Cooking Memes, published by Krisis Publishing, is a book that treats food memes as historical documents of the present. Curated by Alessandro Mininno, it brings Marc Bloch’s 1935 insight about the “jam problem” into the digital age. In a world where pizza, carbonara, matcha, and vegan sushi circulate as images, slogans, and remixes, culinary memes become lenses into sociopolitical friction, identity, and power. This open archive collects fragments without deference, suggesting that even the most ramshackle food meme can function as a historical document of our time.

The book was designed by Francesco D’Abbraccio who picked Minion for body text and Ramboia for everything else.

Nightflier by Christopher Fahy (1937–2024) is “a novel about the ultimate out of-body experience.”

Jonathan Petrie can leave his body and fly. Best of all. Nobody knows it—yet. Not his alcoholic, ailing mother, nor his uncaring father. Not the teacher who senses that he's changing, nor the girl who befriends him. And surely not the school kids who torment him mercilessly.

None of them knows the force he commands—that he can see without being seen, hear without being heard, and that even now, as the night winds howl, he's plotting his revenge on them all!

First published by Jove Books (as Nightflyer), this is the British paperback edition by Corgi Books. I don’t know who did the artwork. Inside, body text is set in 9½ pt Caledonia (not shown here). The book cover was set in the Black, Heavy, and Regular weights of ITC Serif Gothic, featuring the alternate round E in the title.

Verzauberte Vorbestimmung by Jonas Lüscher is a German novel published by Carl Hanser Verlag in Munich. The cover design has been created by Barbara Thoben of the Cologne-based studio Lübbeke Naumann Thoben. The novel was nominated for the German Book Prize 2025, and won the 2025 Wilhelm Raabe Literature Prize.

Translated from the book summary on the publisher’s website:

An Algerian soldier is caught in the first German poison gas attack, decides that someone has to stop it, gets up and leaves. In the Cairo of the future, a stand-up comedian observes an android laughing at her jokes. A Bohemian weaver is replaced by an automated loom, steals a hammer and attacks the machine. What do we, the people of capitalism, dream of, and what do our machines, which are increasingly rising up against us, dream of? In the unique mirror space of this novel, no conflict is over and every story is still possible. Clever and mad, funny and sharp, Jonas Lüscher's story is at the height of his art.

The hardcover book comes with a jacket that pairs Swiss Typefaces’ TheW Clan GZA on the front with Adobe’s Arno for the back cover blurb and testimonials. The pairing reflects the book’s thematic tension between history and dystopian future. TheW Clan GZA, an anti-dogmatic serif hybrid, frames the front illustration: the protagonist of the historical engraving The Leader of the Luddites (1812). The typeface’s unconventional forms introduce a futuristic, slightly destabilizing note, contrasting with the engraving and Arno’s classical serif grounding on the back.

With the jacket removed, the hardcover uses TheW Clan GZA on the spine for the author, title, and publisher name, while the front cover takes a minimalist approach: the jacket illustration disappeared leaving behind only its shadow, extended to cover the page.

Over in the Grasslands: On an African Savanna is a children’s picture book written by Marianne Berkes and illustrated by Jill Dubin. It was published by Dawn Publications in 2013.

The cover title is set in Rat Fink Heavy, a display typeface designed by Ken Barber at House Industries. The bold, irregular letterforms create an informal and playful tone that complements the illustrated savanna setting and wildlife theme.

Supporting text, including the subtitle and interior body copy, is added in Chaparral, a humanist serif typeface designed by Carol Twombly for Adobe. Chaparral’s moderate contrast, open counters, and balanced proportions support readability in extended text, making it well suited for children’s educational publishing.

The combination of an expressive display face for the title and a readable serif for continuous text reflects a common typographic approach in contemporary picture book design.

The same typefaces are also used by other books by Berkes and Dubin, like Over on a Desert: Somewhere in the World, Over on a Mountain, Somewhere in the World, Over in a River, Flowing Out to the Sea, Over in Australia, Amazing Animals Down Under, and Over in the Forest: Come and Take a Peek.

