The NBA Europe Tour was a traveling tour across Manchester, London, Paris, Munich, and Berlin. Rather than creating a single static mark, Ben Loiz Studio built a flexible visual language capable of adapting across movement, crowds, public space, social content, and multiple city environments while still feeling cohesive.

The identity integrated NBA graphics with Hoopbus’ existing visual identity, combining league marks, custom symbols, typography, geometric forms, and bold color into a unified system built for movement and public activation. Across the bus, signage, apparel, backboards, social graphics, and event materials, the system used oversized forms, directional shapes, and high-contrast color relationships to create visibility and energy at city scale while moving through different environments and activations.

Typography played a central role throughout the system. A customized NBA version of Commercial Type’s Action Condensed was used across schedules, dates, URLs, environmental signage, and informational graphics, helping create urgency, clarity, and consistency across the international rollout. Supporting typefaces already associated with the broader Hoopbus identity system – including Industry, Standard CT, Cina GEO, Tuck Shop and Grand Slam – introduced contrast between functional information and more expressive identity moments, allowing each city and activation to maintain its own character while remaining connected to the larger visual language.

Made by Reuben & Co., An Exercise in Perspective is an experimental documentary and fundraising film, which follows the story of blind runner Phil Harrison.

Born fully sighted, Phil has lost eyesight from two unfortunate moments – an injury to his left eye as a teenager, compounded by a cancer diagnosis in his right eye when he turned 60. He now has less than 5% vision, only afforded to him with an artificial iris.

Many people could become reserved after such bad luck – Phil has decided to run.

In 2026 he will run his first ever marathon, the London Marathon, raising money for the UK sight loss charity, RNIB (Royal National Institute of Blind People).

As the frontman of infamous punk band Social Security he has always been defiant and young-at-heart. The band provide the perfect soundtrack to his story.

Immersive, mixed-media and a DIY project – the documentary gives a perceptual insight into Phil’s excitable, scrappy and inspirational spirit.

The title uses Optician Sans. Additional fonts used include FF Dynamoe and Scratch. Tiresias (not shown) is used for closed captions and subtitling.

Title: Optician Sans

Animated typeface: Ransom

A beautifully designed book written by Andrew Jones and lavishly illustrated with specially commissioned photographs by Laura Hodgson. London is home to more members’ clubs than any other city. Andrew Jones opens the door to 46 of them, from the oldest to the newest; presenting 300 years of continuing history though their architecture and design.

Published by ACC Art Books and designed by Ned Campbell, it is the first commercial use of the Ravenscar typeface which is used throughout.

West Ultra Black is presented in PLINC’s 1971 catalog as “Dave West’s blackest wallop”. In some ways, the typeface is a soft version of the equally black Barnum Ultra, which also originated in the late 1960s. The two are not directly related, though. By 1971, West followed up with Elephant Gothic, which is arguably even blacker. His Thud is no lightweight either, and was included in PLINC’s 1972 booklet of Ultrabold Tyght Types.

West Ultra Black can here be seen for the album cover of a collaboration between Teresa Brewer and the Oily Rags, in squooshed caps.

[More info on Discogs]

Hillside Clubhouse are a North London charity working between Camden and Islington council wards, providing a supporting space for people with a variety of mental health difficulties.

There was a desire from new leadership to re-focus perceptions – from a place of passive sanctuary to a service actively helping people on their journey to better health and into employment.

The name Hillside no longer had any real meaning behind it, but was long established. We saw potential in it where they didn’t, using hill-climbing as an analogy for their patrons’ mental health journeys, leading to a unique messaging approach: Dropping the word ‘Clubhouse’ positioned them as a service, not a place.

We built on the hill-climbing metaphor with a logo based around a climbing pair of legs standing in for the ‘LL’, and lettering that gradually rises up.

The typography is deliberately unpolished, but full of energy. Baton has a slightly wonky quality that fitted this perfectly. Imagery and layout treatments are deliberately simple so that they can be easily adapted by Hillside patrons of all ability levels.

