This poster was made for the Twin Cities Marathon Poster Show, which invited local artists/designers to create “a piece inspired by the beauty and energy of the marathon: the sights, sounds, highlights, and landmarks that capture the spirit of the marathon and the Twin Cities community.”

The maple leaf is widely used in TCM promotions (the leaves are often changing color on the course around the event), but I wanted to abstract it a bit and skew more mid-century. As a runner myself, most event posters aren’t terribly interesting; I wanted to make something that felt like it could have been rolled up in my dad’s attic after he ran the marathon in some waffle iron Nikes.

Tausend Plakat was a great choice for the supporting typography – more personable than a strict Helvetica, even if less “period-accurate.” While not required, the ® symbol made it feel more contemporary. To round out the poster, I included fifteen waypoints along the course between Minneapolis and St. Paul in small type.

Screenprinted with a split fountain by Night Swim Project on a thick, flecked 19″×25″ French Paper Co. stock.

Teaser poster

From Wikipedia:

Kiss of the Spider Woman is a 1985 drama film directed by Héctor Babenco from a screenplay by Leonard Schrader, based on the 1976 novel by Argentine author Manuel Puig. [...] Set in a Brazilian prison during the military dictatorship, the film centers on a dialogue between two very different cellmates, a hardened leftist revolutionary (Julia) and an apolitical gay man (Hurt). The story utilizes metafictional and film-within-a-film elements, as the latter regales the former with retellings of an old movie, whose themes mirror those of the characters.

The poster artwork is by Richard Mahon.

The primary font on both posters is Newport, with a modified K in “KISS”. On the main poster, Erbar Bold Condensed is used for the associate producers’ credits.

Main poster

On the Studio Matthews website, we can read:

The 76,000 sq ft IEB features new, modern spaces for collaborative learning, acting as an informal academic hub for undergraduate engineering majors. The building was designed for students with significant input from students. “They told us what they needed and we listened,” said Dan Ratner, the college’s associate dean for academic affairs. “The IEB was created to support the education and development of every student in the College of Engineering and to give them a sense of belonging.” We worked closely with the school’s Office of Inclusive Excellence to curate a dynamic welcome message just inside the entry, as well as inspiring quotes that can be discovered throughout the building’s study spaces.

To design this project, Studio Matthews used the typeface Maax Mono designed by Damien Gautier and distributed by 205TF.

Film posters for the feature documentary Shelf Life – observing the parallels of the cheese aging process and the human experience of growing old.

12 Modi di fare all’Amore (“twelve ways of making love”) is a series of strange love positions with a juicy italian text to describe it, designed and published in four color variants by BOLO Paper.

This publication reproduces the original texts from a supplement of the erotic magazine SELEN from June 1995, which in turn was inspired by a book by an anonymous author printed in France in 1790, titled Les quarante manières de foutre dédiées au clergé de France (“The Forty Ways of Fucking Dedicated to the Clergy of France”).

The illustrations are graphic reworkings of some engravings by Gilles Néret, taken from Erotica Universalis, published by Taschen.

Tom Ross is an Australian architectural and editorial photographer whose work has appeared in publications including Monocle, Dwell, Wallpaper, and Dezeen. His new visual system was designed to convey credibility, cinematic warmth, and quiet confidence while maintaining an authentic, human quality. This balance is thanks to the use of ABC Diatype by Dinamo, chosen for its precision, it is easy to use beautifully, and enjoyable when intentionally misused. Its balanced geometry introduces subtle tension when layout rules are intentionally bent, creating space for nuance and personality.

Tom’s identity is set exclusively in Diatype’s Medium weight, delivering clarity across print, digital, and motion applications, anchoring the identity, letting the images take centre stage without needing the type to take a backseat.

Exhibition catalog for Transmergence #04, held at FRAC Alsace, France (translated by the contributor):

Transmergence#04 is an exhibition format developed by FRAC Alsace, which showcases the regional and cross-border art scene while questioning its definition in the face of a globalised world with increased mobility, where time takes the place of geographical distance.

