Simone donne sa langue au chat unfolded as a four-part event series in Châteauvillain (Haute-Marne, France), within the walls of a former boot factory, once called Le Chameau, now reimagined as Simone.

These events invite a shared, participatory reflection on the status of living beings and the space we allow them, at a time when biodiversity is collapsing under human pressure. Bringing together citizens, artists, researchers, and legal thinkers, the event explores how animals might belong within human communities, through questions of place, proximity, and otherness.

The A2 poster consists of four A4 designs, each able to stand alone. Designed in two colors (plus white background) by Fabrication Maison, it was printed by Lézard Graphique.

A friendly identity for utility design objects tailored to homes with cats in them. Meao is a family-owned company with curated cat products from Oslo. The identity uses STK Bureau Sans and STK Bureau Serif by Smuss Type Kiosk.

A striking print ad for the Dick Smith CAT, published in the May 1984 release of the magazine Electronics Australia. The Dick Smith CAT was an Apple II clone created by retailer Dick Smith, a chain of Australian electronics retail stores.

The headline “Only $699!” uses Helvetica Inserat, catching the viewer’s eye with bright red, emboldened text that leaps out from the page. Helvetica Inserat was designed by Arthur Ritzel and was first released in 1966 or 1969 by Stempel.

The slogan “Our CAT eats Apples!” uses Times New Roman. Times New Roman was designed by Stanley Morison and Victor Lardent, and was first released in 1931 by Monotype.

The mail-in information header and form use Helvetica. Helvetica was designed by Max Miedinger and Eduard Hoffmann, and was first released in 1957 by Haas under the name Neue Haas Grotesk.

Posters for Schronisko na Paluchu (Paluch Animal Shelter), created by Matylda Bruniecka as part of the September edition of the social campaign Ilustratorki & Ilustratorzy dla Palucha.

The project highlights the importance of treating animals with care and respect, not as toys, fashion accessories, or substitutes for human children, but as living beings with their own needs, emotions, and natural behaviors. The illustration portrays animals as companions and friends while acknowledging their true nature, reminding us that genuine love includes accepting imperfection, the scratches, fur, and drool alike.

The campaign’s message, “love wisely”, encourages empathy, responsibility, and understanding. The posters were displayed throughout September 2025 in Warsaw’s Centrum metro station.

The design uses RL Aqva and Granda typefaces, complementing the illustration’s expressive warmth and balance clarity with character.

Front cover of book 1, The Invasion

Animorphs is a series of young adult science fiction novels created by K.A. Applegate and published by Scholastic from 1996 to 2001. The cover illustrations are by Peter Bollinger (book 1), Tim O'Brien (book 2), and David B. Mattingly (books 3 to 54).

The Animorphs logo uses stretched Ramiz. Eurostile is used for the title, author’s name, and tagline on the front cover. The blurb on the back cover also uses Eurostile, except for an initial capital from Ramiz. The interior uses Trade Gothic, with Ramiz for chapter headings and the first capital of each chapter.

Later printings may have a promotion for the TV series adaptation (which aired from 1998 to 2000) on the front cover. One version has the text “Watch Animorphs on Nickelodeon” in Template Gothic Bold and Escalido Gothico, and “TV” in Graham Bold; another has “Watch Animorphs on TV” in Eurostile, Ramiz, Template Gothic and Escalido.

Front cover of book 2, The Visitor

Back cover of book 44, The Unexpected

Book 1, page 1

Front cover of book 21, The Threat, including a TV promotion at the top right

Detail

Front cover of book 49, The Diversion, including a TV promotion at the bottom left

“Our Identity” is a single by Japanese electronic music group Nanatsukaze, released in 2025 with cover art by Sorakaze Mike. The typeface used for Japanese texts (“ナナツカゼ” and “僕らのアイデンティティ”) is Makinas (Moji-Waku Research). The 1930s retro-styled Japanese geometric typeface is also used for other releases by Nanatsukaze.

A cenotaph literally means “empty grave”, and as such it’s quite the opposite of Lenin’s Mausoleum in which the Soviet leader’s bodily remains are preserved to this day. And yet that’s the name of the typeface chosen for the cover of Reminiscences of Lenin by Nadezhda Krupskaya, Lenin’s wife of 25 years.

Strictly speaking, it’s not Cenotaph, but lettering based on it: the angle is not as dramatic as in Photo-Lettering’s skewed variation of Calendar. Also, the letterforms were accentuated by a bold outline at the left, and the E got a stem and larger apertures. While the red, left-leaning letters stand for the revolutionary, the second typeface with its old-fashioned, ornamented shapes is very different in style. It might have been chosen to represent Lenin’s life in the Russian Empire before his coming to power – which is the scope of the book that ends in 1919. Herman Ihlenburg’s Nymphic was first cast by MacKellar, Smiths & Jordan in 1889.

