More Water Than the Eye Could See is a photographic project that sits between documentary practice and a sensitive exploration of place, developed around Lake Lanier, located in the southern United States (Georgia). By closely observing this artificial lake created in 1957 and walking along its shoreline, French-American photographer Tempé Storm Cole searches for traces of the painful history it submerged. The landscape resists, revealing little.

The publication by Bluff Books comes with a copy of map of the dam as published by the U.S. Army in 1970. For a closer look at the map, see a 1975 edition using the same design (also using Balloon Extra Bold as the main font).

Skimpies – women who work as bartenders while wearing bikinis or lingerie – have been a big part of pub culture in Western Australia since the 1970s. Catering to a clientele of locals and itinerant mining industry workers, skimpies serve up entertainment, human connection, and drinks in some of the most geographically isolated communities in Australia.

Taken between 2021 and 2023 by M Ellen Burns in Kalgoorlie-Boulder, these photos portray these women both on and off duty, with candid images of skimpies at work paired with personal portraits and interviews. Burns collected the images of these women with their full consent and created space for them to speak about their own experiences, this project provides a glimpse of a world rarely visible to outsiders.

SPAN® worked closely with photographer, author and now publisher M Ellen Burns, gaining incredible insights into this fascinating culture across the border in Western Australia. These insights formed the creative framework for a multi-faceted design process.

SKIMPIES has been consciously edited into two parts based on the idea of “day and night”. It begins with white-wall portraits captured while the women are off duty, emphasising the importance of their personal stories. We then take the readers onto the low-light-environment at the bars and venues where skimpies are at work with outpouring energy and interacting with those who walk through the doors. To heighten both the quiet confidence and the intense dynamism captured by Burns, matte and gloss varnishes were applied throughout the publication to create visual contrast. At the midpoint – between “day and night” – a curated selection of archival newspapers was inserted to provide historical context to the subject matter.

Connecting the personal stories to the intimate off duty portraiture, a bespoke display typeface – SKIMPIES – was drawn (by Wing Lau) with two main objectives. Firstly, to create a high contrast typographic interpretation with characteristics of the hi-vis-coloured lingerie, the tension and elasticity on the women’s bodies. Secondly, a display typeface that mirrors the studio portraits, typeset vertically, introducing the the women’s by their skimpy names.

To materialise the combined visual dynamics, we integrated a specific selection of coloured threads into an exposed spine with a hard-case Swiss-bound book construct. This subtle, tactile detail brings together colours distinctive to both the mining industry as well as this unique occupation called Skimpy.

Front cover

Whip-Smart is the second studio album by American singer-songwriter Liz Phair, released in 1994. The design is credited to Liz Phair and Mark O (Ohe).

On the front and back covers, the artist’s name and the album title use a distorted version of Typo Upright [edit: it’s Raydiant, see comments]. Quartet is used on the spine, for the track listings on the back cover and on the disc label, and in promotional material. The credits are printed on the tray insert using all-lowercase Matrix Script.

[More info on Discogs]

Back cover

CD label

CD tray insert

Magazine ad

Promotional poster

731.52 cm of land is a book by artist Nour Bishouty. The typeface used across the whole publication is Cortese Sans by Mark van Leeuwen, alongside SF Mada by Sultan Fonts for Arabic text.

The publication is presented as follows by Art Metropole:

Building loosely on the form of a pocket-sized travel guide, this artist’s book unfolds into a 731.52 cm wide miniature landscape. Composed of hand-painted and digitally illustrated images stitched together into a continuous sequence, the book includes a poem and short narrative by the artist, an essay co-authored with Daniella Sanader, and an afterword by Heather Canlas Rigg. A sticker sheet featuring animal and plant forms is included as an insert.

Functioning as a poetic visual-textual essay, the book unsettles the familiar logic of travel guides and the explorer’s gaze. It troubles the impulses of sightseeing, navigation, and tourism, while calling into question the authoritative languages of archaeology, botany, taxonomy, and cartography. It emerges from ongoing inquiries in Nour Bishouty’s practice around permission, legibility, and understanding.

Through critical reflections, lyrical fragments, and visual fictions, the book offers a layered exploration of artistic inheritance, colonial spectacle, and epistemic dissonance. It challenges legibility and authority, foregrounding ambiguity, misunderstanding, and refusal as generative strategies.

Cassette cover design for the reissue of a demotape by the post-punk band Kaviar. Complete DIY printing using a monochrome laser printer on 120g/m² lilac-colored paper. Cover photo by mäc, released by Nasse Records.