For the fourth consecutive year, FRAC Alsace’s Transmergence format is part of La Regionale, a unique cross-border project bringing together 18 institutions from three countries (Switzerland, Germany and France).

For Transmergence #04, the curators have selected artistic proposals that create a dialogue between art and craftsmanship. The exhibition presents works and new productions by artists of diverse origins who now live or work in the cross-border region.

The catalog is bilingual (French/German) and is printed in four colors with a spot color. French text is printed in black while German text is printed in a Pantone silver.
Thomas Leblond and Audrey Ohlman did the graphic design with EB Ackerhof ​​​​​​ from Électro-bibliothèque. Transmergence #04 was published by Pétrole and FRAC Alsace.

Closer is a large-scale photobook featuring a collection of Søren Solkær’s portraits of the world’s leading musicians. Spanning over two decades of photography, the publication was first released in April 2009. After the first edition of 3,000 books had sold out, a second edition was published in collaboration with Gingko Press in January 2012, expanded with 40 additional images. The book features a preface written by Alex Kapranos of the band Franz Ferdinand.

Art direction by e-Types.

A series of exhibition booklets for London gallery Pilar Corrias. The publications follow a consistent typographic structure using Söhne, the gallery’s primary typeface, applied across covers and interiors.

Each edition features a separate GF Smith Colorplan jacket, with the jacket colour selected by the exhibiting artist. Artist names are set prominently in uppercase Söhne, with the gallery name positioned at the head and the exhibition title at the foot, establishing a clear and repeatable hierarchy across the series.

The booklets are staple-bound and housed within the coloured jacket, creating a subtle distinction between exterior and interior while maintaining formal consistency. The system allows variation through colour, while typography provides continuity across the growing set.

Colla Paper is a Valencia-based Spanish stationery brand dedicated to analog planning and writing tools. Founded as a collaboration between the local printing workshop Impresum and the graphic design studio Estándar Estudio, the project celebrates the tactile and reflective qualities of paper in an increasingly digital world.

Its product range includes calendars, planners, notebooks, and paper goods characterized by restrained typography, functional layouts, and carefully selected materials. Produced locally in Spain, Colla Paper combines contemporary graphic design with traditional printing expertise, emphasizing clarity, durability, and the ritual of handwriting.

Across selected applications set in Massimo Grafia, the typeface’s expressive letterforms and alternate characters introduce subtle variation and personality, enriching the project’s reduced graphic language.

Gene Russell (December 2, 1932 – May 5, 1981) was an American pop, jazz, and soul keyboardist and the founder of the 1970s Oakland-based label Black Jazz Records. Born in Los Angeles, he began studying piano at a young age and later attended Juilliard. Throughout his career, Russell performed and recorded with several jazz artists, including Miles Davis, Rahsaan Roland Kirk, Zoot Sims, William (Bill) Hillman, Dexter Gordon, and others. He also composed music for film and television and worked as an actor. Russell released two hard bop albums in 1967, and his third album, New Direction (1971), was the first release on his Black Jazz Records label. Photography for this cover is by Dorothy Tanous with the cover and packaging design by Ray Lawrence.

[More info on Discogs]

The Alphabet of Influence is a book project developed by creative directors Young Emperors, exploring the notion of influence as a fluid and collective language shaped through social media. Conceived as both a photographic and editorial project, the book brings together twenty-six creators from around the world, each associated with a letter of the alphabet, forming a shared narrative rooted in online communities and creative exchange.

Originally developed on Instagram, the project translates a digital ecosystem into a physical object, questioning how influence is produced, perceived, and embodied today. The book was produced with the support of Instagram’s Drafts program and involved an international production process spanning photography, editing, writing, and printing.

