[More info on Discogs]

We’ve seen an album by British pianist Nick Nicholas here before, featuring the elusive Gadget. Two years later, in 1975, Nicholas followed up with the two-part Honky Tonk Piano Party. The covers represent two interpretations of the same theme, both with a photograph by Frank Youngs (from the same shoot?).

For the type, designer Jack Levy went all in on the party theme with a huge helping of Stilla Caps. Zoom in on the details: this time, the dash isn’t a repurposed tilde, but rather made from the right part of the ampersand?! H got a gratuitous ball terminal (because there can’t be too many ball terminals in Stilla), and both numerals were customized (the numerals drawn by François Boltana are non-ligning which makes them a little boisterous when used in all caps).

The secondary typefaces are Albertus and Kabel, respectively. The former is used with two extra-wide W’s that appear to be pieced together from V’s – did Levy run out of the required letters on his dry transfer sheets?

[More info on Discogs]

Sissi Club brings together five artists (HaYoung, Lou Masduraud, Madison Bycroft, Neïla Czermak Ichti, Tarek Lakhrissi) closely connected to the gallery in Marseille. Through video, sculpture and drawing, their works approach the body as an open structure – scar, orifice, fluid, cavity – shaped by myths, gazes, infrastructures and projections. I (as in instinct) is shown from March 7th to April 11th, 2026.

The exhibition proposes the “I” not as a fixed identity but as a point of tension – a state of transformation, where the fissure becomes a condition for recomposition.

Poster design by Studio Veyre – Aurélien Potier and Claude Eigan – using Bastardo Rounded and Garabosse Parangon.

Founded in 1968 in San Francisco, The North Face is an American outdoor recreation products company producing outdoor clothing, footwear, and related equipment. Their catalog for 1974–1975 uses Bullion Shadow.

Bullio was designed by Tony Geddes and issued by Face Photosetting in three all-caps styles. The Shadow style was adopted by Letraset by 1971. As their dry transfer sheets didn’t include proper hyphens or dashes, the designer repurposed a diaeresis (¨), of which there were plenty. Alternatively, they could have used a rotated pipe (|), but that would have been rather wide and also exhibited a different shadow direction.

A sheet of 60pt Bullion Shaded as issued in Letraset’s Letragraphica range as LG 518

A version of Neptun – probably Letraset’s adaptation for dry transfer lettering – in use for the German release of “Ooh-Wakka-Doo-Wakka-Day”. The 1972 song by Irish singer-songwriter Gilbert O’Sullivan became a top ten hit in the UK.

[More info on Discogs]

For the 2020 edition of Barcelona Design Week, the challenge was to visually articulate a moment of global uncertainty and digital transition. The identity, conceived by ESIETE, confronts this new reality head-on, translating the discomfort and potential of a pixelated digital existence into a powerful and cohesive campaign.

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

The core concept behind the Barcelona Design Week 2020 identity was to mirror the collective experience of a society abruptly thrust into a digital realm. The studio moved away from polished aesthetics, intentionally introducing an “uncomfortable pixelated digital piece” as the campaign’s centerpiece. This bold approach served as a metaphor for the fragmented yet interconnected new reality, emphasizing design's role in navigating and solving emerging challenges.

The visual proposal, built upon this typographic foundation, was brought to life across the city of Barcelona. The studio’s work for BDW 2020 was a testament to the power of collaboration, uniting professionals, associations, and institutions like the Barcelona Design Centre (BCD), FAD, and the Museu del Disseny to empower design's value as a key factor for societal success.

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

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

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

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

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

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

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

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

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

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

Visuals for Super-Rough, a pop-up exhibition curated by Takashi Murakami and presented during the Outsider Art Fair in summer 2021.

EY Doberman has redefined the brand strategy, identity, and digital presence for Multiconsult Group, a leading engineering and architecture consultancy specialist. With a heritage dating back to 1908, Multiconsult brings together over 3,900 experts to address complex challenges across infrastructure, energy, industry, urban development, and mobility.

Central to this comprehensive redesign is the use of Store Norske Ja, a contemporary typeface that adds clarity and sophistication to Multiconsult’s communications. Its balanced geometry and approachable character reflect Multiconsult’s commitment to both technical excellence and accessible design. Store Norske Ja is available from Skriftkompani.

Key visual, posters, and social media posts for a network meeting at the Freie Universität Berlin, themed “Empowerment & Vielfalt: Frauen gestalten die Universität” (in English: “Empowerment & Diversity: Women shape the university”).