Battle Mask, 1970. Secondary text is in Trade Gothic and Gothic No. 13 or similar.

Matterhorn is used for Don Pendleton’s The Executioner series from Pinnacle Books. Shown above is the first printing of the third book, Battle Mask, published in April 1970. The shorter bar in the first letter of the tt combo and the shorter bottom bar in E are likely contextual modifications. This masthead became the standard for the series starting with the the seventh book and the series’ many reprints until sometime in the late 1970s, several of which are shown below.

From Wikipedia:

The Executioner (a.k.a. Mack Bolan) is a monthly men's action-adventure paperback book series (published from 1969–2020) following the exploits of the character Mack Bolan and his wars against organized crime and international terrorism. The series has sold more than 200 million copies since its 1969 debut installment, War Against the Mafia.

The regular series includes 464 novels (as of December 2020 when the series ended). […] The Executioner was created and initially written by American author Don Pendleton, who penned 37 of the original 38 Bolan novels (he did not write #16).

War Against the Mafia, 1972 (8th printing)

Death Squad, 1971. Text in the angled band is in Eurostile Bold Condensed and the synopsis in Helvetica Bold.

Miami Massacre, 1970. Text in the angled band is in Franklin Gothic and the synopsis in Helvetica Condensed.

Continental Contract, 1971

Assault on Soho, 1978. Matterhorn is paired with two weights of Helvetica Condensed.

Nightmare in New York, 1971

Chicago Wipe-Out, 1978

Vegas Vendetta, 1979. Text in the angled band is in Akzidenz-Grotesk Condensed and the synopsis in Trade Gothic Bold.

Caribbean Kill, 1972

California Hit, 1972

Boston Blitz, 1974

Washington I.O.U., 1978

San Diego Siege, 1972. Cover art by Gil Cohen.

Panic in Philly, 1973. Cover art by Gil Cohen.

Sicilian Slaughter by Jim Peterson, 1973

Resident Evil 7: Biohazard is a survival horror game developed and published by Capcom, initially released on January 24th of 2017. The players control Ethan Winters, a seemingly average man in search of his missing wife, Mia, who disappeared three years ago. After receiving an email from her, it led him down to a plantation in Louisiana. Released after years of excitement and some trepidation from fans and the industry alike, the game has been widely praised and is largely credited for reviving the Resident Evil franchise among other achievements.

Resident Evil 7 is the first entry to use Plak Extra Condensed for the franchise’s logo, replacing Compacta Bold which was used in prior games such as the original Resident Evil. “Biohazard” uses Rama Gothic Rounded. In-game, the user interface primarily uses Franklin Gothic Book, which actually fits the Southern Gothic aesthetic very well. Futura is used more sparingly as a heading font of sorts and Rodin is used exclusively for the subtitles, possibly for localization reasons. Digital similarly is rarely used but can be spotted in number counters and the main menu.

Main menu. The player navigates the menu using a tape recorder that uses Digital for the UI.

Settings menu

The loading screens in RE7 consist of a short synopsis of the current chapter.

Ethan Winters confronting a very evil resident

Inventory menu

Death screen

An alternate UI for Jack’s 55th birthday, one of many RE7’s frankly unhinged DLCs. Digital is used for the timer. “Are You Ready?” is in Lydian Cursive.

The main typeface on Warner Home Video’s VHS cover for The Hobbit is ITC Benguiat.

From Wikipedia:

The Hobbit is a 1977 animated musical television special created by Rankin/Bass and animated by Topcraft. The film is an adaptation of the 1937 book of the same name by J. R. R. Tolkien; it was first broadcast on NBC in the United States on Sunday, November 27, 1977. The teleplay won a Peabody Award; the film received a Christopher Award.

The synopsis on the back cover is set in a slab serif. Judging from the F with seriffed crossbar and the w without middle serifs, this is Stymie. The G with short crossbar looks more like Memphis, though. The small print is in Helvetica Condensed and the barcode number in OCR-B.

