“Like to Get to Know You Well” is a 1984 single by English singer Howard Jones. From Wikipedia:

The sleeve carried the motto “Dedicated to the original spirit of the Olympic Games” as the single was released at the start of the 1984 Summer Olympics in Los Angeles. The extended version, subtitled “international remix”, features Jones singing in English, German and French.

This international aspect carried over to the single’s sleeve design, where the uncredited designer depicts the title in a variety of (badly translated) languages and fonts. The artist name as well as English and French titles use Berling Bold. The Dutch title uses News Gothic Extra Condensed and the Spanish one Americana Extra Bold. The German is in Beton Bold Condensed, while the Japanese is in Gothic MB101. Italian is Futura Demibold. The Greek is in Eurostile Extended Black, with alterations made to create some faux-Greek glyphs. Finally, the Swedish uses Plantin.

[More info on Discogs]

“Bounce Right Back” on the back cover uses Berling as well.

A later release of the single replaced the badly translated Japanese with a slightly less bad translation, and replaced the Swedish at the bottom with “12″ International Remix” in Helvetica Bold.

Paper Trails: Publishing Methods as Connective Tissue was a featured exhibition and event from artist Loizos Olympios at Tapper during the Limassol Art Walks in October 2023. The exhibit explored publishing as a medium, part of the city-wide, multi-venue arts event featuring artist-run spaces and performances.

Front covers (DE and EN editions) with all-caps New Edge 666 Rounded and debossed text in unidentified typefaces

Musafiri. Of Travellers and Guests is a research project that culminated in an exhibition shown at Berlin’s Haus der Kulturen der Welt (HKW) from 8 March to 16 June 2025. The accompanying publication was designed by Uncoated using New Edge 666 Rounded and BBB Baskervvol. The covers additionally feature debossed text in various scripts, set in yet unidentified typefaces. From publisher Archive Books:

The Musafiri: Travellers and Guests reader follows the entwined paths and encounters of those that embark on journeys, traversing the worlds that open up when the confines of familiar surroundings are left. They are musafiri, a word that denotes the traveller as well as the guest in a plethora of languages such as Arabic, Romanian, Turkish, Farsi, Urdu, Hindi, Swahili, Kazakh, and Uygur. This reader addresses questions of departure and arrival, of who is welcome and who is not, of artistic expressions during travels, of the global circulation and transformations of ideas and commodities, of religions and pop culture. The essays, interviews, and artistic contributions in this volume accompany the eponymous exhibition at Haus der Kulturen der Welt (HKW) and introduce the worlds of determined travellers, of individuals and communities displaced in the past, and of migratory movements of today. The spectrum of perspectives presented includes the figure of the hermit in ancient China, whose retreat is understood as a journey into nature and selfhood, the transcultural experiences of Japanese artists in the Latin American diaspora, the mobility networks of Afghan traders in the geographical spaces of the former Silk Road and beyond, or the sıla yolu, the transit route to Turkey, on which thousands of people travel every year to visit their old home.

Back covers (DE and EN editions)

Book index spread

Spread with various symbols

Spread with BBB Baskervvol for body copy alongside photographs

Spread with short bios in BBB Baskervvol, with headings in New Edge 666 Rounded

The logo

As part of its rebranding to Corinth Folklore and History Museum (Greek: Ιστορικό Λαογραφικό Μουσείο Κορίνθου), the old Folklore Museum of Corinth (Kórinthos) needed a new logo. In discussions with the people of the museum it was clear that there was a need for a logo that could function in digital media as well as in print and in the building signage. There was a need to incorporate the new historical element but also keep the folklore side which has been the museum's main theme until now.

The museum suggested a collection of images of objects and fabrics that could be used a starting point of the design. Although there were many intriguing objects among the images, what struck me as the best starting point were the patterns of the fabrics. After some initial attempts at creating a geometric logo from these patterns I focused on the rhombus shape that appeared in most of the patterns.

The need to marry foklore and history lead to a more “typographic” solution. The logo was made using 19th-century-style typefaces that relate to the early Greek state established in that period, a significant historical moment for the city.. The final shape came from combining the initials of the museum’s name ΙΛΜΚ to create the rhombus shape.

Examples of logo application

Logo variations

Ioannis Kapodistrias – Routes in his History is an exhibition organized by the Library of the Hellenic Parliament and the Municipality of Nauplion. It was held in Nauplion parallel with the main exhibition about Ioannis Kapodistrias (the first governor of Greece in the early 19th century) which was held at the Library. Most of the items were at the original exhibition and the one at Nauplion therefore consisted mostly of reproduction and informational material. As such it was an exhibition where graphics played a major role.