Folded lyric inlay

Folded lyric inlay

The book What the Fem✳︎? Feminist Perspectives from 1950 to the Present invites you to reflect on feminist perspectives and the ongoing struggle for equality.
A mix of worksheets, snapshots, and group contributions showcases the unfinished, evolving process of the 2023 exhibition What the Fem✳︎? curated by Klaudia Kreslehner.

Designed by MOOI Design for the Nordico Stadtmuseum in Linz, using Bastardo Grotesk. Photos by Mone Tweraser. Production by Gutenberg-Werbering.

This is a project I developed as part of my DNMADE in Graphic Design at École Estienne, April 2024.

After writing my dissertation, I decided to conduct interviews with professionals working for and within various cultural institutions in order to enrich my thinking within the framework of my degree project. I wanted to interview key players involved in different stages of exhibition creation: a museographer, a graphic designer and a scenographer. Their different points of view, influenced by their roles, missions and objectives, provide complementary perspectives. Comparing and contrasting these often related points of view was therefore essential to understanding the subject.

Each interview is presented in a coloured section, making it easier to read. The layout of the pages and the binding allow for non-linear exploration, where the reader can choose to follow the testimony of a single contributor or navigate freely between the different interviews, much like one might wander through an exhibition. A list of pictograms is also included to highlight certain vocabulary words and summarise certain ideas, thus offering a more visual dimension to the reading experience. These were used to design around twenty diagrams, which appear between the responses to make the reading experience more accessible."

This unique album was published in a limited run of 500 copies by Layup Galery – the result of a five-year process behind the creation of the Outsiders exhibition, captured in a carefully designed publication. The visual concept was developed by Olek Modzelewski, with editorial work by Cezary Hunkiewicz. The album features photographs of all artworks by invited artists, documentation of the SKM train entering the hall, in-depth interviews, and first-time published materials. Each copy is hand-numbered, making it not only a publication but also a collectible object.

Layup Galery is an exhibition space dedicated to contemporary urban art, located on the post-shipyard grounds of Gdańsk. Established in 2015, it was one of the first alternative cultural institutions to emerge in this post-industrial area. Housed in the giant historic Hall 94b, Layup presents a unique gallery focused on artists rooted in the graffiti scene. The collection includes over 50 works by internationally recognized artists such as Moses & Taps™, Rage, Sabe, Rocco and His Brothers, Sebas Velasco, Sainer, Martí Sawe, Karso, Finer, M-City, Krik, and Sicoer, as well as a fully preserved 24-ton EN71 048 SKM train car.

The book interior (336 pages + a 24-page insert printed with silver spot color) was printed on Arctic Volume White 115 g/m² and Munken Print White 115 g/m² by Arctic Paper. The Swiss-bound hardcover was wrapped in Natural Art Silk Eggshell White paper, with embossing on the front and spine.

From publisher Letra Muerta Inc.:

Ants, Passiflora, and Me by Lynne Shapiro, translated by Paola Senseve, is a bilingual dos-à-dos publication designed to resemble a notebook. Most of the titles and illustrations were done by recreating and adapting drawings and letters found in her family archive. Shapiro highlights a convergence of hosts and migrations, illuminating the vital symbiotic relationships that the community requires.

The cover was hot-stamped with foil in Colorplan card stock, featuring lilac endpapers in Hahnemühle—internal pages in ivory Springhill lightweight paper, including an insert. External copper staples on Asahi book cloth make up the spine. The edition consists of 200 copies: dry-stamped, numbered, and signed.

The book is set in Milligram by Zetafonts and Sedgwick by Leinster Type.

The book was published and designed by Letra Muerta Inc. (Oriana Nuzzi and Faride Mereb). Castaldo did the binding and hot stamping while Chuqiao (Chloe) Li provided the envelopes and additional assistance. Printing was completed using the Xerox Phaser 7800 at the LM studio. Cory Rockliff carried out the proofreading for English and Graciela Yañez Vicentini for Spanish. The variant of Spanish used for the translation reflects the cultural background of the contributors in Venezuela and Bolivia.

The Labor of Love is a thesis on the relationship between motherhood, labor and craft, submitted by Anjali Arasasingham at Parsons School of Design. The editorial production is a Coptic stitch hardcover book that interrogates the different facets of maternal labor, drawing connections between housework and typically laborious feminine craft. Taking typographic and compositional inspiration from birth certificates and family scrapbooks, the design represent the oppressive/labor intensive systems built around motherhood but also its inherent beauty.

PoW Covenant Mono Regular is used for the body text, with Mrs Eaves XL Serif for the titles.

