Eight years after the first English edition by Basic Books, A.R. Luria’s The Mind of the Mnemonist was reissued by Chicago-based publisher Henry Regnery. Roger Harvey’s jacket design uses Harry Obese, the heaviest weight of Harry, alongside Univers. The layered text snippets in pink and red additionally feature Helvetica, Times New Roman, and Bookman – but those are likely repurposed from existing material.

Source: www.antikavion.cz Antikvariát Avion. License: All Rights Reserved.

Zelená kuchyně (1988) by Jan Jeník, Václav Větvička, and Sergej Michajlovič Skornjakov, with illustrations by Edita Plicková

In the late 1980s and early 1990s, Czechoslovak publisher Lidové nakladatelství brought out a series of nature books in their Edice Planeta imprint. Zelená kuchyně (“Green kitchen”) is about vegetables and edible plants and Zelení ježci (“Green hedgehogs”) about cacti, while Zelený domov (“Green home”) deals with houseplants and Klenoty přírody (“Jewels of nature”) with minerals.

The cover designs are by Milan Albich (1925–2000), a painter, illustrator, and graphic artist from Krupina, Slovakia. He rendered the titles in ITC Serif Gothic. in all-lowercase letters from the Black weight, likely using the Letraset adaptation for dry transfer lettering. Unlike Mecanorma’s – or the official digitization, for that matter – this version includes the alternate glyphs, see for example the descending forms for z and k, the spurless r, and the tailed t.

Albich must have been fond of this typographic style: he also used it for a catalog of his own drawings and paintings in 1987.

Source: www.etsy.com craftytransfers (edited). License: All Rights Reserved.

A sheet of 48pt Serif Gothic Black, issued by Letraset in 1980 as LG3603 in their Letragraphica range. Note the alternates for aefkrstzEL and the pile of combining diacritics at the bottom.

Source: www.modrykonik.sk Modrý koník (edited). License: All Rights Reserved.

Zelení ježci (1989) by Stanislav Peleška and Valerij Dmitrijevič Lobko, with illustrations by Jiřina Kaplická and František Severa

Source: aukro.cz knihyantikeu (edited). License: All Rights Reserved.

Zelený domov (1990) by Galina Tavlinova and Jan Dienstbier, with illustrations by Zdeněk Berger

Source: www.knihyuvrany.cz Knihy U Vrány (edited). License: All Rights Reserved.

Klenoty přírody (1990) by Vladimír Bouška and Vitalij Ippolitovič Sobolevskij, illustrated by Adolf Absolon 

Oaze is a foodhall in Palhoça, Brazil. The naming and visual identity of the business was handled by design studio Ajna:

Oaze was born as a new food hall concept: a sophisticated, diverse, and open-air food court located in the heart of a large entertainment hub. The challenge was to create a brand with a strong presence and memorable visuals, capable of communicating variety without losing unity.

Inspired by the concept of an “oasis,” we created a visual and verbal identity that reinforces Oaze Foodhall as a place of pleasure. Through the naming, we evoked the idea of ​​a refuge amidst urban chaos, conveying the proposal to offer a rich and diverse gastronomic experience, with different restaurants and establishments in one place. The vibrant color palette brings life, while the bold logo carries personality for a sophisticated and welcoming environment.

The identity pairs typefaces in contrasting weights and widths. Roc Grotesk from Kostic is used in condensed, regular and extended widths, and in lighter and heavier weights. Its Heavy style served as a basis for the logo. The sans serif is juxtaposed with a few weights of Right Didone from Pangram Pangram. The less showy Gilroy from Radomir Tinkov is used for small type.

Photographer Woo See-Ming designed and published this 48-page collection of color photography in a broadsheet newspaper format (13.5″×18″). The book has essentially two covers, one on each side. The inside pages follow the orientation up to the center spread, which has no obvious orientation.

All the text and headlines are set all caps in Gertie by Mark Simonson Studio.

From Wikipedia:

Our Mother the Mountain is the second studio album by country singer/songwriter Townes Van Zandt, released in 1969. It is considered to be one of his greatest recordings and features some of his best known works, including “Be Here To Love Me”, “Snake Mountain Blues” and “Our Mother The Mountain”. […] The artwork for Our Mother the Mountain was designed by Milton Glaser and the album cover features an arresting shot of Van Zandt taken by Allen Vogel.

The heavy geometric sans used for the title looks a lot like Futura Extra Bold (Intertype, 1952). In fact, it’s the earlier Airport Black, issued by Baltotype c.1943. Differences include the smaller counters (see for example the O), the lower crossbar in A, and the lighter middle bar in E, see this 1959 specimen. Photo-Lettering carried an adaptation of Airport Black for phototypesetting.

For the logo of Poppy Records, Glaser used his own Baby Teeth.

