Source: archive.org Internet Archive. License: All Rights Reserved.

The photograph on the dust jacket is by Christian Zuber (Bruce Coleman Ltd) and shows a coconut sprouting on a tropical beach.

In 1984, when the BBC first aired the 12-part nature documentary The Living Planet, Collins together with BBC Publications also published a book of the same title. In the preface, David Attenborough explains:

The book was written at the same time as the programmes were being filmed. The one is not, therefore, the direct descendant of the other. Rather the two are cousins, both descended from the same body of research and years of travel.

For the typography, the book’s designers followed the lead of Margaret Perry’s titles and likewise used Ageratum as the titling typeface.

Source: archive.org Internet Archive. License: All Rights Reserved.

Title page

Source: archive.org Internet Archive. License: All Rights Reserved.

Chapter opening with the title in all-caps Ageratum

Source: archive.org Internet Archive. License: All Rights Reserved.

The body text was set in Monophoto Ehrhardt by Jolly & Barber Ltd, Rugby.

Source: archive.org Internet Archive. License: All Rights Reserved.

The Book Club Associates edition features the same basic design for the book jacket, but has all text in yellow, with a black contour.

Spark of Fortune — Buying matches and salt at the beginning of Tết (the Lunar New Year festival) is a traditional Vietnamese custom, symbolizing wishes for luck, prosperity, and abundance throughout the coming year.

This product is a collaborative work between 61 Studio and Reo Ca Coffee. The matchboxes are handcrafted in a limited edition of 68 boxes, with each box containing 26 matchsticks, representing the year 2026.

The deatured font is Print Script Light by Faire Type. The phrase “Cát Hóa” expresses the wish for a harmonious and promising year, transforming difficulties into favorable outcomes and bringing good fortune and fulfillment. The supporting font is Libre Franklin Bold by Impallari Type.

Illustration and design by Lan Dao, with copywriting by Lam Linh.

Tradition is used for the poster announcing The Symptomatic Surreal. The exhibition presents sketchbook drawings by Leonora Carrington (1917–2011) created at the outbreak of the Second World War during a period of profound personal and political upheaval. It’s on view from 25th March to 28th June 2026 at the Freud Museum London.

From designer Oliver Long:

Set in Tradition by Bold Decisions — A digitisation inspired by Percy Delf Smith’s calligraphic work. English and eccentric, just like Carrington.

About the exhibition:

Gathering together the currently-scattered sketchbook drawings of the British-born, naturalised Mexican surrealist artist Leonora Carrington made between 1939–1941, The Symptomatic Surreal traces Leonora Carrington’s experiences of fleeing Nazi-occupied France, her hospitalisation in a sanatorium in Santander, Spain, and her exile in New York. Through these drawings, the exhibition offers a rare encounter with the visions that shaped her early work. In this exhibition, Carrington grapples with geopolitical crisis, transformation of the self, and the underworld, anchored by her seminal painting Down Below (1940), on show for the very first time in London.

In 2025, Swiss hotel group Capsule Hotel commissioned Odd Forms Studio to redesign its visual identity. The studio translated the core qualities of this experience into graphic form: economy of means, clarity, intimacy, modular repetition and a sense of enclosure. The identity unfolds through a restrained and structured visual system, designed to work across printed matter, signage, communication and digital uses.

The design uses BallPill by Benoît Bodhuin, T-Star by Binnenland and TWK Everett​​​​​​​ by Weltkern.

Promotional poster for Mes Pants de Queer, a thrift and self-publishing bookstore by, for and about LGBTQ2SAI+ communities in Montréal.

Source: jellobiafrasays.tumblr.com License: All Rights Reserved.

Barcelona Step By Step by Bert and Frances Strauss

Barcelona pam a pam is a city guide written by Alexandre Cirici Pellicer (1914–1983) and first published in 1971 by Editorial Teide, with photographs by Oriol Maspons (1928–2013) and drawings by the author. Bert and Frances Strauss translated the book to the English, as Barcelona Step By Step (1974). A version in Castilian Spanish, Barcelona paso a paso, followed by 1975.

