Front cover

Augustea Open is the typeface used on the cover of New Traditionalists. The fourth studio album by Devo was released on September 16, 1981 by Warner Bros. Records.

From Wikipedia:

The front and back cover were photographed by Moshe Brakha and feature artwork by Richard Seireeni, based on a concept by the band. The band's clothing, also worn during live performances, was influenced by Japanese fashion, while the rubber pompadours, created by Brent Scrivner, were based on the hairstyle of John F. Kennedy but were frequently mistaken for that of Ronald Reagan. Casale’s longheld interest in the space program led to the band using a cartoon image of an astronaut’s head from a paper Halloween mask in the artwork, which was later reused for the limited edition “Beautiful World” picture disc.

The band wore blue V-neck T-shirts with the New Traditionalists astronaut on the black sleeves. This shirt can be seen on the US, Australian and New Zealand versions of the album cover. On the European cover, Devo is seen wearing “Sleeveless Maxi-Turtleneck Sweaters”. The T-shirts, turtlenecks and plastic versions of the pompadours were all available through Devo’s fan club catalog.

Design concept by DEVO INC. with art direction by Seireeni and graphics by Fran “Narf” Fresquez.

[More info on Discogs]

Back cover

Alternate front cover used for European markets

Source: piafleischmann.com License: All Rights Reserved.

What served as workwear for postal employees for over 20 years is now getting a new life. Together with the committed and open-minded team at Swiss Post, I had the pleasure of designing the special stamp “Upcycling – from Postal Uniform to Postage Stamp.”

Typography plays an essential role as well. The stamp features MZ OTR Grotesk by Marc Zenhäusern – a contemporary workhorse typeface rooted in Swiss design, combining legibility, precision, and character. A perfect complement to the theme.

At the heart of the project was the idea of creating a tribute to the recognizable look and strong sense of belonging among employees. The fabric of the familiar light-yellow shirt is now setting off on another journey – this time as a postage stamp. The design incorporates characteristic elements of the postal uniform: the print recalls the anthracite-colored blazers that were once part of the outfit and celebrates the diversity of the people who wore them with pride every day.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Navmaro is a Romanian tubulature and steel manufacturer in the naval industry that builds for performance.

With projects on construction sites in Romania and Europe, they rely on professionalism, solid qualifications and a constant commitment for performance. Each stage of their evolution reflects the seriousness with which they treat each project. They offer complete piping solutions, from production to installation — precise, fast and adapted to technical requirements. They work with a wide range of materials: carbon steel, stainless steel, copper, CuNiFe and PVC.

What matters most to them is their commitment to quality.

The fluid lines in the visual language evoke depth and movement, symbolizing exploration and connectivity, while subtle geometric elements refer to strength, durability and industrial craftsmanship. The design strikes a balance between nature and engineering, creating a modern, versatile identity that conveys reliability and innovation.

The Loos typeface is useful for a naval company because its clean, modern, and highly legible design conveys precision and professionalism—qualities essential in maritime industries. The icon is derived from the Loos Wide Black typeface, as well as an abstract pipe layout. The supporting typefaces are Roboto and Roboto Mono.

Un Posto has established itself as Turkey’s first brand dedicated exclusively to focaccia, bringing authentic Italian street food culture to İzmir with a singular focus that sets it apart from competitors. The focacceria’s identity, crafted by Milan-based studio Velvele, draws from genuine Italian references while avoiding the tired visual clichés that often plague Italian-themed restaurant branding.⁠ They present the project as follows:

At Un Posto, every layer speaks its own dialect. As the naming reflects the simplicity of Italian culture, the menu encourages guests to use everyday Italian words when ordering. Each element in branding is thoughtfully put together to let their focaccia shine proudly, in the Italian way.⁠
⁠
Our approach is clear: We turn concepts into experiences.⁠

Pulp & Grind is a cafe at Sydney Domestic airport serving healthy food and drinks. They approached Harley Johnston Design to update their brand as part of a store refresh with Chee Lam Design. The old store looked like a generic cafe, lacking any point of difference. Upon going through a brand workshop it was clear that the care and thought around healthy organic food and ingredients was not being conveyed as part of the brand. Led by Pulp & Grind we came up with the brand idea around ‘Healthy food made for the morning’. Acai bowls are a big part of the offering at Pulp & Grind and as they are popular in the eastern suburbs beaches this aesthetic influenced the creative direction. The logo shows a sun rising over the water and is pared with a logotype that matches the feel. The dark purple colour is drawn from Acai and is paired with banana, oat and berry colours.