[More info on Discogs]

Protean’s brand concept “Based on Conviction. Ready for Change” describes a very specific attitude in finance, disciplined decisions, and an explicit willingness to revise them when reality shifts. The identity was built to hold that tension without falling into the usual finance clichés, polished certainty on top of implied complexity underneath.

The typographic system is built around a deliberate tension between permanence and adaptability. TWK Burns anchors the identity with a sense of weight, discipline, and institutional memory, it feels carved rather than drawn, aligning with Protean’s emphasis on conviction and responsibility. Rhymes introduces a more expressive, high-contrast voice in headlines, allowing for nuance, emphasis, and moments of controlled instability. Ritual (with Ritual Mono) functions as the connective tissue, a contemporary sans that keeps the system operational, readable, and grounded in the present. Together, the typefaces mirror Protean’s philosophy: decisions rooted in strong belief, but always open to revision as conditions change.

The Fake Nostalgia calendar was created as a collaboration between photographer Hyungyung Jang and graphic designer Jiun Kwon.

Living as a foreigner in Germany heightens photographer Hyun’s sense of continual misalignment with the places she inhabits. Feelings of estrangement from her present surroundings and the unfamiliarity she encounters when revisiting once-familiar landscapes gradually loosen the boundary between memory and reality. Confronted with this disjunction, the artist turns to images rather than physical spaces to construct an imaginary refuge. The places that appear in her work resemble fictional scenes composed from memory, imagination, and fragmented images, rather than direct representations of actual landscapes. This produces an uncanny atmosphere that permeates her photographs and installations.

Her interest in the ways images stand in for reality expands from personal memories to the fabricated natural imagery produced by consumer culture. Calendar photographs, catalog spreads, and decorative objects present standardized images of nature that function as packaged substitutes for the real landscape. Hyun examines how this kind of “regulated nature” (verpackte Natur) circulates between familiarity and strangeness, unsettling and reshaping our sensory experience.

As a graphic designer, Jiun used a combination of Airport Black and Futura Extra Bold for the typefaces in the Fake Nostalgia calendar. Futura Extra Bold is Edwin W. Shaar’s 1952 weight extension of Futura, the geometric sans-serif typeface developed in the 1920s by the German designer Paul Renner. It became widely used in global corporate branding and advertising and came to represent the visual language of industrialization and mass production. Airport Black (c.1943) is the heaviest weight of and a unique addition to Baltotype’s unofficial copy of Futura, functioning as a kind of American, consumer-oriented Futura.

Just as natural imagery in Hyun’s work is consumed as simulated nature rather than an actual landscape, these typefaces also operate within a relationship of originals and reproductions. Image and type share a mechanism of replication that replaces reality, articulating the artist’s concept of fake nostalgia.

Design studio Our Polite Society used OPS And Ever, a newly released sanserif by OPS Type, for this book of archival research into Argentinian architect Amancio Williams (1913–1989) published by the Canadian Centre for Architecture in partnership with Spector Books. Readings by Studio Muoto, Claudia Shmidt, and Pezo von Ellrichshausen present new and expanded understandings of Williams’s work, and situate the social, material, and political dimensions of his practice within contemporary architectural discourse.

OPS And Ever, designed by Jan Egbers, is a proportional update and continuation of OPS Favorite, a monospace released by the foundry in 2019. In the book, it is used alongside the mono, which still features in the indexes. The headings and cover of the book are set in a still-unreleased Ultra cut of the typeface.

A striking print ad for the Dick Smith CAT, published in the May 1984 release of the magazine Electronics Australia. The Dick Smith CAT was an Apple II clone created by retailer Dick Smith, a chain of Australian electronics retail stores.

The headline “Only $699!” uses Helvetica Inserat, catching the viewer’s eye with bright red, emboldened text that leaps out from the page. Helvetica Inserat was designed by Arthur Ritzel and was first released in 1966 or 1969 by Stempel.

The slogan “Our CAT eats Apples!” uses Times New Roman. Times New Roman was designed by Stanley Morison and Victor Lardent, and was first released in 1931 by Monotype.

The mail-in information header and form use Helvetica. Helvetica was designed by Max Miedinger and Eduard Hoffmann, and was first released in 1957 by Haas under the name Neue Haas Grotesk.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

To commemorate the centenary of the birth of Scottish author Muriel Spark (1918-2006), Polygon, a Scottish imprint, is issuing a uniform edition of all 22 of her novels.

Designer Teresa Monachino chose to design the covers typographically, using two typefaces by Eric Gill, Gill Kayo and Perpetua. As she states,

The one thing that I kept in the front of my mind was that Muriel Spark was ‘the writer’s writer’. I read the 22 blurbs that accompanied each story and I knew then that the work should speak for itself. If we mustn’t judge a book by its cover then we must judge it by its words. What happens then when the words are the cover? I proposed that the book blurb should be on the jacket cover so that the design lets the stories speak for themselves; they need no further embellishment, it’s all in the writing.