Check out Integral CF, the sleek font Studio OUAM chose to bring Poomclap’s branding to life! With clean lines and a modern geometric style, Integral CF shapes everything from album covers and posters to social media and merch, giving Poomclap – a French independent record label – a bold, consistent look that’s as fresh as its sound. It’s the perfect typographic match to the label’s cutting-edge music vibe – typography that speaks as loud as the beats.

Designed by Connary Fagen, Integral CF features strong vertical strokes, tight spacing, and confident letterforms that deliver clarity and punch. It’s versatile enough for headlines and identity systems but distinctive enough to leave a mark – just like Poomclap’s sound.

Identity for the law firm of Anna Krzanicka-Bombczynska. From the designers of Leniva Studio:

The design system balance serif and sans-serif type to reflect both precision and approachability – two traits essential in legal practice. The logotype is built around the clients surname and adapts to context: compact and personal on a business card, more formal and spaced out in documents. Instead of a hyphen, we use a pause — a subtle graphic gesture that gives the name space to breathe.

The identity utilizes a soft gray palette, and is set in its entirety in STK Bureau Sans and STK Bureau Serif by Smuss Type Kiosk.

MP2E Solutions is a company specializing in the distribution of Hauschild planetary mixers and equipment. For nearly ten years, it has been the exclusive distributor of these complex and highly technical machines. The SpeedMixer™ mixers from Hauschild GmbH, also known as planetary or bladeless mixers, are the safest and most versatile equipment in their category, enabling mixing, pulverizing, degassing, vacuum processing, and more.

In this context, MP2E Solutions provides these machines to various industries, including the pharmaceutical, food, medical, and electronics sectors, which rely on planetary mixers for their manufacturing and research processes. To mark a new era for the company, Palantis — Brands was commissioned to redesign the brand’s entire visual identity. As an industrial company with expertise across multiple sectors, MP2E Solutions needed an identity that accurately reflected its positioning and know-how. The entire visual system was built around the hyphen, symbolizing the connection between MP2E—an acronym for Mélangeur Planétaire Emmanuelle Etiemble—and Solutions, representing the full range of services, products, and support the company offers its clients. This graphic language, both sleek, adaptable, and coherent, is designed to work across multiple communication platforms, ensuring a strong and recognizable visual identity.

The interplay of symbols and the color palette provides great flexibility, allowing for endless variations while maintaining clear brand identification and visual consistency. Each color was carefully selected to evoke the industries served, reinforcing the brand’s presence within its ecosystem. Additionally, a dedicated iconographic system was developed to structure and clarify information across different communication channels.

Footnote – Center for Image and Text is an independent, artist-run space based in Belgrade, Serbia, dedicated to exploring the intersections of visual and literary practices. Conceived as a platform by artists, for artists, Footnote has grown into a vibrant cultural hub and a space for experimentation. It has hosted a wide array of programs including exhibitions, workshops, readings, book launches, performances, communal meals, auctions, and radio broadcasts—becoming a place where form and content continually evolve.

Through its interdisciplinary programming—spanning residencies, curated events, and publishing initiatives—Footnote fosters collaboration, critical dialogue, and artistic growth. Rooted in community and driven by curiosity, it plays an active role in shaping the contemporary cultural landscape in Serbia and beyond.

The center’s visual identity was created by Jelena Lugonja, featuring the typeface Faune, a beautifully curved serif designed by French type designer Alice Savoie for the Centre National des Arts Plastiques. Faune combines delicate, unexpected forms with the precision of contemporary digital type design, echoing Footnote’s spirit of subtle experimentation and interdisciplinary inquiry. It is paired with ABC Favorit and​​​ Avara.

Located in The Springs, the Pollock–Krasner House and Study Center is a National Historic Landmark that once served as the home and studio of Jackson Pollock and Lee Krasner. This preserved space offers visitors a glimpse into the artists’ lives and creative processes, blending historic intimacy with contemporary exhibitions.

More than a museum, it’s a living tribute to artistic experimentation, where daily life and art were deeply intertwined. In reimagining the brand, we aimed to balance the home’s quiet simplicity and small-town charm with the intellectual depth of the art world – creating an identity that reflects both its personal history and its enduring cultural significance.

During the years in which Jackson Pollock worked in the barn studio, he painted with his canvases on the floor. After his death, Lee Krasner took over and painted with her canvases on the walls. Today, the studio still holds the traces of their iconic gestures. The dash between P–K transforms into both a physical and metaphorical division and connector between the floor and the wall, between the works of two distinct artists, and between Pollock and Krasner as individuals and as a couple.

The brand uses Maison Neue by Milieu Grotesque, a typeface inspired by early modernist design. Its balance and flow echo the spirit of the home and its influential residents.

