Devotional is the new album by Cleveland-based singer-songwriter Jeff Holland, out May 1, 2026.

Starting from a simple brief of “flowers, waves, spirals, and bright primary colors,” I built out a design system of color, type, custom iconography, and motion design. My design process was organic and fluid, listening to the album on repeat and responding naturally to what it gave me. I used the visual language of signs and symbols to capture the human/divine themes of the album. In the artist’s words: “You really captured something ineffable about the album! And it’s such a rich tapestry of icons.”

Bungee was a great typeface for the identity—the contrast of thick lines and shading with thin strokes catches the eye and reinforces the confrontational/in-your-face nature of the graphics. It’s fun, it’s a little punk, and it’s the perfect vibe for a home-recorded lo-fi indie rock album.

The album release poster was featured in the 2026 Signs and Symbols art exhibition juried by Nolen Strals and Ryan Meyer, which was on view at the 501 Gallery in Birmingham, Alabama, from April 17 to May 1, 2026.

Brooklyn-based indie rock band They Might Be Giants have released their new album, The World Is to Dig. Alongside the album, the music video to “Get Down” was released.

Creative direction by Paul Sahre. Co-directed and animated by Takumi Segi and Anastasia Kharchenko. Driven by bold color palettes, dynamic typography, and a stream of imaginative, offbeat visuals, the piece captures the band’s signature wit and rhythmic spirit in a visually kinetic experience.

The 1976 release of The Modern Lovers, compiled from recordings made earlier in the decade, for an aborted LP for Warner Bros and other sources. The sleeve is a triumph of minimal design, adapting an aerodynamic heart logo that the band used on an early business card, rendering it in the stark, precise form of a neon sign glimpsed on a dark night.

Filmotype Lucky is effortlessly evokes this mid-century aesthetic. Ebony was enjoying a renaissance at the time (see also Blondie’s 1976 debut) – the emerging punk movement favouring clean, strong letterforms over the ornamentation of psychedelia and after. Further examples include Franklin Gothic on Ramones and Gill Sans Extra Bold on the “Neat Neat Neat” single sleeve, both likewise from 1976. (Jamie Reid’s “ransom note” style which would become a cliche of punk design developed independently).

The neon motif is continued in the use of Kaufmann, with its continuous line representing neon tubing, for the LP credits, supported by Gill Sans. The band logo that appears on the labels as well as on the flyer reproduced on the back in in all-lowercase City Bold.

Jim Blodgett is credited with “LP co-ordination”, which may or may not include the sleeve design.

[More info on Discogs]

Back cover. The reproduced flyer for a gig at Gloucester High Auditorium additionally features Futura Black.

Front cover

Whip-Smart is the second studio album by American singer-songwriter Liz Phair, released in 1994. The design is credited to Liz Phair and Mark O (Ohe).

On the front and back covers, the artist’s name and the album title use a distorted version of Typo Upright [edit: it’s Raydiant, see comments]. Quartet is used on the spine, for the track listings on the back cover and on the disc label, and in promotional material. The credits are printed on the tray insert using all-lowercase Matrix Script.

[More info on Discogs]

Back cover

CD label

CD tray insert

Magazine ad

Promotional poster

Iceland Music is based in Reykjavík and serves to help Icelandic music and artists locally and Internationally.

Their branding incorporates the use of Sarvatrik, a typeface designed by the type foundry Universal Thirst.

Sarvatrik is a multi-script typeface designed for seamless use across digital and print. Designed for versatility, it performs well at both large and small sizes while maintaining a warm, approachable character. extensive coverage of Indic scripts

Besides Latin, the Sarvatrik font family has a growing coverage of Indic scripts including Devanagari, Bangla, Gurmukhi and Tamil. Sarvatrik has been designed from 2021 to 2024 by Gunnar Vilhjálmsson, Hitesh Malaviya, Namrata Goyal, Lipi Raval, Kalapi Gajjar and Joana Ranito.