Source: en.todocoleccion.net Maria28MM (edited). License: All Rights Reserved.

Barcelona pam a pam (original Catalan version), with Cirici’s name in Akzidenz-Grotesk

Source: srabsenta.blogspot.com Cosas de Absenta (edited). License: All Rights Reserved.

Barcelona paso a paso (Castilian version), with Cirici’s name in Helvetica

All three editions feature the same cover design by Victor Rahola – with the title set on a curve, in A.M. Cassandre’s Bifur – albeit it with different colors for the hat of the man peering in from above. The interior pages are set in Folio and two typefaces by Simoncini: Karlgeorg Hoefer’s Permanent and Francesco Simoncini’s Aster.

Source: archive.org License: All Rights Reserved.

Title page with Folio halbfett and Permanent

Source: archive.org License: All Rights Reserved.

Table of contents in Permanent. The colophon on the left is set in Monotype Grotesque.

Source: archive.org License: All Rights Reserved.

Folio mager for the chapter title “How To Use This Book”, Aster for the text

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Aster

Source: archive.org License: All Rights Reserved.

Chapter opening with the number from Folio’s extrafett and the title in the mager.

Source: archive.org License: All Rights Reserved.

Text is interspersed with bits of history that are presented in a smaller size, also from Permanent.

Source: archive.org License: All Rights Reserved.

Spread from chapter 11 on Antoni Gaudí, with one of the photographs by Maspons. The caption is in Aster Italic.

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Permanent

Source: archive.org License: All Rights Reserved.

Glossary of special terms

Chants sacrés is a leporello created by illustrator Pierre-Alexandre Prod'homme ( Persil Fragil). This editorial object, designed for the Cheminement exhibition at La Safe Place (Nantes), explores the quest for self through forest wanderings and a reconnection with the elements. Born from a poetic collaboration with the author Honor di Hamon, the piece stands out for its handcrafted finishing and screen-printed execution. The printing was expertly handled by Alexis Grasset at the Projeta studio.

Traced by hand, the illustrations are accompanied by three typefaces: Lichen, designed by Anton Moglia, PicNic by Mariel Niels, and finally Basteleur by Keussel. Together, these choices anchor the object in an organic dimension.

Chants sacrés is available as a limited edition at La Safe Place and Cool Paper Zone, Nantes.

Gli Etruschi e l’immagine is a project by illustrator Luchadora (Alessandra Marianelli), developed in collaboration with the Museo archeologico nazionale di Firenze, exploring new ways of connecting contemporary illustration with the visual power of Etruscan art.

Among the series, one of the posters reinterprets the iconic Chimera of Arezzo, a masterpiece of Etruscan bronze sculpture, translating its complex form into a bold, geometric visual synthesis. Starting from the observation of the original artifact, the illustration reduces its features into essential shapes, offering a fresh and contemporary perspective on a historical symbol.

For the typographic layer, Bikeride from Zetafonts’ Quarantype collection was selected. While playful and expressive, the typeface is rooted in ongoing research into contemporary visual languages and historical references, bridging calligraphic gestures and graphic design to support the dynamic character of the composition. Fraunces by Undercase Type serves as the text typeface, its forms echoing those of the display font while adding richness and an extra layer of narrative information.

Kwikish is an African pantry brand bringing the richness of West African flavour into modern kitchens. London based founders Ade and Zikora love a home-cooked traditional meal, but in their busy lives, these recipes often felt too time-consuming.

Inspired by the vibrant vernacular world of the corner shop, a universal feature in communities across the diaspora, Kwikish's visual identity is built around a warm colours and and friendly fonts, Kilimanjaro Sans and DM Sans.

Kwikish is a direct challenge to cultural erasure caused by displacement and automation, inviting people to find the goldmine of value that already exists in West-African heritage and culture.

Sabir is a collection of texts. A space where invited authors come together to write around a shared theme. An interlude in which everything that is written – poetry, theatre, short stories, essays, artists’ writings, and experimental forms – interacts. A territory radically devoted to text, where the only images are spoken through words.