A poster using Signal Compressed by Production Type to combine EXPO and Parade. The exhibition will present the graduation projects made at Design & Art School Kortrijk (DAS). Other text is in RM by Mash Creative. The photo is by Nataliia Martynova, a student at DAS.

Myriam Gendron is a Canadian musician and songwriter based in Montreal. Her music is fueled of folk influence. For her European tour, Félicité Landrivon a.k.a. Brigade Cynophile designed the tour poster.

Tanzhaus Basel is a new artist-run house in the city of Basel, dedicated to dance and performing arts in general. Opened during the summer of 2024, it’s aiming to be anchored in the city and mix social and cultural life together.

Knopp+Kiel delivered their identity, formed by a graphic logo (maybe a T mixed with other letters, or a stylized house?) and a proficient use of NaN Jaune Midi Black for the venue’s name and titles on top of a strong pink and red color combo, maybe only for the first season.

All texts are set using PolySans, converging with Jaune in the direction of friendly/quirky sans serifs, which we can only guess is in order to make the art institution look less pretentious and more affordable. However, the rest of the identity principles, grids and such, remains quite tuned-down, simple and serious, to not overdo it in the quirky direction.

On the Tanzhaus website, to accommodate with the very tight line spacing of headings and the recurring umlauts in German, they devised the clever solution of applying a white/transparent outline on the the text, making the umlaut of a line of text appear cut-out in the bottom of the letters of the previous line instead of simply overlaping.

For the opening of the space, Tanzhaus Basel created a self-made mustard showcasing the identity on the packaging.

I was tasked with transforming Eleanor Heartney’s essay “Postmodern Heretics” into a standalone zine. The essay, originally published in Art in America in February 1997, examines the Catholic influence on postmodern art, specifically the transgressive art movement of the late 1980s and early 1990s.

The design of the publication takes cues from Catholic visual vernacular to mirror the essay's themes. The zine opens like a triptych, and each page utilizes a cross-like proportion. The paper stock, color palette, and typography all take inspiration from biblical layouts, and other subtle design gestures throughout the piece call back to themes of the church.

Made as student project at ArtCenter College of Design.

Quermesse da Mary is a pop-up market series in Belo Horizonte, celebrating Brazilian culture through food, music, and design. The event brings together local artisans and independent brands in a lively, festive atmosphere.

Pacaembu, a typeface by Naipe, is used as the sans-serif font to announce new events in social media.

Posters for the exhibition Converging Elements at Backshop, Brunnenstraße 107, Berlin.

The five exhibiting artists Nikolai Frerichs, Clemens Fischer, Yumo Wu, Moritz Jekat, and Ilse Kind investigate the in-between of nature and technology.

Kubaparis, an online platform that promotes and exhibits art online, describes the project as follows:

Observing nearby objects causes your eyes to converge and point inward. Two lines of vision that meet in a point very close by. This show is looking at the convergence of technology and nature as two elements that orbit around one an other. Their interdependency in one space results in a slowly approaching meeting point.

Unstable assemblages of ancient wood build structures which autonomously produce images from C. Fischer, are in dialogue with negative photographs of Y. Wu that play with the boundary of perception within the human brain, as they appear as positives images in front our eyes. Meanwhile Sculptures and fragile canvas engravings of teeth, seemingly exposed to never ending growth, by N. Frerichs ask questions about the contradiction of technology as a destroyer and potential savior of nature. On the other end we meet an Avatar speaking about it's deep subconscious feelings and thinking about its life before its birth, embedded into a wooden triptychon meeting with 3d printed "constructed emotions" by M. Jekat.

The design uses Cobra from Storm Type foundry and OO Arketa, a monospace font by Outline Online (Laura Csocsán and Samira Schneuwly). The pixel numbers are from a custom-built, unreleased font of Laura Csocsán, included in the design specifically for this project.

The exhibition Paik Nam June - Lee Lee Nam: IN PROGRESS at Daejeon Shinsegae Gallery commemorates the late media artist Paik Nam June’s 90th birthday. Daejon-based design studio (NO-NAME)PRESS developed the graphic identity and typographic concept.

The visuals echo some of Paik Nam June’s pioneering artistic techniques, particularly the interference of the flow of electrons in color TV sets. The narrowly proportioned letters of Oldschool Grotesk Compressed are overlayed on RGB electron beams that change color while the letters flow in and out. In addition to the series of motion graphics, the exhibition also uses the typeface in signage and various pieces of ephemera. While the large-scale display typography is mainly in English, the more text-heavy Korean applications appear to use Sandoll GothicNeo.