Blackletter

“La Aceituna de Carta” (“The Olive Menu”) is an ad campaign that aims to give the table olive a greater presence on the menus of cafes and restaurants throughout Spain. Interaceituna, the organization responsible for the ads, hopes to take the olive “from the bar to the table” and educate the public on the different varieties and health benefits of table olives.

The project was designed by Valencia based studio Democràcia. Set in all caps, the campaign makes heavy use of Central Type’s bottom-heavy sans serif Felten.

From Wikipedia:

The Roaring Silence is the seventh studio album by English rock band Manfred Mann’s Earth Band. It was released on 27 August 1976, by Bronze Records in the UK and by Warner Bros. Records in the US.

The cover was designed by Shirtsleeve Studio, using Marvin with recessed letterforms and EndcapS. The giant ear with an open mouth inside it was modelled by artist Derek Goldsmith.

[More info on Discogs]

From Edward Carey:

The strange and entrancing story of a young woman trapped in a ramshackle English playhouse—and the mysterious figure who threatens the theater’s very survival.

Teeming with unforgettable characters and illuminated by the author’s trademark fantastical illustrations, Edith Holler is a surprisingly modern fable of one young woman’s struggle to escape her family’s control—and to reveal inconvenient truths about the way children are used.

Alias Harbour is use for title type. The blackletter used for “A novel” positioned inside the mouth is Goudy Text.

Cover design and illustrations commissioned by Penguin Books for the reissue of Anthony Burgess’s The Wanting Seed, originally published in 1962.

The project was part of their Penguin Essentials series, originally conceived to bring new readers to classic titles, commissioning the covers to contemporary illustrators.

The illustrations and design is by Jose Berrio, with art direction from Josie Staveley Taylor.

From skincare brand Anoma:

Beauty feels restricted. Like we have more need to conceal than to honor. Like there is a right way and a wrong way to do things. Like we need to “catch up” to feel beautiful. Like we need to be updated, be familiar with trends, and be like those we see on our screens rather than just, be. Beauty feels standard. We reject standards. We believe that beauty is in anomalies.

The wordmark, set in Misto, is bold, confident and playful. The versatile O in the center leaves the logo free to be changed as per the needs of each product line while still retaining its unique identity. Smaller information is set in Poppins and Montserrat.

It Ain’t Sanitary is a re-release of the 1971 compilation album Hungry by The Coasters, with a slightly rearranged track order. It came out in 1972 on Trip Records.

The amorphous caps on the cover are from Papageno. Drawn by Richard Weber, Papageno was first cast as metal type by the Bauer foundry in 1958. It’s here being used in alternating word colors, partly with contour, and wrapped around a giant mouth that seems to swallow the members of the R&B vocal group.

In 2005, Patrick Griffin made a digitization of Papageno named Gumball.

[More info on Discogs]

On the back, the band name and the title are shown in Frankfurter. Unlike Papageno, it didn’t originate in Frankfurt, but rather at Letraset in London.

Source: stiftung-plakat-ost.de Stiftung Plakat Ost. License: All Rights Reserved.

Die Legende von Paul und Paula (The Legend of Paul and Paula) is one of the best-known films produced in East Germany. It was first screened on March 29, 1973 – fifty years ago on this day. Written by Ulrich Plenzdorf and directed by Heiner Carow, it tells the unconventional love story of Paul (Winfried Glatzeder) and Paula (Angelica Domröse). Disliked by the party leadership for its political overtones, the film almost remained unreleased. More than three million people went to watch it – around a fifth of the GDR’s total population.

Klaus Vonderwerth designed the poster. At the bottom, he shows Paul and Paula in a happy moment, colorized in a pop art fashion. Above the couple, a dark cloud comprising leery eyes, a snoopy ear, a scandalmongering mouth, and half a dozen of finger-pointing hands, contrasted in black and white. Some of the manicules were probably sourced from vintage metal or wood type.

Source: archive.org License: All Rights Reserved.

Glyph set of Sanditype with its numerous alternates, as shown in Modern Publicity, vol. 40, 1970–1971

While the credits are set in Akzidenz-Grotesk, the title is drawn by hand – but based on a typeface. It’s Sanditype, designed by Steven Bernstein in 1969. This face was exclusive to Photo-Lettering Inc., a typesetting company in New York. How did Vonderwerth in socialist East Berlin get his hands on a design that was only available in the epicenter of the capitalist world? I can offer one theory: a glyph set of Sanditype was reproduced in Modern Publicity, a design annual edited by Felix Gluck and published by Studio Vista in London. Chances are a copy made its way across the Iron Curtain, providing inspiration to Vonderwerth that was more fashionable than the offerings of East German’s state foundry, VEB Typoart.

Source: www.potsdam.de © DEFA-Stiftung/ Klaus Vonderwerth. License: All Rights Reserved.

New York-based designer Hannah Nathans works with an everchanging selection of typefaces to promote performances from the Riverside Choral Society. Etude by Emily Atwood is used as the typographic voice for Mozart’s Requiem. The one for Bruckner’s No Common Mortal is Right Grotesk by Alex Slobzheninov. The bold condensed sans used for “Beethoven, Brahms, and Thomas” is yet unidentified. All designs are supported by Neue Haas Unica.

Riverside Choral Society is a vital presence in the cultural life of New York City. The group has performed major works by Beethoven, Brahms, Mozart, Schubert, Haydn, Fauré, Stravinsky, and many others in New York City's most exciting performance venues.