The collective was initially composed of Maud Marique, Anne Lebessi, Mathias Domahidy, Pauline Allié, Eva Anna Maréchal, and Lucie Guien.

The graphic design was created by Louise Boiron (vol. 1 & 2), Théodore Famery (vol. 3), Manon Michèle (vol. 4 to 7). The display typeface Diaphragm (Initial Foundry) was designed by Antonin Bertrand. The texts are set in Brut Grotesque (Bureau Brut) and LL Bradford​​​​​​​ (Lineto).

Table of contents, Sabir N°3

LL Bradford in Sabir N°7

Lu Watter’s Yerba Buena Jazz Band – Maple Leaf Rag by Scott Joplin, recorded Dec. 1941. [More info on Discogs]
 

Lilith is an extrabold italic with partly open letterforms and horizontal hatching, further embellished with baroque mid-stem ornamentation in the capitals. Some details like the Fraktur-like construction of W reveal its German origin: Lilith was first cast by the Bauer foundry in 1930, after designs by Lucian Bernhard (1883–1972) who had left the country for New York seven years earlier.

Bauer had opened an office in New York in 1927. This way, Lilith was available in the United States as well. In the early 1940s, it was chosen for the logo of Jazz Man Records. Founded in 1941, the record label was an offshoot of David Stuart’s Jazz Man Record Shop on Hollywood’s Santa Monica Boulevard (and in 1959 on L.A.’s West Pico Boulevard). In 1946, Stuart sold it to his ex-wife, Marili Morden and her new husband, Nesuhi Ertegun. According to Wikipedia, the label and its namesake shop “were in the vanguard of an international revival of traditional jazz in the 1940s.“

Glyph set for Lilith from Penrose Annual 41, 1939, in an article on the “Victorian Revival” in typefaces by Robert Harling

Lu Watter’s Yerba Buena Jazz Band – Muskrat Ramble by Ed Ory, recorded Dec. 1942. [More info on Discogs]
The secondary typefaces are Koch-Antiqua and Bulmer.
 

Johnny Wittwer – Ragtime Nightingale by Joseph Lamb, recorded Dec. 1945. [More info on Discogs]
In January 1947, the labels were redesigned in a green color, matching that of Crescent Records.
Secondary typefaces are Futura and a slab serif that resembles Stymie Bold, but has a non-descending J.

French writer Maurice Leblanc (1864–1941) is best known as “the creator of the fictional gentleman thief and detective Arsène Lupin, often described as a French counterpart to Arthur Conan Doyle's creation Sherlock Holmes.” In 1911, he had his novel La Frontière published, an exploration nationalism and patriotism prior to the First World War.

Shown here is the first US edition, translated by Alexander Teixeira de Mattos and published by the George H. Doran Company in New York (in association with Hodder & Stoughton in London) as The Frontier. The book was produced in two color variants, with the cover typography in all-caps Auriol.

Culture numerique (March 2019), Culture écologique (Feb. 2022), and Culture juridique (Jan. 2025) were published by Presses de Sciences Po in the Petites Humanités (Small Humanities) series.

Designed by Atelier AAAAA, the covers combine Bureau Brut’s Bourrasque and Traulha, paired with OH no Type Co.’s Obviously, Velvetyne’s VG5000, and The Pyte Foundry’s Alcove for “Culture écologique”.

Bourrasque showcases the idea of ever changing life and shapes, the ideas that continue going forward, taking the others with them. As for Traulha, it fits perfectly for the juridical aspect. Round, lapidary and elegant at the same time, it represents the balance of law with its uniqueness.

The book interiors are set in TypeTogether’s Marco, paired with Obviously and the volume’s respective title typeface.

The graphics investigate what creativity in a post-AI world looks like, by going beyond the aesthetic of prompted images. Inspiration instead comes from behind the scenes, including AI datasets, labelling systems, computer vision and semantic segmentations. It abstractly compares human and computer vision, proposing a play of blurred student portraits intersecting with layers of information. Another layer of the campaign lies in its making. The graphics were created through hand movements using the P5 (Processing) Hand Pose Model.