A broadsheet fanzine published by Badrock Design. Each issue features one of the London clubs frequented regularly by the Beatles at the height of their fame in the 1960s. Clubs such as the Ad-Lib, the Bag O'Nails, the Scotch of St James amongst others, were the centre of music, art and fashion in London during a period of creativity and optimism in the 60s. Intrigued by George Harrison's much quoted repost when he left the band during the filming of Let it Be, the publications aim to summon up the little documented, tight world of clubs attended by the movers and shakers of the time.

Each issue recreates the graphic language of its subject, changing from issue to issue to capture the atmosphere and experience of each unique establishment. From Peter Jackson’s 2021 documentary The Beatles: Get Back:

Friday 10 January 1969
George: I’m leaving the band now.

John Lennon: When?

George: Now.
Get a replacement. Place an ad in NME and get a few people.
See you round the clubs…

Hachette has launched Food Lovers Travel, a collection of travel guides dedicated to the best culinary spots worldwide. Fagostudio designed the covers for the first six books: Rome, Seoul, Paris, London, Montreal, and Amsterdam.

The layouts were designed by Hachette. They use My Creative Land’s Roca​​​​​ for the title of this collection, with FinalSix by Type-Ø-Tones for the subtitle and Very Cool Studio’s Gooper for the yellow stickers. The illustrations feature type, too – see the captions for details.

The concept is based on illustrated facades representing these major cities, highlighting their culinary identities, architectural details, local specialties, and lifestyles. Food Lovers Travel aims to turn every trip into a culinary adventure by featuring the best places to eat, whether restaurants, markets, or speciality shops. Eating well is an essential part of the journey.

Eat Amsterdam ft. ABC Gravity (“Wafels”), modified Courier (“Amsterdam”), and more Roca (“Oud Kaas”).

Eat Londres ft. Coney Island (big sign) and Komika Title (small sign)

Eat Montreal ft. ABC Diatype (“Bagels”) and more ABC Gravity (“Traditional Montreal”)

Eat Paris ft. Gooper Italic (“Le Petit Parisien”) and DIN Condensed (“Rue de Cornichon”)

Eat Rome ft. Zing Script Rust (“Trattoria”) and Vampiro (menu board)

Eat Séoul with Hangul lettering

Freedom of all dogs is in great danger in all parks in Tower Hamlets, including Victoria Park!

In July 2024, Tower Hamlets Council agreed to run a public consultation on introducing new restrictions on dogs in the borough. These could even mandate every dog be on lead at all times in public spaces, including parks!

East London Dog Community opposes the proposed tackling dog related anti-social behaviour PSPO as it is overly restrictive and will negatively impact both dogs and responsible dog owners.

We support agreement on an alternative resolution in which we and our dogs can peacefully coexist with all our neighbours, without the dogs’ rights to behave in a natural way being compromised.

The typefaces used are Anormal Sans by Fred Wiltshire and DGM Pitch by Giulia Boggio (unreleased at the time of writing).

A splendid little booklet issued by the British Transport Commission to support the exhibition of London Travel in the Nineteenth Century in 1953. This was held in the historic Shareholders’ Meeting Room at Euston station; the Commission thought that there was “no better way of making this Room accessible to the public” at the time but sadly, less than a decade later, this historic space along with the other major components of the Victorian station were bulldozed in an act of redevelopment that is still a conservation cause célèbre.

The booklet is beautiful typeset and printed by the Shenval Press who, at the time, were acknowledged as one of Britain’s finest printers. The layout and typography are very typical of the Commission’s careful ‘look’ that saw them take great care in the graphic design of their publications. The cover and title page are shown.

Over the summer of 2023, the Museum of London Docklands celebrated their 20th anniversary with a series of events on their East London site and around the local area. Studio Bergini were brought on board to design the visual identity and advertising campaign for the events, as well as a commemorative mark.

The colourful campaign for the celebratory events highlighted the vibrant, multicultural community and social history of the Docklands. The images used were all taken by local photographer Harry Grant in the 50s–60s, showing local people in various festive situations.

As a main typeface for the campaign and logo mark, our choice fell on Megazoid from DJR to help communicate how the Docklands’ landscape feels, visually and architecturally, with its evolving, post-industrial landscape and unique juxtapositions of centuries old infrastructure, machinery, and warehouses sitting next to glass towers and monorail trains. Dinamo’s ABC Marfa was a great match for cementing this tone without going too obvious with the victorian industrial grotesque lettering references.