“Dang” is the latest single by Rainbow Kitten Surprise, released in July 2025.

Mighty Oaks are an indie/folk rock trio made up of Ian Hooper (US), Claudio Donzelli (Italy) and Craig Saunders (UK). They formed in 2010 and are based in Berlin. The visual identity of their fifth studio album, High Times, was designed by German graphic designer Fabian Maier-Bode. In developing the design, Maier-Bode used three typefaces in particular: Baustraße (by Fantasia Type) stretched to characterize the band’s name, Nautica (by Giuseppe Salerno) for the titles in the album, and Tempos Mono (by Samara Keller) for the rest of the lyrics.

[More info on Discogs]

Album cover

Raw Data Feel is the sixth studio album from English art rock band Everything Everything. The quartet has once again teamed up with Adult Art Club – comprising Charlotte Audrey and Jonny Costello – for its art direction. GT America Black Extended was used for all titles on the album, singles, and website. The body text and captions were set in Aperçu Mono. On the tour posters, the band name is set in caps from Korolev.

[More info on Discogs]

Website

Instore poster

US tour poster

Simple titles and credits for Laura Savage’s new music video “On A Good Day”, directed and edited by Tim Finch.

Siluh Soirée #2 ft. Topsy Turvy and Telebrains

Siluh Soirée is a series of live music events in Vienna organized by Silu Records at Kollektiv Kaorle. The posters were designed by Burn Bjoern and Riso-printed by Soybot, using Bouwhuis (Dotless Type) by Zoran Pungerčar. There are also screen-printed T-shirts.

Bouwhuis was originally designed for the visual identity of a Slovenian architectural award. It draws inspiration from the Bauhaus’s avant-garde approaches to type design, particularly the work of Herbert Bayer. Geometric letter forms are developed with an artistic approach and the intention of a specific visual language.

Siluh Records is an independent record label and music publisher based in Vienna, Austria. Founded in 2005, the label has released over 100 records, focusing on genres such as indie, alternative, post-punk, and experimental music. In addition to its role as a record label, Siluh Records operates a physical record store which offers a curated selection of vinyl, CDs, and merchandise, and also serves as a venue for live events and releases.

Siluh Soirée #1 ft. Smile and Ischia

Siluh Soirée #3 ft. Laundromat Chicks, Potato Beach, and Gardens

Siluh Soirée #3 ft. Su Yono and Euroteuro

Suped Up is the new power-pop project of Brian Dove and Noah Bowman. The band released two singles, “Crosswords” and “No Ghost No Problem” ahead of the release of their debut self-titled album (out April 25, 2025 via Hilltop Recordings).

As one half of said duo, I got to take the lead on creating assets for the new album, which was a great excuse to use some of my favorite fonts (and one of my own)!

The album artwork and cassette packaging uses PicNic for the band name and track listing, with Gayot New Thin for accents and the wider side of Obviously’s variable font for smaller typesetting.

On the album release show poster, Megazoid makes an appearance and Obviously’s variable axes get put to further use.

The lyric video for the single “No Ghost No Problem” also features PicNic, Gayot New, and Obviously.

Album artwork for Suped Up’s self-titled LP

Album release show poster

Cassette tape

Cassette Jcard front and interior

Still from the lyric video for “No Ghost No Problem”, featuring Gayot New

Still from the lyric video for “No Ghost No Problem”, featuring Obviously

Gaya Italic in use for Cléa Vincent’s music video designed by Gwennina Moigne and animated by Élise Wojnarowski. The project is introduced as follows by Moigne:

Creation of the lyric video for the single “C'est OK” by Cléa Vincent. The backgrounds were created from personal photographs and animated using distortions. The bright colors and chosen typography reflect the cheerful and soft universe of the song. The typographic animations were created by Élise Wojnarowski.

The project was completed in 2023 for Cléa Vincent and Midnight Special Records.

This design for San Diego indie rock band Pelican Club’s second album, Lover Boy, uses Neon Bines in a highly manipulated way for the title. The typeface for the band name is extra bold Futura PT in all lowercase.