Originally published as Memories of Lenin in 1930, this 1970 edition was issued by New World Paperbacks, an imprint of International Publishers.

1977 pressing by Jubilee

Jackie McLean was born on this day in 1931. The debut album by the jazz alto saxophonist from Harlem was also the first release by record label Ad Lib, in 1956, under the title Presenting… Jackie McLean, with a cover by Parboo Singh.

When Jubilee Records reissued it in 1957, they commissioned Sy Leichman with a new cover. The only common feature between the two designs is the cat, here depicted with wings (or is it an owl with cattail?), miscellaneous geometric forms, four pairs of hands playing various instruments, and a blissful smile that echoes the sickle moon.

The typographic lockup is composed from the lightest weight of Peignot (Deberny & Peignot, 1937), with a superscript C.

[More info on Discogs]

Seymour “Sy” Leichman was two years younger than Jackie McLean: he was born in Brooklyn in 1933. In 1954, he graduated from Cooper Union (see his portrait in The Cable, the school’s student annual). Within a few years and together with photographer Charles Varon (an assistant of Richard Avedon), he accounted for about 100 record covers, according to a 1959 article in the Gettysburg Times. Leichman served as art director at KGA Sales Promotion Agency [Art Direction] and in 1961, he was with Ehrlich, Neuwirth & Sobo. [Art Direction] He co-founded Spencer & Leichman, later known as The Leichman Group, and also art directed at Ted Bates.

After this “short stint in the world of commercial art, Leichman visited Spain, to study Goya, and Mexico, to study the art of Orozco and his contemporaries. Leichman began exhibiting his work in New York around 1970. Today his art is included in such major collections as the Butler Institute of American Art. Seymour Leichman also taught as an art educator at the Art Students League of New York. Perhaps his best known works, however, are his children's books which he both authored and illustrated.” [RoGallery] Leichman died April 10th, 2016 in Manhattan. [obituary]

Detail

1971 reissue by Deep Groove, Japan

Shelf Life: Chronicles of a Cairo Bookseller by Nadia Wassef is a memoir of how three women launched and developed a chain of independent bookstores in Egypt at a time when the authorities strictly controlled the country’s entire cultural life. The Russian edition by Alpina Publisher (Альпина Паблишер) is titled Каирские хроники. The book design features Amalta by Vera Evstafieva and Kazimir by CSTM Fonts.

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

The Jacket I Wear in the Snow (1989)

From Something About the Author, Vol. 134:

Neitzel is best known for her series of "rebus and rhyme" books, illustrated by Nancy Winslow Parker. Together the two have produced a number of picture books that combine cheerful rhymes about common situations, such as getting dressed to go out into the cold and packing for an overnight stay at Grandma’s, with rebus illustrations, so that pre-readers can begin to practice word recognition and enjoy their success at “reading” pictures.

Of the nine rebus books Neitzel (1941-2023) and Parker (1930-2015) created, the first eight follow a similar typographic pattern: Windsor is used on the cover and title pages for the book title and the names of the author and illustrator, but then all other text (with the exception of some type incorporated into illustrations) is in Seagull.

Source: archive.org License: All Rights Reserved.

I’m Taking a Trip on My Train (1999)

Source: archive.org License: All Rights Reserved.

The Bag I’m Taking to Grandma’s (1995)

Source: archive.org License: All Rights Reserved.

I’m Not Feeling Well Today (2001)

Source: archive.org License: All Rights Reserved.

Our Class Took a Trip to the Zoo (2002)

Source: archive.org License: All Rights Reserved.

We’re Making Breakfast for Mother (1997)

Source: archive.org License: All Rights Reserved.

The inner flaps of The Dress I’ll Wear to the Party (1992)

Source: archive.org License: All Rights Reserved.

The House I’ll Build for the Wrens (1997)

A bespoke set of signs designed by me, Issac Scott, to greet and direct guests at Alexandra and Lucas’ wedding, held at the new home of highly regarded Portland, Oregon, architect Sid Scott.

Drawing on the couple’s theme of ‘rustic modern’, the elegant primary typeface – Chiswick Sans in several of its optical sizes – pairs with a geometric sans serif, LL Brown. Botanic illustrations brought the surrounding English garden inside, further emphasizing the architect's vision of connecting interior and exterior.

Muflon studio, founded by Weronika Mehr and Maria Prochaczek developed the branding of Mehr Shape, a company born from a love of cats and founded to create “the last scratching post one would ever need to buy”.

The team designed the visual identity, conducted photoshoots, and handled copywriting for this brand. They used Morula Type’s Sapfir from Blaze Type, mixed with Grtsk by Black[Foundry].

Numerals from a bold weight of NN Swinton are paired with NN Konrad for “Baillat”

Description of the project by Baillat Studio:

Drawing inspiration from the 9 lives of a cat, this calendar celebrates the 9th anniversary of Baillat Studio. The calendar spans the next 9 years (2024-2033) from July to June, and invites you to dive into a feline universe.