Food and drink photography was created with a sandy background and styled with the healthy natural ingredients that go in to each item.

Orleans was used for the logo wordmark (with a customised ampersand). Marr Sans Condensed was used for headlines, Scto Grotesk A for body copy, and Pitch Sans for supporting captions.

From Harley Johnston:

Doodee King is a group of restaurants that offers delicious Thai food in Sydney. We were originally engaged to help with the design of their new Castle Hill restaurant. We ended up completely refreshing the brand starting with a brand strategy workshop with the owners. The key themes that stood out for Doodee King were that their food was suitable for all age groups and cultural backgrounds. Their food is also authentic and sort after from the Thai community. These themes led to the idea of ‘Real Thai for All’ which sums up the brand perfectly.

Alias Noah is used for headline type, supported by Klim Type Foundry’s Pitch.

Commander’s Palace is a renowed Creole restaurant in New Orleans, Louisiana. The place and its café, Le Petit Bleu, are using Selva Script alongside Gimlet Founders Grotesk and Self Modern on some of their products. The seriffed caps for the Commander’s Palace wordmark are from Fragment Serif.

Tulo in all caps, in use on the sleeve of an Argentinian single release by The Beatles, with titles in Spanish: “No Es Ella Dulce” (“Ain’t She Sweet”) and “Llora Por Una Sombra” (“Cry for a Shadow”).

Tulo is a close copy of Seymour Chwast’s Art Tone Boot Black, distinguished by soft corners and lower stroke contrast, among other things.

[More info on Discogs]

Pinguino is a new ice cream shop in the center of the Belgian city of Leuven (Flanders). Local design agency kpot created a brand that is leaning in the colorful and pop trends that are seen a lot in the food market these days. Block colour geometrical patterns mix with big and bold type in a colour scheme dominated by orange, black and white with accents of yellow and purple.

The only type family used here in two styles is NaN Fiasco, NaN’s whimsical geometric sans built around consistent inconsistencies and voluntary quirks and mistakes which all bring warmth and a more human and playful spirit. It’s worth to note that this not the first use of Fiasco in the context of branding a food / beverage place, making it almost look like a dynamic for this typeface.

Poster urging people tο donate to a "Social Welfare Fundraising" during the Greco-Italian war of 1940-1941.

It is attributed to the famous Greek engraver Anastasios Alevizos (1914–1985), commonly known as Tassos. As a member of the communist party from 1930, Tassos went on to actively participate in the communist led resistance organization ΕΑΜ Καλλιτεχνών (Artists' National Liberation Front). EAM was the largest resistance organization in Greece against the Axis forces but only gained legal recognition in 1982, a consequence of the prevailing Cold War ‘red scare’ atmosphere.

Tassos designed the poster at the printmaking studio of Athens School of Fine Arts, led by the Professor Yannis Kefallinos, where he had previously been a student. The studio was the only workshop that used to offer training in what is termed “graphic arts” in Greek (namely a combination of type design, graphic design, book binding, printing techniques) within the realm of Greek fine arts institutions.

It was printed at the V. Papachrisanthou lithographic workshop in Athens (according to the current archival entry of the digital depository of the National Documentation Center).

The typeface that served as the inspiration for the probably lettered sentence “έδωσες ΕΣΥ” is Futura Black. Whether based on a Greek extension or devised by the artist, the lowercase letters and accents are beautifully drawn in the spirit of Futura Black and are perfectly legible by native speakers.

Source: www.flickr.com Scan by Boy de Haas (edited). License: All Rights Reserved.

Eichmann: His Career and Crimes is a book about Adolf Eichmann, one of the major organisers of the Holocaust. It was written by Charles Wighton (1913–?), a Scottish journalist who reported from post-war Germany, began studying Nazi war crimes, and attended the Nuremberg trials. The book was published in 1961, the year in which Eichmann was trialed in Jerusalem. Shown here is the cover of the Dutch edition, translated by A.J. Richel and published by Uitgeverij Het Spectrum in the Prisma Boeken imprint.