Second printing, 1974

London Tales of Terror is a collection of horror stories by William Sansom, Algernon Blackwood, John Keir Cross, Joan Fleming, John Metcalfe, Graham Greene, Brian Aldiss, Holloway Horn, Eleanor Farjeon, Stephen Grendon, L.P. Hartley, Charles Alliston Collins and Charles Dickens, W. F. Harvey, Elizabeth Bowen, and Rosemary Timperley. Edited by Jacquelyn Visick, it was published by Fontana Books in 1972. Shown here is a printing from 1974, with an unchanged cover design.

The typeface is Walter Haettenschweiler’s Lawless Type. The uncredited cover designer either reproduced the letterforms directly from Lettera 2 (1961), or they used one of the phototype adaptations of this alphabet, which included Fun Caps (Lettergraphics), Rupias (Typeshop), Lawless (Hollenstein), and Fairlane Caps (Fürst).

Chin Century 2000 is a little known typeface from Photoscript. Its No. 3 style (that is italic) was chosen to complement the art by Chris Foss for The Moving Snow. Written by Ian Weekly (1933–2014), this science fiction novel was published by John Murray in London in 1974.

The end of 1989 looked like being a bad winter, snow started to fall in the Lincolnshire wolds as early as October. And it went on falling. This was not just the start of another bad winter, but the beginning of a climate crisis that was to dramatically change the face of Britain.

In retrospect, the end of 1989 was one of the more joyful moments in world history. However, the climate crisis is now looming larger than ever and will dramatically change the face of the entire planet, and not just of Britain.

[More info on Discogs]

It may be Thorne Shaded, but we called it Thorowgood Shaded. At least that's how it was listed in the VGC catalog.

Art director: Roger Black. Illustration: Bruce Wolfe (1941–2023).

The London Workshops, a limited-edition perfect-bound book published February 2022 by Syracuse Architecture, is an exploration of design frameworks pursued by three architecture workshops in London. The book is anchored by three visual essays by prominent London architects—Owen Watson of 6a architects, Hikaru Nissanke & Jon Lopez of OMMX, and Paolo Vimercati of Grimshaw—and is supplemented by interviews with the contributors and an essay by the workshops’ organizers.

With content demanding color printing throughout in tension with a fixed production budget, project leads Anne Munly and Davide Sacconi anticipated that The London Workshops would be subject to a strict page limit. As their designer and co-editor, I was asked to develop a layout that maximized wordcount while maintaining the liberal margins needed to appropriately frame the book’s significant image content.

David Jonathan Ross’s Gimlet family quickly rose to the top of possible type options, due to its inclusion of Condensed and Compressed subfamilies (⅞-width and ¹³⁄₁₆-width, respectively). When the raw transcripts of the book’s three featured interviews came in at nearly 30,000 words, Gimlet Compressed was the unanimous choice.

Through the course of the normal editing process, the wordcount dropped sufficiently that most of the text was ultimately set in Gimlet Condensed, with Gimlet Compressed stepping in occasionally to smooth over some hyphenation and justification sticking points. Once the wordcount had come down appreciably, we realized we had the option to revisit typeface options, but after we saw how well Gimlet performed through the less-than-crisp printing method our budget allowed, that discussion was over before it began.

David made available to us an early version of Gimlet’s nascent sans-serif sibling family for testing as an accent face, but ultimately we decided to use the seriffed family exclusively and allow Gimlet’s widths to be the driving design element. To my eye, Gimlet Narrow, the ¹⁵⁄₁₆-width subfamily, has the most typical proportions for a text family, so juxtaposing full-width Gimlet with one of the narrower widths creates a disruption of rhythm that’s as visually interesting as the introduction of a second type family. We pushed that differentiation as far as we could go with flagrantly over-the-top letterspacing in the chapter heads.

Photography: Emily Lin

Gig poster for Pearl Jam's European tour 2022 stop at Hyde Park, London, 07/09/2022.

Poster design and artwork by illustrator Pedro Correa, with texts set in Slotrip by PintassilgoPrints. Detail on the back print set in Chez Moustache.

