Exhibition leaflet design for Massage Platz, a duo exhibition by Sojung Park and Yorgos Agrotes shown at Shower, 2025.

This catalog for the graduates exhibition of the AdBK Nürnberg, an art academy in Nuremberg, Germany, is both a collection of individual booklets and a bag. The individual booklets with wire stitching contain works from the entire course of study of the students at the academy. The challenge was to have both individual booklets for the artists during their exhibition and to combine a conglomerate of these in a catalog. The idea for the bag arose from having a free hand for a drink and still being able to carry the catalogue. The design is a kind of file folder with metal stitching for the individual booklets. Punched holes are incorporated so that the whole can be used as a bag. The cover pocket is a chrome sulphate cardboard, the inner part is glossy picture print.

The catalog was made by Lucia Schmuck and Elisabeth Thoma, using Editorial Old and Hofmann, supported by Suisse Int’l Mono (not shown).

German design journal Gebrauchsgraphik was founded in 1924 by Hermann Karl Frenzel. Eberhard Hölscher edited the periodical from 1937 to 1944 and again from 1950 until his death in August 1969. Since 1927, Gebrauchsgraphik was published bilingually and with the English subtitle International Advertising Art.

This issue from 1958 comes with a cover designed by Wolf D. Zimmermann. He repeated the German title six times, in two lines of all caps from Annonce a.k.a. Aurora-Grotesk V, alternating between left- and right-aligned settings. Most of the letters are printed in teal, but interspersed are fourteen in a darker shade of blue and five in ochre. A single S in the top right corner is highlighted in pink. In the lower half, Zimmermann added a big splash of black ink onto his meticulous typographic composition. Secondary information is set in two styles of all-lowercase Futura.

This reproduction shows that the black splash was printed over the typography.

This poster promotes an exhibition of sculpture by abstract artist Abram Schlemowitz at the Howard Wise Gallery in New York City. The poster is undated but, according to his bio, Schlemowitz had two solo shows at the gallery in 1961–62, so it’s presumably from one of those years.

There is no designer credited on the poster, but Chermayeff & Geismar designed a series of posters for the gallery in the 1960s with the same typographic treatment of the smaller text, so I’d guess this is part of that series.

Some reverse engineering was required to recreate the unaltered setting for identification, but the large titling of Schlemowitz’s name is composed with sliced up strips of the Velos alphabet shown in Walter Käch’s Schriften / Lettering / Écritures book.

The smaller text details are set in Baskerville, with Howard Wise Gallery’s logo/info set in an outlined version of Grotesque No. 9.

Cropped detail of the smaller type

A reverse-engineered representation of the large type before it was sliced up.

Source: www.jozefsquare.com jozefSquare. License: All Rights Reserved.

Czechoslovak poster for Stunts, also released as The Deadly Game and known in Czech as Povolání kaskadér (“Occupation: stuntman”), an American thriller directed by Mark L. Lester, starring Robert Forster and Fiona Lewis.

The illustration of a stuntman on fire is executed in only three colors, and acquires an almost impressionist quality. It’s the work of Czech painter, graphic artist, and musician Jan Antonín Pacák (1941–2007). For the typography, he used a formula that was popular in Czechoslovak poster design: an attention-grabbing display typeface found in catalogs by Western manufacturers like Letraset, Mecanorma or ITC – here Yagi Link Double – with added monolinear diacritical marks, paired with a straightforward typeface for the smaller bits, here Maršův Grotesk, a domestic design that sits somewhere between Futura and Gill Sans.

Source: www.vinterior.co Vinterior. License: All Rights Reserved.

Detail showing Yagi Link Double’s D, redrawn and filled with red.

Source: www.vinterior.co Vinterior. License: All Rights Reserved.

The title card features all-caps Roberta with a perspective drop shadow.

Lancelot Link, Secret Chimp is an early 1970s comedy series featuring a cast of chimpanzee spies. It was produced by Sandler-Burns-Marmer and first aired on ABC on September 12, 1970. From Fabulous Sebastian’s review for DVD Purgatory:

Children’s television in the sixties and early seventies was bizarre. Really bizarre. I don’t know if drugs were involved, but reflecting on shows like Batman, The Magic Roundabout, Banana Splits, HR Pufnstuff, and even Sesame Street, makes me think they were. And in large quantities. Perhaps the oddest of them all was Lancelot Link, Secret Chimp, which was produced from 1970 to 1972. Mike Marmer and Stan Burns, probably inspired by the success of Get Smart (where they were writers), Planet of the Apes, and Mr Ed, had the idea to create a spy series using talking chimpanzees. The cost of creating costumes and sets in perfect scale for the apes made it the most expensive Saturday morning children’s show of its time. And it looks fantastic for the effort.

The show centred around Link and his love interest, the glamorous Mata Hairi, who were spies for APE (Agency to Prevent Evil). APE were in a continual war with CHUMP (Criminal Headquarters for Underworld Master Plan), headed by Baron von Butcher (voiced by Bernie Kopell who played Siegfried in Get Smart). Each show also included Lance and friends performing as The Evolution Revolution, who were the coolest band of the time (much cooler than Josie and the Pussycats or The Monkees).

The Agency to Prevent Evil (A.P.E.) wordmark uses City Bold with faux small caps, set on a curve and framed by bananas.

Roberta appears again for the secondary title card.

The squarish sans-serif caps with rounded corners used for the logo of C.H.U.M.P. (Criminal Headquarters for Underworld Master Plan) appear to be custom lettering.

Among the accompanying merchandise was a metal lunch box produced by Thermos (1971). Here, the “Lance Link” wordmark uses Bauhaus Geometric Shaded (Photo-Lettering, 1970). This precursor to ITC Bauhaus (1975) was drawn by Ed Benguiat, who also helped to develop the title graphic for Planet of the Apes in 1968. [House Industries] “Secret Chimp” is set in Broadway Condensed. Link is shown together with Mata Hairi and his boss, Commander Darwin.

The reverse side of the lunch box shows Baron von Butcher, the Duchess, and another CHUMP villain.

Lancelot Link also had a band, The Evolution Revolution, which released one self-titled album (Dunhill/ABC Records, 1970) of psychedelic bubblegum pop music, with a cover design by Douglas Carr. [More info on Discogs] The typeface chosen for the band is Marschall (also known as Domingo), used in all caps.

Gatefold of Lancelot Link And The Evolution Revolution. Photography by Mike Marmer and Allan Sandler.

Title card from a music video. In the show, the band was introduced by Ed Simian, a riff on Ed Sullivan.

The record-breaking number one bestseller from the UK's best-selling non-fiction author, Kay's Anatomy, brings Mindset all over its cover and also in inside pages. The book was released in October 2020 by Puffin Books, an imprint of Penguin Books. Illustrations by Henry Paker. Mindset is a hand-drawn display font by PintassilgoPrints. It’s loaded with alternates and comes with a lighter version – Mindset Slim – for added versatility.

The font is widely employed also in the promotional material, including a book trailer:

The typeface for the book interior appears to be Serifa; the blurb on the back cover uses Avenir. Despite all efforts, no designer credits were found. If you know who designed the book, please leave a comment.