Theatrical release (40″×60″) poster

From Wikipedia:

The Lord of the Rings is a 1978 animated epic fantasy film directed by Ralph Bakshi from a screenplay by Chris Conkling and Peter S. Beagle. It is based on the novel of the same name by J. R. R. Tolkien, adapting from the volumes The Fellowship of the Ring and The Two Towers. Set in Middle-earth, the film follows a group of fantasy races—Hobbits, Men, an Elf, a Dwarf and a wizard—who form a fellowship to destroy a magical ring made by the Dark Lord Sauron, the main antagonist.

While the art on the posters is by Tom Jung, the title is shown in lettering loosely based on Victor Hammer’s Hammer-Unziale (1923). It’s paired with American Uncial (1943) – a later typeface by the same designer – for Tolkien’s name. Hammer-Unziale also sees direct use for “fantasy beyond your imagination” on the poster shown below. The billing block is set in ITC Bookman. ITC Korinna, another design by Ed Benguiat, features for the synposis and the character names, respectively.

International One Sheet (27″×41″) poster

Subway (45″×58.75″) Advance poster

Im Herzen der Katze by Jina Khayyer is a German literary fiction novel published by Suhrkamp Verlag (Berlin). The cover design and illustration were created by Barbara Thoben of the Cologne-based studio Lübbeke Naumann Thoben, while the book’s typesetting was handled by Satz-Offizin Hümmer in Waldbüttelbrunn. The audiobook, published by Der Audio Verlag, is also available on CD, read by Pegah Ferydoni. The novel was nominated for the German Book Prize 2025.

Translated from the book summary on the publisher’s website:

Im Herzen der Katze is a family and love story that questions notions of nationality and belonging, of womanhood and freedom. With poetic intensity, Jina Khayyer tells of courage, solidarity, and responsibility, and of the lingering echoes of a homeland that cannot be shaken off.

The hardcover book comes with a jacket that pairs Swiss Typefaces's TheW Clan RZA on the front with Adobe's Minion on the back. RZA’s condensed, angular forms give the title a bold, contemporary edge, while Minion’s classical serif provide balance and a refined, timeless feel to the overall design.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

To commemorate the centenary of the birth of Scottish author Muriel Spark (1918-2006), Polygon, a Scottish imprint, is issuing a uniform edition of all 22 of her novels.

Designer Teresa Monachino chose to design the covers typographically, using two typefaces by Eric Gill, Gill Kayo and Perpetua. As she states,

The one thing that I kept in the front of my mind was that Muriel Spark was ‘the writer’s writer’. I read the 22 blurbs that accompanied each story and I knew then that the work should speak for itself. If we mustn’t judge a book by its cover then we must judge it by its words. What happens then when the words are the cover? I proposed that the book blurb should be on the jacket cover so that the design lets the stories speak for themselves; they need no further embellishment, it’s all in the writing.

To encourage readers to collect the entire set of works by ‘the writer's writer’, the designer included a kind of typewriter keyboard grid on the covers, with each book’s number in the sequence of titles highlighted, set in Gill Sans.

The sequence numbers are repeated at the bottom of each jacket spine, as well as a single, similarly highlighted single letter at the top. When all the books are assembled in order on a shelf, the highlighted letters spell out ‘THE NOVELS OF MURIEL SPARK’ — a clever ‘Easter egg’!

The texts are set in Monotype Ehrhardt.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: booksfromscotland.com Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

The Silence of Water was first published in 2011, as O Silêncio da Água. This edition was brought out by Seven Stories Press in their Triangle Square imprint. It was translated from the Portuguese by Margaret Jull Costa and illustrated by Spanish artist Yolanda Mosquera. The cover title features Garage Gothic by Frere-Jones Type.

From Seven Stories Press:

A story of quiet contemplation and steely resolve by the winner of the Nobel Prize for Literature, illustrated for readers of all ages. […]

From a childhood memory detailed in his book Small Memories, José Saramago spins a tale of quiet depth and wisdom – here translated by Margaret Jull Costa, and beautifully illustrated by Yolanda Mosquera.

