The Mind of a Mnemonist presents the psychological case of Solomon Shereshevsky, a.k.a. “S.”, a man with highly advanced memory.

From the inner flap:

Written by Alexander Romanovich Luria (1902–1977) – often is credited as a father of modern neuropsychology – the book was translated to the English by Lynn Solotaroff. Shown here is the jacket of the first English edition, published by Basic Books with a foreword by Jerome S. Bruner. Loretta Li’s design uses Benguiat Montage Extra Condensed and Copperplate Gothic Extended.

Oaze is a foodhall in Palhoça, Brazil. The naming and visual identity of the business was handled by design studio Ajna:

Oaze was born as a new food hall concept: a sophisticated, diverse, and open-air food court located in the heart of a large entertainment hub. The challenge was to create a brand with a strong presence and memorable visuals, capable of communicating variety without losing unity.

Inspired by the concept of an “oasis,” we created a visual and verbal identity that reinforces Oaze Foodhall as a place of pleasure. Through the naming, we evoked the idea of ​​a refuge amidst urban chaos, conveying the proposal to offer a rich and diverse gastronomic experience, with different restaurants and establishments in one place. The vibrant color palette brings life, while the bold logo carries personality for a sophisticated and welcoming environment.

The identity pairs typefaces in contrasting weights and widths. Roc Grotesk from Kostic is used in condensed, regular and extended widths, and in lighter and heavier weights. Its Heavy style served as a basis for the logo. The sans serif is juxtaposed with a few weights of Right Didone from Pangram Pangram. The less showy Gilroy from Radomir Tinkov is used for small type.

Raleigh rappers Osio and N3V4 have released their latest single “Cold Hands.” The pair released the track with an accompanying music video which is now available to watch on YouTube. The video uses the recently released Bungee Widths by David Johnathan Ross for the main text and title card, and Helvetica Condensed for the small text and other credits.

The video features different Raleigh artists like Joey Zen, KATA, and Swayve from the 47 Eyez On Me collective and BodyBag O from the pairs' label Gnevorios.

License: All Rights Reserved.

Viktoriya Grabowska’s Gamay family spans no less than six widths. For their recent rebrand, Living Stone indulged in the most spacious one: the primary font is Gamay Wide’s Medium weight.

It’s used for all larger text elements, including headlines and quotes, and also provided the basis for the wordmark. The extended sans with its diagonal terminals makes for a cool appearance. For running text, Gamay Wide is supported by a more economical sibling, Gamay Regular Light. The high-precision look is loosened by a dash of FF Market for claims.

Living Stone is a B2B marketing agency with a focus on healthcare, IT, and engineering, based in Gentbrugge, Belgium.

Gamay is available from Darden Studio. You can also sync it from Adobe, as static and variable fonts.

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

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

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

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

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

Source: www.livingstone.eu License: All Rights Reserved.

Source: www.livingstone.eu License: All Rights Reserved.

Album cover (front)

From Discogs:

IFA Wartburg is a Swedish band founded in 1984 by Nils Lundwall and Magnus Michaeli in Upplands Väsby, near Stockholm. They played characters, exaggerated Germans named Heinz Klinger and Rolf Kempinski respectively.
The lyrics, sung in learned (and, at times, broken) German, were largely inspired by the socialist era of East Germany and the USSR, though they were often silly or humorous in nature.

Shown here is IFA Wartburg’s only full-length album, Im Dienste des Sozialismus (“In the service of socialism”), released in 1998 by Plattenmeister. The uncredited design features two weights from Berthold’s Block family, the schwer (“heavy”) and the schmal (“narrow”).

[More info on Discogs]

CD label ft. the national emblem of East Germany

Transition Radio is a contemporary, non-profit cultural project, operating from Fribourg, Switzerland. It is:

a space for creation, encounters, experimentation and reflection. It aims to promote the local and Swiss cultural scene, while keeping an open window to the international scene.

How it works: transition radio operates on a residency model, offering artists and creators the time and space they need to develop their projects. Residencies run for an entire season and can be individual or collaborative, covering all genres and mediums, from music and theater to poetry and sound art. The next call for residencies for the 2026-2027 season will be published on instagram in autumn 2025.

The new identity and website of the radio uses two vastly different typefaces together. The main one on the site, used in an animated, adaptive variable format is Animo, designed by Jan Horčík and Arnaud Chemin (released by Heavyweight in 2025).