The exhibition design was done by Spyros Nasainas who also determined the overall layout of the graphics. The exhibition occupied four rooms each one dedicated to a different historical period and using a different background color. Long panels containing the main text and background decorations were placed in all the rooms while the rest of the exhibition material was printed in smaller panels that were hanged in front of the backgrounds.

The main typeface was Walbaum, a Didone typeface that is historically appropriate. The version by František Štorm, Walbaum 2010, has also a sans serif version, Walbaum Grotesk, that was used for smaller text.

Front and back cover

This is a book of portrait photographs by Anna Maria Hadjistephanou of the actors of the film Σπασμενη Φλεβα (Spasmeni Fleva, English: “Broken Vein”) by director Yannis Economides.

Hadjistephanou took photographs of the actors before, during and after the shooting. Before the shooting the actors are posing in front of a mirror, during the shooting they are shot when they prepare to go on the set and the photo after is taken with the actors posing in their homes.

Project φλέβα. Παράλληλες φωτογραφικές διαδρομές (“Project Fleva. Parallel photographic routes”) presents all the photos and contains nine short texts by critics, photographers and some of the actors. An exhibition of the photographs will be held a week before the film premiers in cinemas.

The book is set on Richler with Gotham Narrow for titles and captions. It’s available from Βιβλιοπωλείο ΜΠΕΡΛΙΝ (Berlin Books).

Introduction page

Opening spread

Text spread

Spread with phtographs

Detail of the texts

“Cuisines Cultes”, or “Cult Cuisine“ in English, is the fifth issue of the book-like magazine by French publisher Les Belles Lettres. It is dedicated to the rituals associated with food, from the prehistoric age to the future. It is filled with articles, recipes, photographies, short stories, and so on.

The offset printed and gold stamped publication features Self Modern in Regular, Book and Italic for the titles and texts, along with Almanach for the captions, and Karrik on the backcover.

The Chinese text “民以食為天” appears to be set in Hiragino Kaku Gothic.

The typeface used for Greek text is yet unidentified.

HBKsaar 2024 dust jacket front cover — 35 years already!

The annual yearbook of the Hochschule der Bildenden Künste Saar (University of Arts and Design Saar, HBKsaar) has long been a chronicle of the school’s academic life and an outlet for editorial practice. Designed in-house (first by Ludmilla Rech, then Daniela Spinelli, and today Manuel Wesely) with a strong emphasis on materiality and typographic concepts, each edition reflects the institution’s identity as a laboratory for contemporary education in art and design.

As in previous years, the HBKsaar yearbook arrives just in time for the graduation show at the end of the summer semester. The 2025 edition reflects on the 2024 academic year and, for the first time, includes essays from teachers who spent a research semester during that period. Unlike earlier editions, which showcased more than 100 student projects, this edition shifts its focus to teaching and a significant anniversary: HBKsaar turns 35. Student work is now featured on HBKnow, a new platform launched in spring 2025 to highlight HBK-related projects and events.

The number 35 provides the visual and conceptual thread running through the design, beginning with the dust jacket and continuing throughout the interior. Lorraine Bauer and Saleh Alsaid each contribute an editorial exploring the “35” theme – cheers to them!

Typography is led by Bernino Sans by Tim Ahrens and Shoko Mugikura, HBKsaar’s house typeface, which sets the main text and headlines. It is paired with the monospaced Gemeli Mono by Jean-Baptiste Levée and Pantasia by Wei Huang for captions, small informational text, and all personal names. The “35” editorials feature the Geigy typeface by Robert Huber for Lineto.

The cover nods to the aesthetics of German New Wave of the 1980s – fans of Trio will recognize the reference immediately (Herbert Grönemeyer may divide opinion). House and phone numbers hint at the school’s public accessibility. A calendar page with a “35-day month” reinforces the yearbook’s sense of structured order with plenty of space for personal notes.

The book was produced by Krüger Druck+Verlag. The dust jacket is printed on Igepa Spezial GD2 stock, which is also used for the cover, though reversed (“inside-out”). The book uses Circle Bulk recycled volume paper. Binding is hybrid: an untrimmed (at the outer edge), staple-bound booklet is combined with a dust jacket featuring a 12 mm spine and two flaps. Covers are printed in black plus Pantone 805 neon red; leftover neon ink from the press run was repurposed for a 16-page opening editorial and the 16-page reference section “HBKsaar from A–Z” at the back.

Just like the neon sections, the introductory photo editorial makes use of the specific page structure of a staple‑bound booklet. The first and last 20 pages – i.e., the ten outermost printing sheets – feature full‑bleed photographs of the Rundgang (open studios) and graduation ceremony. Each spread works both as two separate halves, divided by the gutter, and as a single image hidden within the pages. A book without a spine and a dust jacket with one might seem incompatible, but HBKsaar makes it work.