The album design uses type to illustrate the playful, dynamic nature of Pelican Club’s music, evoking the bold typefaces traditionally used in music posters.

Chico e o Mar is a band from Belo Horizonte, Brazil, formed in 2018. The band’s music style blends US indie and Brazilian pop, resulting in an authentic and powerful sound.

The band’s first album was a vibrant and cohesive work that captured the youthful excitement of its time. It was inspired by the world of skateboarding and its accompanying ephemera prints, which were popular in the 90s in the counter-culture scene.

The use of photographic thresholds, collages, stickers, hand lettering, and a limited color palette were all essential tools for this project. Alongside Jean-Luc, a bold grotesque typeface, and Neue Haas Grotesk, a versatile sans serif, we established a potent and playful aura for the band’s visual identity.

Inner Wave is an alternative indie rock band from Los Angeles, California. Apoptosis is their latest album, self-released in 2021. The title lettering is based on Turtle. It’s not clear whether the designers, MacAndrew Martin and Collin Fletcher, worked from scans of the original 1971 Letraset release, or whether it’s Turtellini NF, a digitization made by Nick Curtis in 2011.

[More info on Discogs]

Qui parle ombre is the newest album by French band Midget! Written by Mocke & Claire Vailler and produced by Atom a.k.a. Señor Coconut, it was released in September 2024 on Objet Disque. Rémy Poncet of Brest Brest Brest took care of the design and used Boogy Brut with Boogy Brut Poster for the typography.

From Wikipedia:

English Heart is the fourth and final studio album by American recording artist Ronnie Spector, released on April 8, 2016, by 429 Records. It’s a cover album of rock and pop songs by British artists of the British Invasion era, except for two tracks.

All songs are by British artists that Ronnie toured with in the 1960s.

[More info on Discogs]

Designer David Calderley of Graphic Therapy combined Bebas with LHF Sofia Script for the cover typography.

From Wikipedia:

Audio Vertigo (stylised in all caps as AUDIO VERTIGO) is the tenth studio album by British alternative rock band Elbow, released on 22 March 2024 via Polydor Records. It received acclaim from critics, and debuted at number one on the UK Albums Chart, becoming the band's fourth number-one album in the UK.

Titles are set in all-caps Mostra Nuova. Art direction and design by Richard Andrews at Supermatic. The geometric sans use for “elbow” is yet unidentified.

[More info on Discogs]

Indie Exclusive edition

Art for single “Balu”

Art for single “Lovers’ Leap”

This design was made for Pelican Club’s single release “Call Waiting.” The layout and style is an homage to Blondie’s release for “Call Me”, which also used the Kaufmann typeface for the title of the song. The terminal in g is stylized to look like the end of a telephone cord.

The original cover art additionally used a cursive font for the name of the band, which in this case was approximated with Last Dance.

Following the release of her seventh studio album The Land Is Inhospitable and So Are We in late 2023, American singer and songwriter Mitski published lyric videos for each of the eleven tracks.

Created by Rena Johnson, these videos are all quite consistent, with collages of “intimate and beautiful super 8 footage of Mitski” shot by Mitchell King under direction of Ebru Yıldız, together with additional footage by Johnson.

Following the album art and accompanying communication, designed by Mary Banas, these videos feature a mix of Ready Active and Tofino. The first one, an organic-looking all-caps script, is set centered, in a big size and bright orange color. Given its somewhat ‘inhospitable’, challenging legibility, and the usual purpose of a lyric video, the display typeface is given subtitles, set in all-caps Tofino, in white.

These videos have been created in English, the original language of the songs, but also in Spanish, Portuguese and Japanese, in which cases the lyrics set in Ready Active stay the same and only the ‘subtitle’ part, in white, is adapted. The Japanese version replaces Tofino with what looks like Kozuka Gothic [edit: or rather Hiragino Kaku Gothic, see comments].