The interior is set in Joanna.

The blurb and the synopsis on the back feature more Garage Gothic.

The incredible story of the Maine Yankee who discovered the world’s richest half mile of gold in Canada, and the strange and tragic end that befell him.

Geoffrey Bocca’s account of the Oakes case was first published in 1959 by Doubleday, as The Life and Death of Sir Harry Oakes. The cover of Greywood’s paperback edition from 1970 features Fred Lambert’s Sans Stencil for the title.

Front cover of the 5th printing, February 1968

From Wikipedia:

On Aggression (German: Das sogenannte Böse. Zur Naturgeschichte der Aggression, “So-called Evil: on the natural history of aggression”) is a 1963 book by the ethologist Konrad Lorenz; it was translated into English in 1966. As he writes in the prologue, “the subject of this book is aggression, that is to say the fighting instinct in beast and man which is directed against members of the same species.”

The book was reviewed many times, both positively and negatively, by biologists, anthropologists, psychoanalysts and others. Much criticism was directed at Lorenz's extension of his findings on non-human animals to humans.

The first Bantam Books edition was published in 1967, featuring Tension for the title.

Back cover of the 5th printing, February 1968. The secondary typefaces are Franklin Gothic Extra Condensed – heer with sign painters’ quotes – and Century Expanded.

Front cover of the 10th printing, after March 1970. The secondary typefaces here are regular-wide Franklin Gothic and Caledonia, both in all caps.

Back cover of the 10th printing, after March 1970

From Wikipedia:

Mauve Gloves & Madmen, Clutter & Vine is a 1976 book by Tom Wolfe, consisting of eleven essays and one short story that Wolfe wrote between 1967 and 1976. It includes the essay in which he coined the term “the ‘Me’ Decade” to refer to the 1970s. In addition to the stories, Wolfe also illustrated the book.

First published in hardback by Farrar, Straus & Giroux in 1976 (with a jacket design by Janet Halverson), this is Corgi’s UK paperback edition, using the same design as Bantam in the US.

Outer cover of New Paltz, New Paltz

New Paltz, New Paltz by Mike Powell is the first book published by Double Negative. It’s a restless bildungsroman set in New York City concerned with everyday life, its frustrations and joys alike. The book is short and bittersweet, inspired by poetry as much as prose, especially the frank absurdism of writers like Charles Portis and James Tate. The style is simple but wonky, full of false starts and anti-climaxes—“clumsy beauty,” the book calls it.

The design is a response to this and the many touchpoints shared by author and designer: Keith Shore’s blobby illustration, Lorraine Louie’s yuppie surrealism, Susan Kare’s iconic desktop logos, Andy Warhol’s jazz album covers, and New York City parking signs, which inform the selection of ClearviewHwy and Highway Gothic.

The colors—a dirty purple, yellow, and gray—come directly from the book’s language: the “dim yellow lighting” of a dive bar, “a purple-gray mastiff” at the dog park, and the “yellow and purple flowers” a landscape architecture firm had planted in a city park to try to rewild the city with native plans, giving it a “calculated wilderness laid out in the middle of the city, like an apology for everything we had built around it,” which of course includes the numerous grays of concretes and buildings.

Outer front cover of New Paltz, New Paltz

Interior cover spread for New Paltz, New Paltz

Interior spread for New Paltz, New Paltz

Source: archive.org Internet Archive. License: All Rights Reserved.

Photo-Lettering’s Plywood in use for a science fiction anthology presumably edited by Robert Silverberg. Originally published in 1969 by Meredith Press, this is Dell’s paperback edition, first printed in August 1970. It contains a foreword by Arthur C. Clarke and three novellas; How It Was When the Past Went Away by Silverberg himself, The Eve of RUMOKO by Roger Zelazny, and We All Die Naked by James Blish. See Science Fiction Ruminations for a review by Joachim Boaz.

The condensed sans appears to be a phototype version of Helvetica schmalhalbfett, a style that originated at Haas as Commercial-Grotesk.