Opening page – Meret Preiß pointing at Gemeli Mono

Guest appearance of Studio 63, the HBKsaar student-run design studio, preparing the Rundgang and Abschlussfeier exhibitions. From left to right: Saleh Alsaid, Matti Henn, Marietta Stucky (on the ladder) and Manuel Wesely

Photo editorial: landscape-oriented photos printed full bleed on printing sheets, then divided by half through the binding, resulting in two portrait-oriented photos.

Studio 63 cameo on the left (Rundgang 2024 graphic design identity), and Saleh Alsaid’s “35” editorial on the right

Saleh Alsaid’s “35” editorial

Ending of Saleh Alsaid’s “35” editorial and the foreword of Prof. Dr. Christian Bauer, the rector of HBKsaar. The text also functions as a table of contents.

Essay by Prof. Burkhard Detzler on the origins of AI

Start of the centre editorial on yellow pages by Lorraine Bauer: “our students must learn the un-learnable: dealing with the unsolvable”, Lucius Burckhardt, 1989 (one of the founding members of HBKsaar)

Ending of Lorraine’s editorial and start of the second half of the booklet

Spread showcasing the “Principles of Serendipity” conference on extended graphic design

Essay by Prof. Dr. Christian Bauer “Be a Mensch!” on anti-semitism in arts and culture, poster design by Manuel Wesely

The second neon part: HBKsaar from A to Z

New folks now working at HBKsaar!

Infographics showing the distribution of individual students per study program of HBKsaar

The last pages, continuing the photo editorial

The second half of Meret’s face and her friend, and the last page of the booklet with the colophon

The backside of the book; notice the reversed cardboard and customized HBKsaar logo for the “35” occasion

Detail view of dust jacket (with spine) and booklet (without spine) and the untrimmed outer edge

Bilingual catalog published in the context of the new series of archaeological exhibitions “Human Histories” for the exhibition Chaeronea, 2 August 338 BC: A day that changed the world presented at the Museum of Cycladic Art.

The catalog presents the battle of Chaeronea, the one that pitted the Macedonians against the allied Hellenic cities and emphasizes its importance in shaping the new Hellenistic world. It consists of 453 pages and includes all the objects of the exhibition per section, with detailed explanatory texts in Greek and English and rich photographic material.

For the project, Bend used the typeface Mod Grotesk.

In 2023, the website for the Museum of Cycladic Art was redesigned by Bend and Chris Ouzounis, using CF Asty.

The Museum of Cycladic Art holds one of the most complete collections of Cycladic art in the world showcasing the famous marble figurines of the third millennium BC that have influenced several twentieth and twenty-first century artists, such as Brancusi, Modigliani, Giacometti, Hepworth, and Moore.

Design studio Bend writes:

Over the past year, we have worked closely with the team at the Museum to organize and redesign its new website. At the core of the redesign are the principles of simplicity and inclusivity.

Our goal was to design a website that allows users to seamlessly explore the expanding world of the museum, including its exhibitions, collections, and activities, while effectively communicating the museum's identity as a vibrant cultural institution in the heart of Athens.

This is the shop front of Βασιλάκης (Vasilakis), a home goods store in Heraklion, Crete. The company was founded in 1981 according to its website. Its current logo, found also on its website, does not reflect its sign, which uses a tweaked version of Futura Black.

Το Παιχνίδι (To Paihnidi, English: “The Toy”) is a sustainable and educational toy store chain in Greece. The brand was created in 1978.

The photo at the top shows the store in Patisia, Athens, with a sign set in uppercase Futura Black. Most other shops including the one in Chalandri shown below have a sign in lowercase letters.

Themis Karamuratides (Θέμης Καραμουρατίδης) is a Greek composer, arranger, and pianist. Cut Design Studio created his portfolio website, using the Medium and Extra Light styles of TA Modern Times throughout, with the logo based on the Medium weight.

Additionally, the website menu uses TA Modern Times Rounded, which adds a softer, more modern touch to the design. The font’s modern and subtle aesthetic visually reflects the musician’s craft and reinforces his brand identity.

TT Norms Pro and TT Travels Next are part of Artware’s identity.

Artware is a web design and branding company with a particular emphasis on strategy and aesthetics. The agency specializes in website and e-shop design and development, branding, packaging design, photography and content creation.

While on a recent trip to Greece, Frank Grießhammer sent me this photo of a poster for a Giannis Haroulis concert that uses my font Megazoid. My first thought was “This is cool!” and then it dawned on me – Megazoid doesn’t contain Greek characters!

I did start drawing a Greek version a while back, but I didn’t remember getting it critiqued by a native speaker of the language and I definitely didn’t remember including it in the release. I had to check the type tester on the Type Network and Adobe Fonts websites to be sure ... no Greek!

Unfortunately I wasn’t able to identify the resourceful designer who constructed this Greek themselves …. please speak up if it was you! But I had fun trying to reverse-engineer their process.

