Of The Earth was a weekend with workshops and a marketplace, held at Bon Studio in New York. The visual identity uses Gaya with all three members of Plain Form’s Ready series: Ready Active, Ready Bygone, and Ready Clouded.

Located in Marseille’s vibrant and hybrid Notre-Dame-du-Mont neighborhood, LABC has just unveiled its new visual identity. Occupying the premises of a former local vinyl store, the venue has been a staple of the neighborhood’s food scene since 2023. To reflect the constant mutation of this urban hub, designers Benjamin Puddu and Steven Mazzola crafted a rebranding that bridges local heritage and hard-hitting design.

At the heart of this new visual era is LABC, a custom display typeface by Benjamin Puddu and Steven Mazzola. Used for the main logo and the brand’s various graphic assets, it breaks away from the usual corporate aesthetics of the food industry. The typeface features a heavy, fluid, and high-contrast look that directly echoes the thick strokes of street art markers and the organic layering of a sandwich.

To balance the intensity of this custom typography, the designers selected Homie from Blaze Type foundry. Used for secondary text blocks, subtitles, and informational content, Homie brings a geometric contrast to the identity that is both structured and warm. Its generous, clean curves perfectly counterbalance the raw, liquid elasticity of the main logotype.

The typography unfolds dynamically across a vibrant palette of three bold, sun-drenched colors: a mix of orange, yellow, and green. The letters adapt to different formats, stretching, twisting, and interacting with local emblems or food mascots illustrated in a naive drawing style.

This visual reinvention fully comes to life through a lifestyle and product photo campaign captured by Igo Studio. This photoshoot anchors Benjamin Puddu’s graphic design in the raw, sunlit, and textured reality of Marseille's streets.

Farley Mowat (1921–2014) was a popular Canadian author, known for his environmentalism (Never Cry Wolf, also a feature film), humour (The Dog Who Wouldn’t Be, Owls in the Family, The Boat Who Wouldn’t Float), and advocacy for indigenous people (People of the Deer). He was a contrarian with strong views, who responded forcefully to his many critics.

In the Second World War, he joined his local regiment at the age of 18. In the Italian Campaign, he was an infantry platoon commander from the landing in Sicily to the Battle of Ortona, which was infamous for fierce street fighting and heavy casualties. After Ortona, he became an intelligence officer, where his duties included organising food relief for Dutch civilians during the Liberation of the Netherlands. He also selected much of the equipment preserved for monuments and museums, including many of the pieces in the Canadian War Museum in Ottawa. And No Birds Sang (1979) is about his personal experiences in combat, while The Regiment (1955) is about the unit he fought with, the Hastings and Prince Edward Regiment.

He was published by McClelland & Stewart, which specialized in promoting Canadian authors, especially during the high point of Canadian cultural nationalism in the 1960s and 1970s. The typeface on this first edition cover is Graphis Extra Bold, by Les Usherwood (1932–1983) of Typsettra in Toronto. Graphis was later extended as Barnyard. The jacket illustration is by Alan Daniel and depicts Ortona.

The title is taken from the poem La Belle Dame sans Merci (1818) by John Keats.

The imprint uses Times New Roman with some Pilgrim.

5th Ave. Sax was a studio project by saxophonist Nino Tempo (1935–2025). Theorchestral funk track “Sister James” reached #53 on the Hot 100 on October 27, 1973. Often classified as an example of Northern Soul, it became one of the first instrumental disco records to score the national charts.

Shown here is the sleeve for a French pressing on A&M Records from 1974. The title is presented in a bichromatic setting of Arabian Variegated, a phototype adaptation of a design that originated around 1901 under the name Sezessions-Grotesk. The name of Tempo and his band are added in Bernhard Fashion (1929), used with its alternate A and the peculiar ampersand. The smaller text shown at the top left uses Linotype’s Erbar-Grotesk Bold Condensed in all caps.

Lots of all-caps ITC Korinna in two of its weights, for the cover of Bantam-Seal’s 1981 paperback edition of And No Birds Sang. From Wikipedia:

And No Birds Sang (published in 1979, revised in 2012) is Canadian author Farley Mowat’s autobiographical account of his military service as a junior Canadian infantry officer in the United Kingdom and Italy during World War II. The book describes Mowat’s transformation from a young man hoping to share the perceived glory of his father’s generation’s victory in The Great War to a combat veteran struggling to cope with the seemingly unending loss of his friends.

The cover art is by Paul Lehr

Title card

From Wikipedia:

The Brood is a 1979 Canadian psychological body horror film written and directed by David Cronenberg, and starring Oliver Reed, Samantha Eggar, and Art Hindle. Its plot follows a man and his mentally ill ex-wife, who has been sequestered by a psychiatrist known for his controversial therapy techniques. A series of brutal unsolved murders serves as the backdrop for the central narrative.

The movie logo features modified caps from Revue (Letraset, 1969): Compared to Colin Brignall’s original design, H and R lost the descending bits. In B, R and D, the open top left corner was closed and rounded off. E got the same treatment and was further calmed down by arms of equal length with vertically cut terminals.

US One Sheet (27″×41″) poster. The tagline “They’re waiting… for you” uses all-caps Antique Olive Compact. David Cronenberg’s name appears to be set in a heavy weight of Fiedler Gothic.