The other one is Theran by Laura Csocsán (released by Outline Online in 2025), used for genre tags and for the moving sticky header, which shows what is currently playing as well as the date of past shows.

Uncommon Studio created Matt Voyce’s dynamic website, evoking the artist’s brilliant typographic and motion artwork. F37 Judge is used throughout, set for large headers and body copy.

The 74th Berlin International Film Festival (Berlinale) took place from 15 to 25 February 2024, and is considered one of the most important film festivals worldwide.

Claudia Schramke was responsible for the visual design of the festival for the fourth time. This time, she devoted her full attention to the Berlin Bear, which she depicted in various poses. “The bear is the symbol of Berlin and of the Berlinale. It is a robust and inquisitive animal, intended to emanate optimism, willpower, and strength on behalf of the international film festival during the challenging times of our world”, writes Schramke on her website.

What makes the bear design special is that she created it entirely by hand using stamps. “It was a great honor and pleasure for me to once again create the posters and graphics for the Berlinale! I put a lot of love and care into the blue bear of this edition; every single hair of the fur was individually placed with self-made stamps.”

GT Flexa by Grilli Type from Switzerland was chosen for the typography; it was designed by Dominik Huber in collaboration with Marc Kappeler. Since its release in 2020, it has been available in an impressive 112 styles.

GT Flexa breaks with the classic understanding of font as a static system. Instead, it sees itself as a dynamic tool that responds to the demands of modern design. This is exactly what Claudia Schramke does in her design by deliberately replacing letters in the expanded family. Also noteworthy is the attention to detail, with the font sometimes colliding with the bears and sometimes blending in with them.

Source: chroniclingamerica.loc.gov US Library of Congress: “Chronicling America”. License: All Rights Reserved.

Source: chroniclingamerica.loc.gov US Library of Congress: “Chronicling America”. License: All Rights Reserved.

This ad in The Salt Lake Herald., April 18, 1880, demonstrates the ingenuity of late nineteenth-century typographers. Given the cost of producing and printing engravings, newspaper ads rarely used illustrations at that time. So companies sometimes turned to type to draw attention and express themselves. This layout evokes rug patterns and borders as if seen from overhead in a floor plan, grabbing the eye on an otherwise dense page.

The designer put three very different typeface styles to use: The “Carpets.” at top and bottom appear to match MacKellar, Smiths & Jordan’s four-line pica Gothic, No. 3, a style we list as Grotesque No. 5 / 396–399. (The word at the top may use a C from a different font.) Meanwhile, the light and narrow Condensed No. 3 contrasts nicely with the extra broad and bold Title Extended. All of these typefaces were likely created within a couple decades before this printing. They originated at German or Eastern U.S. foundries and made their way across the country to Salt Lake City in time to show up in service of the Walker Brothers Carpet company.

4N (pronounced “foreign”) is a biannual publication that champions and showcases emerging creative talent. Each issue, the magazine profiles between ten and fourteen creatives who have either brought their creative practices to the US or are in the process of doing so. The visual identity of this project takes inspiration from the typefaces and graphic treatment of existing official documents. The header logo is set in LHF Centennial Banker, and titles and body text throughout the publication are set in various weights of Editorial New.

Art direction and design by Panny Chayapumh, a creative based in New York who has designed printed material within the arts and has previously worked with leading arts institutions such as Creative Time, Times Square Arts, and the Queens Museum.

4N is a project by Special Special, a platform and studio founded by artist Wen-You Cai in 2016. Today, Special Special is a publishing house and gathering space of creative minds that intends to surprise, delight, and inspire through its unique perspective on everyday experiences.

Covers of the first three issues

Despite the Italian sounding name, Vienna-based Café Azzurro is by no means a country cuisine, but rather a successful combination of high-quality products (such as Demeter vegetables from the Dorothea training center, fish from Radeberg or Lake Millstatt, game from the restaurant's own hunt) and lovingly prepared delicious dishes that put you in a state of absolute well-being.

Wine plays the leading role. Restaurant manager and qualified sommelier Mara Feißt presents a careful selection of 150 different wines from small, sustainable wineries. The aim is to make drinking as accessible as possible, appealing to both lovers of classic wines and friends of alternative wines. Jonathan Koller mixes drinks that will be remembered.
Thanks to the Grieskirchner private brewery, there is also plenty of beer flowing, and kombucha and water kefir are fermented here.