The design of the calendar uses a wide range of fonts. In addition to those mentioned in the image captions, this includes Awaria, Engin, Founders Grotesk, an unknown Heritage, Generation Mono, Glossy Display Millionaire, Montserrat, and Morion. These don’t seem to be visible in the included images and thus aren’t listed under “Typefaces”.

The numerals on the left are again from NN Swinton.

NN Swinton for the calendar, Brik for “Cat Lover”

“Cat Love” appears to be in Sharp Grotesk, “Baillat Studio” in Times New Roman Bold.

February is Banco month.

Page for July 2024 with NN Konrad and Rio Grande on the ribbons

Domino Mono (September), Para, and Hardy

The stencil face and the italic on the collar are yet unidentified [edit: see comments].

Readeat is a bookstore in Kyiv and an online book service. Here readers can find books for all tastes: fiction, comics, non-fiction, publications for children, teenagers and adults in Ukrainian and foreign languages.

Bookshelves of bookstores are divided not only by genres or categories, but also by moods and periods of life. So everyone can choose their ideal copy for reading.

For the visual identity, designer Roman Barnanovsky used Kamenyar. The Readeat logo uses ITC Barcelona.

The album art for Hans Christian Andersen's The Nightingale and The Ugly Duckling (Neigeline and Le vilain petit Canard in French, respectively), recounted by Gisèle Parry and Gisèle Casadesus.

The name of the album is Fritz Max Steltzer's Monotype Script Bold, a close follower of Prägefest. It's accompanied by an appropriately reversed version of Bodoni. The secondary typefaces are Monotype Garamond and what looks like Monotype Grotesque Extra Condensed. Just like Script Bold, these typefaces were offered by Monotype.

The illustration is credited to Pierre Belvès. No cover designer is mentioned.

[More info on Discogs]

Here’s the Plan is an animated short movie written, directed and produced by Fernanda Frick. In the movie, a dog/cat couple attempt to fulfill their dreams of opening a bakery together, but find their efforts hindered by the problems of the real world.

Fernanda Frick Studio adapted the story to an illustrated book published by Planeta Cómic. It’s also available in digital format via Gumroad and Ko-fi. The book typography uses two weights of Tobi by Rodrigo Araya Salas for all typography.

[More info on IMDb]

La rueda de la vida (“The Wheel of Life”) is a children's book written and illustrated by Chilean artist Andrea Franco. The story, written in verse, is also a song and tells the story of how different animals feed in a life cycle, and interact with life and death, making “the wheel of life” turn.

Published by Una Casa de Cartón, which provides a commentary on the book (translated from Spanish):

Life comes and goes in its natural cycle, in constant renewal and growth. In this lively journey through life and death, we invite readers to play, sing and laugh in a carnival that travels roads without endings or beginnings. This accordion book encourages play and imagination in young and old readers of text and images.

The typesetting is simple and aims to blend in with the illustrations without overpowering them, allowing for harmony between text and image. The book's title is set in Mazúrquica (v1.0) Regular and the main text in Berenjena, also in Regular weight.

Matilda the Computer Cat, 1984. Cover design by Carol Conway with an illustration by Bethann Thornburgh

In 1984, Claire Bailey Passantino authored a series of books that taught kids – explicitly including girls – about computers and programming. They were published by Reston, a specialized imprint of Prentice-Hall, in the Creative Pastimes book series. Each title was available in different editions: for the Atari, the Commodore 64, and the TI-99/4A.

The cover typography uses all-caps ITC Benguiat Gothic throughout. The sans-serif variant of ITC Benguiat (1978) with monolinear strokes and round terminals was released in 1979, becoming a staple on 1980s book covers.

Itty Bitty Bytes of Space for the Commodore 64 computer, 1984. Cover design by Nancy Sutherland with an illustration by Bethann Thornburgh

School Days for the TI-99/4A, 1984. Cover design by Carol Conway with an illustration by Bethann Thornburgh

Pet Express is the largest pet supply retail superstore for dogs and cats in the Philippines. It carries a huge selection of local and imported pet products including food, treats, clothes, toiletries, grooming tools, cages, toys and more. It has modern, spacious and clean salon facility for pet grooming and trained professional groomers.

Their visual identity, designed by And A Half, uses JAF Domus as a brand typeface.

The Chia website has been completely redesigned by Salt Lake City-based web agency Struck. Chia is a company founded in the 1970s in the USA that sells small terracotta planters to grow and collect, whose 1980s adverts are still legendary. The Struck agency describes the project as follows:

Chia called on Struck’s expertise to create a stand-alone bespoke website. Our vision was clear: to create an energetic and fun website that would not only showcase and sell Chia’s unique homewares, but also introduce the icons to “80s kids and their kids” in an unforgettable visual way.