Starting with the musician’s name, “Γιάννης Χαρούλης”, I figured out the closest approximation I could using the characters in the font “Lıávvns Xapoúyns”, using the alternate single-story a.

Because of Megazoid’s reliance on simple, geometric shapes, most of the letters required no modification at all to work in Greek:

• The Turkish dotless i becomes iota (ι)
• The alternate single-story a becomes alpha (α)
• v becomes nu (ν)
• s becomes final sigma (ς)
• p becomes rho (ρ)
• o becomes omicron (ο)
• u becomes upsilon (υ)

Meanwhile, a handful of letters required some simple transformations:

• Flip the L to make Gamma (Γ)
• Add a descender to n to make eta (η)
• Flip the top half of X to arrive at a vertically-symmetrical Chi (Χ)
• Flip the y to make lambda (λ)

There are a few additional details that changed in the poster … the square counterform in the Χ, the letterspacing of the λ, etc. But that is the gist of it!

I am impressed by this designer’s DIY spirit, and I like some of their solutions better than what I had in my Greek sketch of Megazoid. This was the kick in the pants I needed to finally finish that Greek version of the font and get it out into the world!

Set is a Greek furniture studio, interior design and gallery store in Athens since 1980. Set produce a furniture collection that combines traditional high skilled craftsmanship techniques, sourced from various cultures and countries around the world. Sustainability is at the heart of their production process not only by using materials and human labor with respect and empathy, but with a tender sense of the future in total, contributing towards a brighter footprint, as individuals and as a company.

CRC studio designed a catalog for Set's 2023-2024 collection. Each of the seven series is characterized by a distinct color scheme, weaving a cohesive visual narrative across 96 pages to showcase over 200 products. Product photos were taken by Stavros Habakis and Alice Kassimati.

TT Drugs is part of Hungry Devils’ identity.

Hungry Devils is food truck specializing in Greek and American cuisine. It is a restaurant “on wheels” that treats guests in Reno, Nevada.

A ± Z Abwesenheit – Zufall / Absence – Accidental is an artistic research work of Micha Payer and Martin Gabriel.

This monograph by and about the artistic duo Payer Gabriel is an antidisciplinary encyclopedia that literally unfolds its etymological meaning – as a circle of learning in which variable forms of knowledge that mutually inform and reference each other, often in playful ways, circulate.

A ± Z is set entirely in Lexik, featuring the first time use of its Greek extension that was published in 2024. A ± Z has been awarded as one of the Most Beautiful Austrian Books of 2023:

This publication is enchanting. The successful interplay of different types of paper is not only visually impressive, but also invites you to flick through the pages and literally immerse yourself in them thanks to its interesting feel. The skilfully arranged interplay between the text sections and photographs, sometimes as lithographed illustrations on thin-print label paper, surprises and delights book lovers. The ingeniously inverted linen cover alone makes this work stand out.

The bilingual book (German and English) has 246 pages and is illustrated with 74 color plates
It was printed by Gerin in Wolkersdorf on Arena Bulk 90 g and Uniset Supra 80 g papers, and published by De Gruyter in the edition:angewandte series.

First use of Lexik’s Greek extension (added in 2024) in the word εγκυκλοπαίδεια.

In 1978, Gay Freedom Day was the name of the march and celebration now known San Francisco Pride. The event that year, attended by an estimated 250,000 to 375,000 people, marked the debut of the original rainbow flags.

As Pride is a Protest explains, the 1978 Gay Freedom Day was also a major political event:

It featured a central rally against California Proposition 6, a.k.a. The Briggs Initiative, which aimed to bar gay teachers from the classroom. […]

1978 Gay Freedom Day also featured a newly elected Harvey Milk, California’s first openly gay government official, who rode down Market Street in a convertible wearing a pink triangle arm band and a shirt that read, “I’ll Never Go Back!”

It featured a boycott on Coors Brewing, which “put prospective employees through a polygraph test to determine, among other things, if they were homosexual. […]”

That year, the identity design for Gay Freedom Day prominently featured Aldo Novarese’s Stop typeface along with a rising sun motif. The design featured prominently across the celebration: on buttons, T-shirts, flyers, printed programs, and a hand-made parade banner for the Gay Freedom Day Committee. I haven’t been able to track down any credits for the design so please comment below with any leads you may have.

Pride events are taking place around the world this month for Pride Month, including SF Pride and NYC Pride this weekend.

Page with the Greek version of Johnson

Playbill by the Royal Theatre of Greece, or Βασιλικό Θέατρο (later known as the National Theatre of Greece), for two plays by Molière; Les Fourberies de Scapin and Les Femmes savantes.

This formerly unknown Greek version of Johnson was probably cut by Karl Brendler & Söhne in Vienna as Elefanta before 1924.

Cover with lettering