At lunchtime, there are delicious but simple lunch dishes (think homemade pasta) and in the evening Café Azzurro surprises the guests with a carefully curated selection of dishes.

“The most important thing about this project is the people: That includes our wonderful guests, as well as every other person involved in this new place of culinary comfort.”

Nora Eros is Café Azzurro’s graphic designer, in close collaboration with Stephan and Mara she created the branding. The main inspiration have been laissez-faire gastronomic concepts in south of France and south-eurpoean countries.

The promotional posters for the 2025 spring tour of Spanish pop act Habla de Mí en Presente were designed by Ignasi Àvila Padró with photography by Agustín Cervai. Information is set in Neue Helvetica Condensed Bold and Light, and Neue Helvetica Extended Bold and Regular, combined with some handwritten text.

Wenn der Himmel kippt exhibition poster and flyer

Born in 1972 in the canton of Solothurn, Lex Vögtli is a Swiss visual artist best known for her large-scale collages made from found printed matter. Winner of the exhibition prize of the city of Solothurn in 2022, the local art museum presented her works in a solo show the subsequent year. In this post we show material produced for the show as well as a catalog dedicated to her collages that was published on the occasion by edition clandestin.

The title of the exhibition Wenn der Himmel kippt translates to When the sky [or heaven] tilts and was taken from the work that makes the key visual for poster and flyer. The baroque abundance of the detailed imagery finds itself balanced by a typography of straight-forward appeal. Urs Amiet and Isabel Kerle of Solothurn-based studio amietkerle chose Production Type’s Media Sans as headline typeface for this project. In their advertising material, they create some sort of logotype for Lex Vögtli’s name and tilt the exhibition name by 90 degrees, ragged-left. In other cases they find interesting spatial deviations in headlines to stimulate the eye of the spectator.

In the advertising material and in the book, Media Sans is used in three of its five widths – normal, Extended, SemiCondensed widths – and in several weights. It is accompanied by SangBleu Versailles for the reading text, designed by Ian Party for Swiss Typefaces and part of the larger SangBleu series. The combination of a sans serif for titles and a serif for the text might seem conventional at first sight, but the mastery and refinement in which the designers realize the concept should leave everyone in awe.

Lockup with artist’s name, title, and date (left); cover of the Wenn der Himmel kippt press booklet

Wenn der Himmel kippt installation view at Kunstmuseum Solothurn

Collagen catalog cover

Collagen title page

“Von beglückender Beunruhigung” essay by Patricia Bieder

Sperad showing Lex Vögtli’s Balance collage

Triniti Health is a unique wellness clinic which is focused on optimising health through a comprehensive holistic approach. Dedicated to pioneering a new era of wellness through the therapeutic potential of modern technology. Triniti Health’s mission is to empower individuals with progressive mindsets by connecting them to premium products and services.

Their new website is set in Rigatoni Bold for headlines and Barlow Condensed for body copy, giving into the modern, friendly and people centred approach to health.

100 Thieves landing page

100 Thieves (pronounced "Hundred Thieves") is a Los Angeles-based apparel brand and e-sports organization, founded in 2017 by former professional Call of Duty player Matt Haag. It is home to numerous competitive e-sports teams – most notably in Call of Duty, League of Legends, Valorant and Apex Legends, as well as some of the most popular online content creators, such as Valkyrae, Vinnie Hacker and many more.

The marriage between streetwear and gaming culture lies at the heart of 100 Thieves’ branding, showcasing itself best on the website, as it represents the anchor point the company’s different ventures and collaborations.

In 2022, the in-house design team at 100 Thieves, consisting of Seso and George Nowack, established a new visual identity, creating a design system that “reflected the brand’s values and strengthened its presence with the audience.” The most prominent typeface to communicate that goal was the uncompromisingly bold Druk by type foundry Commercial Type. It is most noticeably used as a headline, taking up significant vertical space – yet its compactness allows text to save space in latitude. Druk’s wide counterpart does the exact opposite, prompting direct contrast when used as subheading and navigation.

For higher information density, the website established a tertiary typeface, Suisse Int’l, a sleek sans serif font by Swiss Typefaces, that is primarily used for product descriptions and the footer.