A key role is played by the highly recognisable typeface Tiny, used in different weights and as a core element of the campaign. Its outlined use in white contrasts with the strong and saturated colours of the images.

Keith’s Cacao is a specialized platform offering 100% pure, ceremonial-grade Guatemalan cocoa. The site provides premium cacao blocks and educational resources focused on “heart-opening” spiritual practices, creativity, and holistic wellness.

For its branding, made by Kinoto Studio, they used Dave West’s Cooper Nouveau Swash for the packaging headline, Pouler by Alexandre Créquer for titles and subtitles, and Pangram Sans (Mat Desjardins), Trade Gothic (Jackson Burke), and SAA Series for texts.

When Santommaso Festival, a new music event in Southern Italy, set out to establish its first visual identity, the goal was to translate a deeply rooted local story into a contemporary cultural experience. Named after the city’s patron saint, the festival draws inspiration from a narrative of faith, wonder, and the legendary discovery of sacred relics. Our challenge was to transform this sense of mysticism into a strong and recognizable visual language capable of launching a brand-new event. We developed an identity that balances symbolism and sound, built around a bold, uppercase typeface that provides consistency and authority, paired with a system of mystical symbols radiating outward like sound waves to convey energy and movement. The graphic system comes to life through dynamic poster compositions, where symbols expand into immersive visuals, supported by a vibrant, contemporary color palette. The result is a striking and memorable identity that honors the city’s heritage while expressing the fresh, energetic spirit of live music.

A neighborhood neo-brasserie and festive bar, Boucan reinterprets the traditional codes of the bistro through a contemporary lens. The branding is built on a dialogue between visual heritage and modernity, conceived as a graphic reinterpretation of classic bistro references, turning the venue into a full experience rather than a simple destination.

The logo is developed through multiple variations, set in Ohno Blazeface by OH no Type Co. and Enfilade by JTD Type, reflecting the many facets of the space. The visual identity embraces bold graphic decisions, driven by expressive, sometimes playful type choices, most notably Grilli Type’s GT Haptik Rotalic, Animo by Heavyweight, and Roca by Elena Genova, which bring rhythm, movement, and character to the overall visual system.

This bilingual monograph on French ceramicist Georges Jouve (1910–1964) comes with texts written by Karine Lacquemant. It was laid out in LL Brown by Lineto.

The book measures 24×31 cm, spanning across 288 pages, and was published by Éditions Norma in 2025.

Elisa Gyssels developed the visual identity for Connessioni estetiche (Aesthetic Connections), a collective exhibition at Sala San Leonardo in Venice, Italy. This included the design of the identity system, posters, flyers, and wayfinding.

The main challenge was to promote the exhibition without featuring any individual artwork, given the show’s collective format. The identity is built around abstract calligraphic strokes and typographic compositions in Redaction. The color palette draws inspiration from the muted tones of the Venetian Lagoon.

Source: www.facebook.com Haibin Yin (edited). License: All Rights Reserved.

The Berliner Philharmoniker under conductor Herbert von Karajan (1908–1989) performed Gustav Holst’s The Planets in January 1981. The recording was released by Deutsche Grammophon, with a cover design by Werner Koberstein and art direction from Lutz Bode.

The montage of the Saturnian system is a composite of several images taken by NASA’s Voyager 1 spacecraft during its Saturn encounter in November 1980. It’s not correct in scale or perspective. The moon at the top left is Dione, the one in the center is Mimas with its prominent Herschel crater, and the larger one to the right is Tethys. The reddish one at the bottom left is Titan, and the remaining one should be either Enceladus or Rhea.

Multiple editions have been released over the years, in various color variants. The primary typeface for all of them is American Gothic. This variation on Engravers Gothic [edit: rather Copperplate Gothic, see comments] was drawn by Vladimir Andrich for Alphatype in 1967.

[More info on Discogs]

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

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

Source: www.ebay.com wiki_records_store. License: All Rights Reserved.