The 2025 album Passagen takes ZEMENT’s sonic exploration to new heights, offering more disco, punch, glitter, motorik beats, lyrics, and even more jazz.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combine psychedelic illustrations and weird AI generated images with bold and playful typography: Glyphs from Dinamo’s Maxi Round and Maxi Sharp form the band’s name while ABC Connect delivers Baustellen vibes, nodding back to the Rohstoff artwork from 2021. The lyrics and liner notes are set in GT America.

[More info on Discogs]

Right: Riso-printed inlay featuring liner notes by Tobias Lindemann

Limited golden edition of the LP containing a Riso-printed inlay with liner notes and a sticker

Left: LP inner sleeve featuring the lyrics. Right: Shirt design based on the LP artwork

LP back cover

Left: cover artwork for “Station to Station” single

Designed by Chicago artist Turtel Onli, who also published graphic novels, this 1974 album for two jazz greats – Joseph Jarman and Anthony Braxton – has a vibrant cover with hand lettering.

On the rest of the packaging, we see a number of typefaces. The label features Futura Bold, Franklin Gothic, a stamped condensed gothic, and two weights of Metro No. 2. The accompanying one-sheet has a lighter weight of Futura, Sans Serif (Monotype’s copy of Kabel), and an unidentified roman. Modernique is used for “Two Decades of jazz & blues”. The Delmark logo appears to be based on Venus Extended.

[More info on Discogs]

Foootnotes issue D front cover

Footnotes is a type design periodical published biennially by La Police. The fourth issue opens with an article on Telefont and the last Dutch telephone book along with all the methodology behind it by Martin Majoor. Sourced from the author’s archive (edition February 1996), an original sample was inserted manually by the editor into each copy.

The second essay dives into Ikarus, a digital tool that describes letterforms, studied in-depth at the University of Reading and beyond by Ferdinand P. Ulrich.

Then, from the One-off series – contextual type projects from graphic designers – Joost Grootens tells us about the genesis of the myriad of symbols that makes Ceremony, one book design at a time.

In the fourth and last text, Pierre-Pané Farré explores the material qualities of 19th century stereotyped poster type.

To conclude, the usual last page entitled "Proofs" showcases in-progress typefaces from the contributors: Film, Exécutif Moderne, HB Items, Waggis, and BALI.

As with every issue, each article is typeset with the related typeface(s), some in-progress and unreleased, including Reform-Grotesk FSL, Breite fette Information, LL Unica77, Demos Next, and LP Jung. The rich iconography also tries to pleasantly surprise the reader with unpublished material.

Worth noting, this issue marks the beginning of articles from out-of-print issues being published online under "Stories" on La Police.

Footnotes issue D: article 15

Footnotes issue D: article 15. Sourced from Martin Majoor’s archive, an original sample was inserted manually by the editor into each copy.

Footnotes issue D: article 16

Footnotes issue D: article 17

Footnotes issue D: article 18

Footnotes issue D: Proofs. On the left a real offset printing testing space to the authors and previously unseen designs to the readers. On the right, the index to navigate the dense content.

Arie Vervelde (1951–2014) was so much more than one of the most talented and international renowned illustrators. He had a very keen eye for fashion and trends, but always focused on the human side. The men and women of all colours and shapes in his art are always strong and sensual and sometimes outspoken sexy. He was always looking for new techniques and materials. Humor and a certain lightness gave his work an optimistic freshness. His vibrant illustrations were over the years published in many fashion magazines and national newspapers.

In designing this book, we worked in close collaboration with Melvin Anderson and Martijn Homan. In the 192-page book that was printed in fullcolour with fluorescent ink as an additional colour for the large font, we used HTF Didot by Jonathan Hoefler in combination with Programme from Optimo.

Text: John de Greef, Anne Marie Commandeur, Marianne van Heusden, Win Catermans, David R Shah, Nicole Uniquole, Melvin Anderson
Translation: Tom Johnston

The book was printed by robstolk and published by Lecturis.

This poetry book, designed by Una Grants and featuring feminine themes, showcases the title Mīļākā melleņu mētra (“Favorite blueberry mint”) on the cover in Romie Italic and Regular (designed by Margot Lévêque), perfectly suited for the occasion. Authored by Zane Zusta, this marks her thirteenth book. The chosen color palette reflects the various stages of blueberry growth, offering a warm and inviting visual experience for readers. We've also included a charming feature: a personal handwritten note from the author for readers. The text pages are set in Gestura (designed by Sociotype Foundry) alongside Zane's handwriting for the personal note to the reader.

Weapons of Mass Destruction is the fifth studio album by American rapper Xzibit. It was released on December 14, 2004, through Open Bar Entertainment, Columbia Records and Sony Urban Music.