Store front

About page - History

About page - Owners

Product page

Released in celebration of Tomasz Stańko’s 80th birthday, the album Wooden Music I features previously unreleased live recordings of his Quintet from 1972. The rebellious, at times intense and restless nature of the music is reflected in the blood-red typography, reminiscent of titles from old gangster films.

The tree trunk cross-section, mysteriously emerging from the background, references the Quintet's lineup, which, apart from the trumpet, consisted solely of wooden instruments. The shape of the cross-section is no coincidence; it visually echoes the bell of the trumpet, from which pure free jazz flows.

The album was released in two versions: a standard edition with black vinyl and a limited edition with red vinyl.

It includes a booklet featuring photographs of the Quintet taken during that period, along with a detailed narrative that explores the history and context of the time when the music was created.

The project was honored with the Rosław Szaybo Special Award at Konkurs 30/30 in 2023.

[More info on Discogs]

Africa is/in the Future is a festival that takes place in Brussels since 2016. It’s dedicated to showcasing multidisciplinary productions from African and Afro-descendants artists and creators. For the 2023 edition, the festival invited Laurent Mbaah (a.k.a. Simio, a.k.a. Chimères) to create their communication. He partnered with Elodie Goldberg Jacquemain and Alexandre André to create an identity based on a strong yellow/black/white triad.

The main font used for the communication is Frank Adebiaye's Forward, either in its bolder and wider or thinner and narrower styles. Its sculptural lettershapes led the designers to create illustrative dingbats. Made by pasting parts of glyphs together or overlapping them, they are being used as illustrations for different events.

To accompany Forward, the designers picked Clara Sambot’s DINdong, a font released by the Belgo-French collective Bye Bye Binary and featuring, like all their fonts, special glyphs and ligatures allowing to write in a more gender-inclusive French. The festival made good use of these ligatures across all their publications.

An example of the gender-inclusive ligatures included in the DINdong typeface.

Village Green studio created the brand refresh for L.A-based production company Bob Industries – reflecting their can-do attitude with creative talent across entertainment, advertising and commercials. Baikal variable typeface from newglyph is in use.

“C/U/B/U” is the third single off of C. Samms’ sophomore album, Bouquet. The video makes good use of Baikal’s super flexible variable features – going from extremely extended and bold to tightly compressed and hairline thin. Somewhere between lyric video and retro-educational-kid's show-homage, the visuals on screen play off of the homophonic title – swapping out words for letters that sound the same as well as the occasional image to take a word or syllable’s place.

Other classic typefaces such as ITC Zapf Dingbats and Helvetica make an appearance to bring words to life either as symbols or subtitles.

de Young onsite signage

Irving Penn is widely recognized as one of the 20th century’s greatest photographers. Vogue’s longest-standing contributor, Penn revolutionized fashion photography in the postwar era. The retrospective at the de Young Museum San Francisco traces his 70-year spanning career in 175 photographs—from early documentary scenes chronicling the Summer of Love to celebrity portraits, abstract nudes, and fashion studies.

The graphic identity and typographic concept were developed by Lizzie Baur and uses a custom unreleased variable version of Charlottenburg, which was created for the exhibition. A major through-line centers on theatricality and artifice. For the existential portrait series, Penn made a banal, temporary set in which he stuffed his subjects into a corner crevice, challenging them to grapple with physically occupying such an unusual space. Their bodies became almost sculptural as his sitters contort and utilize the space in radically different ways. To rearticulate the gesture typographically, Lizzie Baur imagined their bodies as letterforms. The width of the characters can be manually scaled, just like the portrayed adapt to their unfamiliar surroundings.

The variable font is also employed in motion graphics, which nicely contrasts with the all-analog title wall leading to the exhibition. The wall was painted by hand by the San Francisco-based sign painting studio New Bohemia Signs and took over three days to complete.

ITC Garamond supports the expressive typography and large-scale display arrangements in the more toned-down, classical communication elements.

More images and additional information can be found on Lizzie Baur’s website.

Inspiration for exhibition titling

Wheat paste posters

Billboard

Charlottenburg variable font animations

Exhibition signage

Exhibition signage

Title wall

New Bohemia’s sign painters at work on the title wall

Time lapse

Exhibition leaflets