From the back:

Take a Fast Trip to Three Far-Out Worlds Of the Imagination!

A world in which the credit card is king, and debt has enslaved all humanity … a giant data bank controls the lives of every man and woman … land, air and water have reached the final disaster level of pollution …

The world of today? No, not yet. These are worlds of tomorrow, as envisioned by three great S-F names - Robert Silverberg, Roger Zelazny and James Blish – in mind-expanding novellas written especially for this volume.

[More info on ISFDB]

Source: www.ebay.com soundgoround607. License: All Rights Reserved.

Source: www.ebay.com soundgoround607. License: All Rights Reserved.

Source: www.ebay.com soundgoround607. License: All Rights Reserved.

Montgomery Pousse Cafe in early use, featuring its “C” style with the middle part colored in yellow, for Ralph J. Gleason’s contemporary look on the San Francisco music scene in 1969. From the back cover:

The story of the Jefferson Airplane, the Grateful Dead, Big Brother and the Holding Company [ft. Janis Joplin], the Quicksilver Messenger Service, the Fillmore Auditorium, Bill Graham, the Family Dog and the coming of age of rock ’n’ roll in San Francisco

The remainder of the title is set in Britannia, Photo-Lettering’s “graphic handlettered interpretation” of Britannic. No cover designer is credited. The art is by Scottish illustrator Wilson McLean.

Synopsis and blurb on the back cover are set in Helvetica Bold.

Davison Fandango’s Ornamental style, used in all caps on the cover of Edward Pearson’s fantasy novel. The Pocket Books edition came out in 1974. No cover designer credited. The illustration is by Michael Gross.

From the back cover:

Chamiel is the sweeping saga of the Revolt of the Gods, in which Zareal the Black Angel and his hosts of Evil defy the eternal edict, invoking the wrath of the Lord and the forces of Michael the Vanquisher. And in which Chamiel, messenger between unearthly kingdoms, undertakes a bold and perilous exploit on behalf of his Lord.

The legend of Chamiel is a heroic fantasy in the tradition of C.S. Lewis and J.R.R. Tolkien, a legend set in its own worlds of Earth and Paradise—and the twilight world between.

“The writing is surely excellent; many passages have a vivid unearthliness… Exotic yet coherent imagining … bold and unusual.” —C. Day Lewis.

[More info on ISFDB]

With terminals as sharp as fangs, Gothic Tuscan Pointed was a natural choice for the title of Basil Copper’s popular study of vampires. First published in hardback by Robert Hale in 1973, this is Corgi’s paperback edition from 1975. The specific font in use likely is the phototype adaption made by Headliners as part of the Morgan Press Collection, which includes a lowercase. The descender in p apparently was cut short to avoid spacing issues.

One of the oldest and most terrible superstitions is that of the vampire. This blood-curdling legend of the undead has fascinated millions throughout the centuries, and today it is still a powerful myth … or is it? What is a vampire? Have they ever existed? And, if not, how has their dreadful reputation become so well established?

[More info on ISFDB]

The typography of the title page is carried over from the first edition by Robert Hale & Co., featuring Cloister Black – with appropriately bat-shaped top serifs in V – and Futura. The Shakespeare motto is added in Plantin.

Plantin is also used for the interior typography, with headings in Cloister Black.

The teaser quote on the back cover is set in the underused fett weight of Trump-Mediäval, digitally available as Bitstream’s Kuenstler 480 Black. The synopsis is in Rockwell.

Front cover

Buried Treasure!: Tales from Bikini Bottom is a compilation book published by Simon Spotlight in 2004. It contains six SpongeBob SquarePants stories: The Amazing SpongeBobini, Hands Off!, SpongeBob's Secret Valentine, And the Winner Is..., SpongeBob and the Princess, and Bottoms Up! Jokes from Bikini Bottom.

The front cover uses Tabitha plus Lionel Text. The back uses Rat Fink Roman for the synopsis, plus a version of Eraser Dust above a crudely drawn treasure chest. For the copyright information, Utopia can be seen.

Cover illustration by Zina Saunders.

Back cover