The haunting portrait depicts the SS officer in his uniform, with a face composed of dead bodies of Holocaust victims. The cover is signed “DOBE” or similar.

The typeface used for “Eichmann” is Mosaik. It’s the only published typeface design by Martin Kausche (1915–2007). Born in Stettin, he studied under F.H. Ernst Schneidler in Stuttgart and later in Berlin. From 1941, Kausche worked for the Organisation Todt. After the war, he settled in the Worpswede artist colony and designed book jackets for S. Fischer, among other publishers. His Mosaik was first cast in 1954, years after the Nazi regime was terminated. Stylistically the design has nothing to do with the simplified Gotischs that became popular in the 1930s. Stempel advertised it as “the latest manifestation of the uncial idea”. Why was it selected for this grim topic, then? It’s probably because Mosaik can still be commonly read as being linked to the German lettering tradition informed by blackletter, with its gnarly strokes and outmoded ductus for some glyphs. But unlike most proper broken script typefaces, it’s easily readable to a Dutch audience.

Today marks the 79th anniversary of the liberation of the Nazi concentration and extermination camp of Auschwitz-Birkenau by Soviet troops on 27 January 1945.

Source: www.flickr.com Uploaded to Flickr by Letterform Archive. License: CC BY-NC-SA.

Index card for Mosaik

Source: www.instagram.com License: All Rights Reserved.

The Building & Construction Company is an owner-managed business based in Melbourne, Australia. The company was established in 2015, and underwent a rebranding in 2023 by Australian design agency Beinc. The new company logo primarily uses Copanero by Azuliq Type for the words “Building & Construction”, with support from Sofia by Mostardesign for “The” and “Company”. The logo will be used in many different places, from the website to brochures, work shirts and site fencing. Copanero was a great choice to indicate that the company is much more than its name suggests—modern and creative solutions with outstanding craftsmanship and execution.

The Building & Construction Company prioritizes people above all else. They are driven by a passion for making a meaningful impact on the construction industry and striving to set a new standard for operational efficiency and client experience. With their people-first approach and dedication to excellence, The Building & Construction Company is committed to achieving success while maintaining integrity and respect for all.

In the words of Mike Parker, Ultra Bodoni (1928) is the result of Morris F. Benton working out the dramatics of the English Fat Face, starting from a Bruce Foundry recutting. ATF’s “headline spectacular” is used in roman and italic for an album by Tennessee Ernie Ford (1919–1991) with songs from the American Civil War, released by Capitol Records in 1961. Ford also recorded an album with Songs of the South, with a similar design.

[More info on Discogs]

Front cover

Evolution is a studio album by Nektar released in 2004. It was the first Nektar album since 1977’s Magic Is a Child to feature original drummer Ron Howden, who rejoined other founding members Roye Albrighton and Taff Freeman.

The cover art is by Helmut Wenske. Layout by Phil Smee, using Harry Light for the typography.

[More info on Discogs]

Deutsch Black and Helvetica fett on the sleeve of a Yugoslavian single from 1976 with “Strawberry Fields Forever” and “Penny Lane”, two Beatles songs originally released in February 1967. The band members are depicted in the colorful uniforms known from their 1967 album Sgt. Pepper's Lonely Hearts Club Band (although the songs were not included on that album). On the left: George Harrison, who would have turned 80 today.

[More info on Discogs]

Parcel station signage.

Dinamit by Revolver Type Foundry is the brand typeface of InPost. The new visual identity was designed in 2019 by the award-winning global creative agency Dragon Rouge.

InPost is a Polish logistics operator offering classic courier services and parcel delivery to parcel lockers. Dragon Rouge was “tasked with reinventing the company’s image as that of a bold innovator and of imbuing the brand with energy characteristic of start-ups.” This was achieved largely by the use of “new, kinetic typography”.

The crisp and uncompromisingly wide Dinamit is used for everything from signs, online and offline adverts, courier uniforms, and more. On the bilingual website and in the mobile app, Dinamit is combined with Montserrat.