British Quad (30″×40″) poster. The designers of this version apparently weren’t supplied with the original logo and had a go at Revue’s letterforms themselves. The original protruding bits in B, R and D were made longer. E follows suit and keeps its angled terminals.

This British Double Crown (20″×29.75″) poster puts the focus on Cindy Hinds in her role as Candice (here Candy). The movie logo is paired with two weights of ITC Avant Garde Gothic.

Bicycles & Public Transportation: New Links to Suburban Transit Markets is a book written by Michael Replogle and published by The Bicycle Federation in Washington D.C., 1983.

The cover typeface is Revue. It’s used mostly in all caps, with tight letterspacing, and featuring its alternate dotted I and the descending N.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library

Poster for Les garçons de la piscine (“The boys from the swimming pool”), an intergenerational queer performance by Pierre Beaudoin and Gabriel Cholette presented at Centre SKOL.

In a nod to 1970s French erotic cinema, the title is set in West Cooper Nouveau Swash while the detailing copy shows off ITC Avant Garde Gothic’s iconic ligatures.

Book jacket of Father Feelings by Eliot A. Daley featuring some creative use of tightly spaced ITC Fat Face and Monotype Garamond with swashes. The flap uses a more conventional setting of ITC Fat Face.

First published in 1975 by the Lawrence Hall of Science and the University of California, Berkeley, this packaging makes use of several alternate characters of ITC Serif Gothic with ITC Bauhaus and Helvetica for secondary text. The graphic design is credited to Rebecca Martinez inside of the packaging.

Smugglers Society is a CBD social club based in Paris, located on Hauteville street. The brand identity has been designed by Studio Furious, with a comprehensive approach covering art direction, photography, campaign development, store signage, packaging, and merchandising.

Studio Furious developed a distinctive visual language built around the typeface Exposure by 205TF, used in both –60 and +40 variations. Its soft, rounded forms and slightly blurred appearance evoke the diffuse, intangible quality of smoke—subtle, atmospheric, and constantly shifting.

The photo series is built as a playful visual guide to the “10 golden rules” of a modern-day smuggler. Use them at your own risk...

A striking typographic cover design for Beyond the Crisis in Art, featuring the overweight Gill Kayo in a single size. The book by British art critic Peter Fuller (1947–1990) was first published by Writers and Readers in 1981.

From the back cover:

Poster and merchandise realised by Studio Cutané for Eternal Mana, a Paris-based music event organisation. The event was held on April 15, 2026, at La Station – Gare des Mines.

Studio Cutané used Aldine, a work-in-progress typeface by Lucas Maréchal, as well as Large by Alexandre Créquer and Arial by Patricia Saunders and Robin Nicholas. For both typefaces, the studio played with stretching them.

Step It Up Youthman is a 1979 album by Jamaican reggae singer Barry Brown (1957–2004), released with Paradise Records. It contains the eponymous song that became Brown’s first hit single. Cover designer Anum Iyapo – father of Shabaka Hutchings – used tightly spaced Quicksilver for the typograpy.

[More info on Discogs]

Inferno is the fifth studio album by the Scottish electronic duo Boards of Canada, released on May 29, 2026, via Warp Records.

The band name and album title are set in all-caps using the Blippo typeface. All other information features ITC Avant Garde Gothic. This same typeface pairing was also utilized throughout the promotional campaign for the album.

[More info on Discogs]

[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]

Tomorrow's Harvest is the fourth studio album by the Scottish electronic duo Boards of Canada released in 2013 via Warp Records.

The font ITC Avant Garde Gothic Bold is used on both the cover and back.

[More info on Discogs]

Vinyl label

OH no Type’s Hobeaux Black is used for the logo.

Hetero Awesome Festival (yes, it was named that) was an event held in Boise, Idaho, between June 20 and 21 of last year at Cecil D. Andrus Park, within a stone’s throw of the state capitol. Organized by Mark Fitzpatrick – owner of Old State Saloon in nearby Eagle, current GOP candidate for state governor, and noted dingus – the event ostensibly celebrated “Traditional Values”™ (a dogwhistle for queerphobia) and, uhh… how should I put this?

Ah right, it stunk. [Jon Lovitz voice] It stunk!

The event was a complete and abject flop – being outclassed and outmanned by the Boise Pride parade happening at the same time, as well as being parodied by the drag/burlesque performance “But, What About Straight Pride?” held at the Balcony Club in the same city. About the only good thing that happened there was local queer artist Daniel Hamrick accidentally being brought on stage and doing a pro-trans protest song, which I think deserves a “hell yeah.“

About 30–50 people attended the event, which should tell you how insignificant it was in the long run. Overall, it was just… eurgh. Hamrick’s performance, though… that earns a point.

1/10; would not awesome again.

Ditto, with tagline also set in Hobeaux. “VOLUNTEERS AND SPONSORS NEEDED” is set in Dharma Type's Bebas Neue (presumably the dafont.com version). The date and the URL are in Chaloops. “Hetero” is set in Heiback and “AWESOME” in Microgramma.

The campaign graphics for Øya Festivalen 2026 feature Bootzy Condensed TM. Used across print and social media applications, the system leans on limited color, open space and a ‘steady’ typographic tone.

Voice of Thunder is an album by Jamaican reggae deejay and produce Prince Far I (1945–1983), released by Trojan Records in 1981. The cover was designed by Bamber Forsyth, using a photo by Dave Hendley and Flash for the typography.

[More info on Discogs]