Editorial direction was led by Blake Abbie. The publication was designed by Studio Marie Lautsch, with custom letterings by Lucas Descroix. Texts are set in Plain Form’s yet unreleased Ferro.

The book features French folds, introducing a layered reading experience, all texts remaining deliberately hidden until pages are cut open.

Poster designed for Beating the Bounds, a multi-channel video installation by Benjamin Redgrove in collaboration with Josef Mehtola at Lot Projects, London.

The composition is set entirely in Foundry Wilson, using its pronounced contrast and sculptural serifs to build a dense, typographic field. Artist names, venue, dates and title are arranged in a stacked structure that fills the format, allowing scale shifts and line breaks to create rhythm within a tightly controlled space.

The high-contrast letterforms sit against a single-colour ground, amplifying the poster’s graphic directness. Smaller informational text is integrated into the composition without disrupting the overall typographic mass, maintaining clarity while preserving visual impact.

Armin Hofmann designed this 127×90 cm poster for a 1961 exhibition at Gewerbemuseum Basel entitled Basel und die Stadtstrassen der Zukunft (“Basel and the urban roads of the future”).

This poster beautifully demonstrates Hofmann’s ability to create effective and powerful images with the simplest elements. Here, Hofmann restricts himself to one typeface and four triangular shapes in one shade of red, yet produces a poster that is at once functional, relevant, and visually striking. The alignment and sizing of the type leads the reader’s eye in a logical order and at a pleasant pace. The negative space around the shapes is dynamic, almost creating an illusion of movement. Despite its abstract nature, the negative space is evocative of the poster’s subject matter (urban roads). Through its contrasting point sizes, alignment, and its relationship to the four shapes, the typography creates a sense of perspective or depth – without ever resorting to overlapping elements. Rather than simply being smaller, text at smaller point sizes appears to be further away.

The powerful effect of the typography is demonstrated further by comparing the poster to the accompanying exhibition booklet that Hofmann also designed, see the website of the Museum für Gestaltung Zürich. The shapes and their placement in the frame are the same. The booklet’s title is positioned in a similar place as the poster’s headline. The composition thus remains satisfyingly dynamic (now with the flow of the negative space predominant). However, due to the small size of the cover (20.8×14.8 cm), there is no supplementary text and only one point size is used. Without contrasting typographic sizes, the poster’s incredible sense of depth is lost.

A limited-edition series of mini-portfolios bringing together fine art photographs, created by the La Comète bookshop and produced with the printing expertise of Picto laboratories. Each portfolio is developed in close collaboration with photographers whose work stands out for its singular vision. Featuring the work of Eloïse Labarbe-Lafon, Amy Querin, Antoine Henault, Chiron Duong, and Brice Portolano. Using Solæ typeface on the covers.

Source: www.penguinrandomhouse.com Cover design: Pei Loi Koay. License: All Rights Reserved.

First published in 1985, The Handmaid’s Tale earned Margaret Atwood nominations for the Booker Prize, the Nebula Award, and the Prometheus Award, and won her the Governor General's Award for English-language fiction, the Los Angeles Times Book Prize for Fiction, and the Arthur C. Clarke Award.

Nobel by Frere-Jones Type has appeared on numerous book covers by novelist Margaret Atwood, published by Penguin Random House in their Vintage Books and Anchor Books imprints since around 2019.

The covers – or at least most of them – were designed by Pei Loi Koay. The cover art is by Noma Bar, some of which was originally created for the Chatto & Windus hardback editions (with creative direction from Suzanne Dean).

Source: www.penguinrandomhouse.com Cover design: Pei Loi Koay. License: All Rights Reserved.

The Testaments was a New York Times bestseller and winner of the Booker prize. A modern masterpiece that “reminds us of the power of truth in the face of evil” (People)—and can be read on its own or as a sequel to Margaret Atwood’s classic, The Handmaid’s Tale.