Read and see more in Dragon Rouge’s case study.

Mobile app.

Online postage calculator.

Compilation of branding elements.

InPost’s Paczkomat is an automated booth for the self-service collection of parcels. This special edition was designed to celebrate the 5000th Paczkomat in their network.

Citylight ads featuring Mat, the new brand character.

Advertising banners for e-commerce.

The new uniform designs for couriers were inspired by fashion trends rather than work clothes styles. They depict InPost’s slogan “Out of the box”, here in all-caps Dinamit.

Hakata Maru Ramen makes delicious tonkotsu ramen. The franchise originally hails from Fukuoka, the home of tonkotsu ramen. Their latest venue in Darling Square is a long store that has been hugely popular since opening. Working with the interior design team we designed a large subtle feature graphic produced by moulding concrete panels. The design references the work of Japanese artist Mori Yūzan and his work from 1903 ‘Decoration and ornament, Themes, motives, Waves in art’.

The menus are printed using white ink on thick black paper attached to a wooden backing board to in-keeping with the Japanese fit out. The request for the uniforms was to capture a fun take on ramen, something that staff would be happy to wear and put a grin on the face of customers. The simple pun GOOD NOOD GOOD MOOD is printed large on the back of the black t-shirts to achieve this end.

Founders Grotesk was chosen for its character and flexibility. It is used for headlines in the menu and on the back of the T-shirts. Founders Grotesk Text is used for menu copy; Founders Grotesk Mono is used for stacked glyphs, seen next to food photography in the menu.

Interior Design: Interior Life

A huge plane tree, planted by Napoleon troops, oxygenates the country house Mas Gusó. Light and dark shades from light coming through the leaves become a mosaic that reproduces the plane tree leaf in both, a positive and negative mood.

Identity and signage for Mas Gusó, a farm house with a restaurant, market and wine store in Sant Pere Pescador (Costa Brava, Spain). Two styles of the Leitura type series, Leitura Display and Leitura Sans are used for all typography.

A modified stencil version of Leitura Display is used for the logo, as reference to stencil letterings painted on old wine barrels. This concept is repeated in the range of Mas Gusó wines, where each wine label has its own combination of initials.

Chair Airlines is a new Swiss airline that started operating in summer 2019. It’s actually the successor to Germania Flug, one of the two subsidiaries of Germania, which declared bankruptcy in early 2019. The Swiss subsidiary ran the same color scheme as the German parent company, which could cause confusion among passengers and their main customers – airlines and travel operators that charter Germania Flug aircraft. To avoid negative publicity it became clear that the company would need a whole rebranding within the shortest possible time.

Zurich-based branding agency Branders took care of the new identity, from naming to visual communication. The new name is the first thing that strikes: Chair. It's fun and quirky in an industry where company names are usually very serious. Chair stands for the actual seat that customers book for their flight, but it’s also a play on words as CH is the two-letter country code of Switzerland (standing for the Latin name Confoederatio Helvetica) and Air represents the airline. This is enhanced by the dynamic color scheme, a peppy red and a bright blue, used in the wordmark.

The livery on the three Airbus A319-112 from the company use an extra large cropped and rotated version of the lowercase “i” and its red tittle, embedding a Swiss flag. This set of abstract coloured shapes is used as the company visual signature.

Euclid Flex (with a modified lowercase i) is used for the logotype. Euclid Circular B is used on any other element, including tickets, app, safety cards & advertisements. These two collections are both part of the Euclid family available from Swiss Typefaces.

The modified lowercase i, with a rounded top, is symbolizing a passenger reclining in an aircraft seat.

An (early?) and typical use of Futura Dot with matching under- and overlines on the debut album of The Fabulous Counts, named after the last track on the record.

From the marquee-lights style typography to the unform green suits this cover screams typeical sessiuon band, which couldn’t have been further from the truth. And placing them in wooded surroundings comes in direct contrast with the gritty Detroit funk sound that these cats were laying down. Although they began with this record as primarily an instrumental group, they would soon transform to a full-on funk machine when they dropped the “Fabulous” and signed to the Westbound label. — Funk & Soul Covers (Taschen)

Cover photo: Ted Robinson. Cover design: Haig Adishian.