The Xzibit logo is by Mister Cartoon a.k.a. Mark Machado. The album name is set in eroded lowercase letters from Flyer Release (by House Industries). On the right of the cover, the stencil font is Phantom Stencil (by Mark A. Klein), with additional effects.

[More info on Discogs]

The song list is set in Flyer Release, combined with Alternate Gothic. The anti-piracy warning uses Bell Gothic Black.

The credits are set in ITC Franklin Gothic Condensed, combined with Flyer Release and Alternate Gothic.

Side note: this is one of my favorite albums by the artist, so many great songs, it made me document the fonts in use. “LAX” was featured in the soundtrack of the video game Need For Speed: Underground 2.
“Klack” was featured in the soundtrack of the video game Juiced 1.

This is the single by Japanese singer-songwriter Nobuyasu Okabayashi (岡林 信康) titled “Tegami” (手紙) and “Sorede Jiyuu Ni Natta No Kai” (それで自由になったのかい), with backing from the band Happy End (はっぴいえんど) released in 1971. The artist names and the song titles are shown in Futo Gothic B101 (太ゴシックB101) by Morisawa. The serif typeface at the front cover is unidentified but could also be one of the serif typefaces mentioned in this use.

At the back side, the song titles are set in Futo Mincho A101 (太明朝A101). The song lyrics use Chū Mincho ABB1 (中明朝ABB1), and the song credits/personnel are in Chū Gothic BB1 (中ゴシックBB1). All three typefaces are made by Morisawa.

[More info on Discogs]

Resetting of the front cover typography.

Excerpt from Bandcamp:

Whatdufaque?! Dutch artist Renée Van Trier is back on Swiss label CAF? for another record! Following her first album released in early 2020, she comes back with “HUMBLE” the soundtrack of her new eponymous show performed at De Pont Museum (NL) and Arsenic (CH).

“At birth you are a promise, but at the same time also the greatest possible risk.” Inspired by children’s dances on TikTok where happy facades coexist with exploitative backgrounds, Renée Van Trier creates a fantasy world that’s anything but Disneyland. You’re invited to experience its soundtrack, taking you through dark atmospheres, eerie voices, glitched techno, and uplifting climaxes. Over the course of the 11 tracks, Renée Van Trier morphs into a dolphin, a puppet, and many other different characters, maintaining a blurry border between amazement and creepiness. “Everyone wants the best for their children, but sometimes it doesn't end well.”

TWK Everett (by Nolan Paparelli) was used again on the back cover of the fourteenth release of the independent music label CAF? titled HUMBLE. The vinyl features artwork photography, drawings and handwriting by Renée van Trier herself and was designed by Julien Fischer and Pablo Perez.

This is the LP version of Tatsuro Yamashita’s album For You, released in 1982 by Air Records. The album title uses a light weight version of Glaser Stencil and the artist’s name uses tracked-out caps from Gill Sans Bold Condensed. The catalog number at the upper right portion uses Futura.

At the back cover, most of the text is written in demi-bold and bold weights of Helvetica. The text at the middle of the postcard most likely uses a light weight version of Futura. The text at the right portion of the postcard is set in Courier. At the lower portion of the back cover, the Japanese serif text uses Ishii Mincho by Shaken (写研), the weight of the font is unidentified. Lastly, the words “1982” and “RAT-8801” are in Univers Bold.

On the insert, the song titles and track duration for each side along with the production staff at the backside are rendered in an italic variant of Univers of varying weights. The English song titles use Gothic No.1B (ゴシックNo.1B) and the Japanese lyrics most likely uses a medium weight of Ishii Gothic called Ishii Chū Futo Gothic (石井中太ゴシック), both by Shaken. To add this, musician credits underneath each song’s lyrics are in Gothic No.2 (ゴシックNo.2) which is an English-only alphabet also made by Shaken.

Design by Hiroshi Takahara featuring an illustration by Eizin Suzuki.

[More info on Discogs]

Excerpt from Bandcamp:

Renée van Trier is a transdisciplinary artist that mourns the loss of the comfort of disconnected life. Her songs will soothe our anxieties, heal our torments and make us smile for weeks. The sixth CAF? release is skipping between genres such as songwriting, punk, breakcore, jungle, hardcore and parody. Have fun!

TWK Everett (by Nolan Paparelli) was used on the back cover of the sixth release of the independent music label CAF? titled Something of What We’ve Lost. The vinyl features artwork photography, drawings and handwriting by Renée van Trier herself and was designed by Julien Fischer and Pablo Perez.