Color separation for screen printing

Backprint

The cover of the Scottish brochure, written by Maurice Walsh, “The Romance of Scotland”, shows the Tolbooth and clock on the Royal Mile in Edinburgh’s Old Town.

These brochures were issued by the Associated British and Irish Railways, a joint marketing organisation that had its origins with the LMSR, joined by the LNER and SR, in 1934 and to whom would be added the GWR and GSR (I) in 1935. They issued folders, primarily for the US and North American markets, showing the utility of the railways for tourists and visitors travelling across the Atlantic and the publications echo the styles of the various main line railway's own annual editions of similar publicity folders.

The 1939 series have several examples of these attractive photo/art montage covers, signed “M” – Reginald Mayes. They would sadly be the last such brochures issued as with the outbreak of war later in 1939 such trans-Atlantic travel became almost impossible. In post-war years by the time marketing became more active the nationalised British Railways had taken over in 1948 and interestingly used many of the same office and agency locations as listed in ABR publicity.

The titles on the covers are handlettered. Those for Scotland and England closely follow Bauer’s Quick AKA Trafton Script, but are bolder in weight. The one for Ireland is based on Beton extrafett, featuring its alternate R with curved leg. The line below is in caps from Beton fett, this time with the straight-legged R. “The Romance of Scotland and “This is England” are patterned after Gill Sans Condensed. This typeface is also used directly, in two widths, for the information at the bottom of each cover.

This is the cover of the England brochure, “This is England”, showing the Palace of Westminster with the then Clock Tower, home of “Big Ben”.

Front and back cover of “Ireland on the road to Europe”, with text by Lynn Doyle

By 1974 the National Bus Company were making sure you knew they were the holding company for the London Country Bus Services and Green Line Coaches subsidiaries! The cover to the BusMap covering their operating area that ringed London and that had been transferred from London Transport in 1969 following reorganisation. The BusMap was one of a series covering regional operators.

Presented in 2019 in the context of the Frieze Masters art fair, the Schools of London exhibition of painting and sculpture, organized by Waddington Custot gallery, dives into the impact of local art schools from the 1960s onward. The goal of the exhibition was to explore the influence of London art schools on the development of British art, focusing on the Royal College of Art, St Martin’s, the Slade, Chelsea College of Art, and Goldsmiths College, where the definitions of art were challenged by new experimental postures and a transgression of traditional classifications.

The booklet published on this occasion was designed by A Practice for Everyday Life. In order to emphasize the ephemeral aspect of this exhibition, the studio chose to stab-stitch it and to use newsprint for the interior pages, printed in black and white only. The fact that most of the imagery presented in the booklet consists of archival resources reinforces the documental dimension of the publication. The thicker stock of pink paper used for the cover looks like a cardboard sleeve in which someone would have stored their papers.

The typeface used throughout the publication is Kessler from Production Type, for the specific reason that this contemporary inscriptional serif directly echoes the stone-carved inscriptions found on most of the art schools buildings. The cover shows a typographic composition with different directions of reading, but in which the many O’s in the exhibition’s title are rotated so that they all exhibit the same stress angle. This intervention changes the cover into a kind of map, where the homogeneity of the five O’s symbolize the five different schools present in the exhibition. Kessler is paired with Figgins Sans by ShinnType. This grotesque with roots in 19th century London is used for captions, footnotes, and page numbers.

F37 Bergman by F37 Foundry in use by designer Martin Parris of Collective Creative. Using F37 Bergman he created a luxurious property identity for No.5 Ilchester Place, showcased in an editorial piece to promote the luxury development in a visual portfolio.

The sans serif used for body copy is yet unidentified.

Born from the restrictions of the 2020 lockdown, The Buildings of Green Park is a brilliant record by author Andrew Jones of a host of architectural structures in London’s Mayfair and St. James’s. A double page spread is given to each building and includes historical text, images, and documents. Beautifully designed using Enigma and Trilogy font families to their full.

Enigma Fine is used for headings with the general reading matter in Enigma Text. The mapping uses Trilogy Sans supported Egyptian. The typographic design continues the mix of the three font styles throughout with Trilogy Egyptian indicating the building number, Trilogy Sans for caption, secondary text, and page numbering. Typographic detailing includes small capitals, lining, non-lining, and small capital figure sets and sorts.