To encourage readers to collect the entire set of works by ‘the writer's writer’, the designer included a kind of typewriter keyboard grid on the covers, with each book’s number in the sequence of titles highlighted, set in Gill Sans.

The sequence numbers are repeated at the bottom of each jacket spine, as well as a single, similarly highlighted single letter at the top. When all the books are assembled in order on a shelf, the highlighted letters spell out ‘THE NOVELS OF MURIEL SPARK’ — a clever ‘Easter egg’!

The texts are set in Monotype Ehrhardt.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: booksfromscotland.com Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Brand design studio Hello Comrade created a type-centric identity for AMO Tequila. In a category so often dressed in ornament, this feels like a clear, confident pour. ⁠

While logo and headings are in all-caps BN Dime, supported by Alternate Gothic, all body copy uses Halyard Display. Darden Studio’s sans serif features for text on the bottle labels and the website alike. There’s something special about seeing Halyard carry a brand like AMO Tequila, bold, front and center, without distraction.⁠

About the working-class vibe, showing that even when times are tough, we can still find joy and strength in laughter and music.

This showcase highlights the art direction for Finnish rapper Aste’s releases from 2023 to 2025, leading up to his album Nuori & Kuolematon.

A key element in the visual identity is the use of Sequel 100 Black – a bold, modern typeface that reflects Aste’s strong presence and the mix of hip hop and pop in his music. The typeface gives the artwork a clear and confident look, inspired by the clean aesthetics of 1990s Finnish pop and hip hop visuals.

We used Sequel 100 Black consistently to build a recognizable style across covers, social media, and videos. It brings structure and energy, much like Aste’s lyrics — direct, emotional, and powerful.

For the single “Duunarit”, we added DNS Gibsons Two, a more technical and industrial-looking font. It fits the theme of the song, which connects everyday work life with music. While Sequel stands for identity and legacy, Gibson Two brings contrast and highlights the working-class vibe of the song.

Together, these two fonts tell a visual story: strong, clean, and rooted in both past and present – just like Aste’s music.

About dealing with inner turmoil, finding energy, and pushing through life’s chaos. The phrase “chakrat on sekasin” emphasizes this struggle.

About the energetic celebration of summer romance. A nostalgic 90s techno-pop inspired cover.

Strength and resilience of the working class, where music and art rise from even the most industrial, blue- or red-collar roots

Nuori & Kuolematon album tracklist

Nuori & Kuolematon album art

“ANDRÉ” is a new interpretation of Marita Taavitsainen’s old pop song.

For the wine series “Handled with Care” by Felix and Alex, Studio Freude developed a visual identity centered around sustainability and individuality. Instead of using traditional wine labels, each bottle is wrapped with a strip of printed tape—making every unit unique and emphasizing the handcrafted nature of the product.

The typographic centerpiece of this design is Brubeck, a bold, condensed sans-serif. Set in tight, headline-sized arrangements, Brubeck adds powerful presence without overflow. Its compact proportions and strong graphic presence are ideal for the narrow, linear format of the tape. Brubeck’s retro-inspired forms evoke a tactile, analog feel that aligns with the project’s emphasis on care, craft, and minimal intervention.

Master of Reality is the third studio album by Black Sabbath, released in the United Kingdom by Vertigo on 6 August 1971.

The first pressings came with a poster featuring a photo of the band, taken by Keef (not depicted here). The album’s title is shown embossed, with the black-on-black lettering only visible in relief. Later editions would drop the costly embossing in favor of the album title printed in gray – as well as in many other colorways.

The letterforms were distorted to resemble a fluttering flag. They are taken from Lodwick Kabel, a weight extension of Rudolf Koch’s Kabel that’s bolder than Kabel Black (1929) and also ITC Kabel Ultra (1975). London-based typesetting studio Photoscript showed it as “Exclusive Royalty face” in their 1970 catalog. See the Blog post for more details.

[More info on Discogs]

Master of Reality was the band’s first album to include printed lyrics. They are set in Gill Sans, with caps from a bold weight for the titles. At least on the shown US pressing by Warner Records, the credits block uses News Gothic.

In this photo, the raised title lettering becomes a tad more visible: the protective foil accentuates the contours.

From Kunsthalle Recklinghausen:

The Danish artist Søren Aagaard (*1980) questions the performative potential of food and art in a wide variety of contexts. Who cooks what, and for whom? A closer look quickly reveals that food is a highly controversial topic. Aagard’s witty and carefully researched exhibition transforms the kitchen, the center of the domestic realm, into a performative-sculptural setting. Who would have thought that cooking and art have so much in common?

Following numerous solo and group exhibitions, including at the Museum of Contemporary Art in Roskilde and at the Performa Biennale in New York, the Kunsthalle Recklinghausen is now showing Søren Aagaard's first solo museum exhibition in Germany as part of the Ruhrfestspiele.