Source: www.penguinrandomhouse.com Design: Pei Loi Koay. License: All Rights Reserved.

A stunning box set of the bestselling companion novels The Handmaid’s Tale and The Testaments, from “the patron saint of feminist dystopian fiction” (The New York Times)

Source: www.penguinrandomhouse.com Cover design: Pei Loi Koay. License: All Rights Reserved.

Burning Questions: In more than fifty pieces, Atwood aims her prodigious intellect and impish humor at the world, and reports back to us on what she finds. This roller-coaster period brought the end of history, a financial crash, the rise of Trump, and a pandemic. From when to dispense advice to the young (answer: only when asked) to Atwood’s views on the climate crisis, we have no better guide to the many and varied mysteries of our universe.

Source: www.penguinrandomhouse.com Cover design: Pei Loi Koay. License: All Rights Reserved.

The Heart Goes Last

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

Bodily Harm

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

Cat’s Eye

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

The Blind Assassin

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

The Robber Bride

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

Lady Oracle

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

Alias Grace

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

The Edible Woman

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

Surfacing

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

Bluebeard’s Egg

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

Dancing Girls

Source: www.penguinrandomhouse.com Cover design: Pei Loi Koay. License: All Rights Reserved.

Stone Mattress

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

Moral Disorder

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

Wilderness Tips

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

Life Before Man

Source: www.penguinrandomhouse.com Cover design: Pei Loi Koay. License: All Rights Reserved.

Old Babes in the Wood

This anthology of Hispanic American modernist prose was edited by Roberto Yahni and published by Alianza Editorial in 1974.

Cover designer Daniel Gil used Roberta III Initials for the typography. This style of Robert Trogman’s Roberta family is virtually identical to Staudel Xenotype J (1962), but unlike Photo-Lettering’s typeface, it doesn’t have a lowercase. A dry transfer version of Roberta III was available from Mecanorma by 1973.

The chosen cover art is Schwäne in der Abendsonne (“Swans in the Evening Light”), a lithographic design for a stain glass window made by German artist Hans Christiansen (1866–1945) and reproduced in number 33 of Jugend from 1898. As such, it’s a stylistic match for the Art Nouveau-inspired typeface. I fail to see a connection to Hispanic American literature, though.

Detail

Instruments describe themselves as:

[…] a collaborative platform indexing and releasing essential tools for outdoor activities. Through Instruments, we plan on releasing more objects and ideas, like trail food that’s not gel, a headlamp that can fit many devices, reusable ziplocs or a mountain spring restoration workshop. These aren’t quite firm commitments yet, but you get the idea.

For their visual identity, Paris-based studio Building Paris chose EB Ackerhof from Électro-bibliothèque for its ‘essential’ nature: a strict grid allows the drawing of each letter to be reduced to its essential form.

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.

Duetuffi is an organic vermouth by Italian distillery Rubino Spiriti. From Andrea Castelletti Studio:

Duetuffi (literally “Two Dives”) narrates the encounter of two souls finding their unifying element in water. It is a vertical journey starting from the rarefied atmospheres of the pre-alpine lakes and descending to the scents of the Mediterranean scrub.

The visual identity draws upon early 20th-century imagery, stripping away nostalgia to present a contemporary synthesis. Rooting the project in time is the choice of substrate: Fasson Fleury Antique paper. Composed of recycled material, it transforms the organic nature of the product into a tactile experience, offering a lived-in texture and an imperfect depth that enhances the nobility of the content.

Typography moves across this material backdrop. The use of AM Majella lends the label an editorial elegance: its forms, inspired by tradition yet with a modern, incisive cut, balance the composition with a classical voice.

Center stage, the diver’s gesture. Her swimsuit is not ink, but absence. Thanks to precision die-cutting, the paper yields to transparency, revealing the natural rosy hue of the vermouth. A detail that becomes a visual invitation to slowness: a vermouth to be savoured with grace and a gentle rhythm.