Théâtre Prospero is a vibrant cultural venue located in Montreal’s Centre-Sud district. Established in 1984 by the Groupe de la Veillée, it occupies a former cinema transformed into a theater space. In 1999, it was renamed Théâtre Prospero, inspired by the central character in Shakespeare’s “The Tempest”. The venue produces shows, hosts companies, and supports the emerging scene .

Under the artistic direction of Philippe Cyr since 2021, Théâtre Prospero continues to be a cornerstone of Montreal’s theatrical landscape, fostering innovation and artistic exploration.

The Théâtre Prospero benefits from the creative expertise of Hubert Larose St-Jacques as its Communications Director and the graphic design is crafted by Principal Studio. For the 2024/25 season, the theater’s promotional materials feature a striking combination of the fonts Exposure (Federico Parra Barrios, 205TF), Futura Bold, and Habitus (Julien Hébert).

Designed by Connary Fagen, the typeface Integral CF gained significant attention when prominently used in the 2018 MTV Video Music Awards (VMAs) branding. With clean lines and geometric precision, Integral CF creates maximum visual and emotional impact and fits perfectly with the VMAs’ dynamic and youthful image.

Integral CF features six weights and wide language support.

Campaign design by Rebecca Wheatman.

Tang China – A Cosmopolitan Dynasty is an exhibition shown from 20 November 2024 to 3 March 2025 at the Musée Guimet in Paris.

The design of the exhibition catalogue reflects the rich cultural and historical context of the Tang dynasty. The bilingual publication uses the heavier weights of Ergon for the title and headlines, evoking an atmosphere of tradition while maintaining a contemporary feel. The layout organizes the content in a way that is both informative and visually engaging, with imagery and text working together to highlight the multicultural and prosperous nature of the Tang dynasty, particularly the city of Chang'an as a crossroads of diverse cultures.

We crafted a dynamic digital experience encapsulating Joshua Kissi’s visionary approach to photography and filmmaking while celebrating his Ghanaian-American heritage. The design embraces modern minimalism while showcasing his striking imagery, ensuring his work remains the focal point. For Joshua’s identity, the type treatment was designed to highlight the incredible talents he has worked with.

We chose a bold typeface, Benzin, allowing their names to take center stage, while an italicized serif, Swear, contrasts this boldness, adding depth and nuance. The overall typography is bold, contemporary, and unapologetic perfectly complementing his identity and body of work.

The logo is a mix of custom letters and customised version of TAN Daisy.

Concept Barre is a dance school in Barcelona that offers ballet, functional training and Pilates classes. The website is designed by Codea Studio, a creative agency based in Barcelona. Codea Studio specializes in brand creation, communication and advertising campaigns and works specifically with brands that go against convention. This progressive thinking is also reflected in Concept Barre, which positions itself as an LGBTQIA+ friendly studio – a place where all bodies and genders are welcome.

A central element of the website is the clear communication of the studio’s core beliefs and key messages. Its focus lies on self-confidence, the balance between fitness and leisure and a strong philosophy of inclusivity. These values are not only reflected in the content, but also in the design of the website.

Concept Barre’s modern and minimalist brand aesthetic is particularly evident in the typography. Headings are highlighted with capital letters, while body text is written in simple and accessible language to maximize readability. Two sans serif fonts are used, which are characterized by clarity and legibility.

LL Supreme is a reinterpretation of Paul Renner’s classic geometric typeface, Futura. However, it is not simply a revival, but rather an evolution of the original concept. The typeface was designed by Norwegian Arve Båtevik and released by Swiss foundry Lineto in 2020.

The basic idea of Futura is also embedded in LL Supreme: the possibility of creating a distinctive, fully functional, yet sophisticated typeface using only pure geometry. Thanks to this consistent design, LL Supreme combines clarity, precision, and modern aesthetics.

In addition to the basic weights, there are also graphically accentuated options such as Jumbo and Choupette. The styles have been drawn independently, giving each weight its own identity. Concept Barre uses LL Supreme Display Jumbo.

Lay Grotesk is a modern interpretation of classic grotesque typefaces such as Helvetica a.k.a. Neue Haas Grotesk, with an emphasis on a simple, neutral, and elegant appearance. The designer, Massimiliano Vitti, is part of the Italian graphic design studio Due Studio.

A key aspect of Lay Grotesk is its increased contrast and slightly reduced point width, which improves legibility at small sizes and creates a compact, dense text effect. At larger sizes, its geometric character is more pronounced, with clear, straight terminals.

The mix of soft and rigid elements makes Lay Grotesk versatile – from book design and corporate identity to posters and digital applications. With a total of 791 glyphs and five weights from Regular to Black, it offers a wide range of design possibilities.