Issue #67, “The Test of Time”, marks the 2025 redesign of Foam magazine by David Bennewith and Sandra Kassenaar. The publication is set entirely in LL Geigy and LL Geigy Mono, which are used throughout to establish the magazine's typographic system and identity. While LL Geigy serves as the principal typeface for titles and running text, LL Geigy Mono is employed across a range of editorial contexts. The pairing lends the magazine a quiet, systematic rhythm while bringing texture and personality through LL Geigy's characteristics. The consistent typographic framework complements the photographic work while giving the publication a distinctive editorial voice. The redesign also marks a new editorial format, with Foam becoming an annual print publication.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

New York City Mayor Zohran Mamdani, NYC Tourism + Conventions and Team Wonder launched new initiatives to help New Yorkers and visitors explore the five boroughs during the 2026 FIFA World Cup, including a “NYC Neighborhood Passport”. The NYC World Cup campaign was designed by Arsh Raziuddin, working closely on the brand guidelines with Aneesh Bhoopathy who designed Zohran Mamdani’s campaign branding and is now a senior designer in the Mayor’s Office. It is inspired by sports memorabilia, city signage, a sticker collection, and the five boroughs. “There’s an energy that we wanted to capture and I think it’s matching New York as of right now in a way that feels really nice,” Raziuddin said, “One or two typefaces max was important for me.”

The campaign typography headlines use Dunbar Tall Ultra from CJ Type, along with Dunbar Tall Medium, Bold and Extra Bold used for supporting information. The script used for each of the five boroughs is a modified and redrawn version of Excelsior Script.

As the campaign rolls out to templated items such as transit instructions, bus lane notices, watch party posters, and queuing instructions the editable text used appears to be in Neue Helvetica.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: www.instagram.com vxdollface. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Source: images.squarespace-cdn.com Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Photo: CJ Dunn. CJ Dunn. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: i.insider.com Sydney Bradley/BI. License: All Rights Reserved.

Source: images.ctfassets.net Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Finemateria is a Milan-based design studio founded in 2020 by Gianluca Sigismondi and Stefano Bassan.

The Finemateria logotype features a custom version of Superness Modulo, a design that comes from a group of well known Milanese graphic designers. Modulo is a digital version of Nebiolo’s unreleased attempt to create a radical modular design based on mathematical ratio. It features almost no contrast overall and has a solid appearance that create a sense of established firm, static, neutral and solid.

Modulo is the core typefamily. All weights are used if needed, but the bold cut is the default voice of the identity. Overall the spacing is crafted to giving extra space between each glyphs and enhancing a unique – both strong yet relaxed – flavor.

The identity application is plain and self-aware, conceived as a flexible framework capable of show carefully crafted and well-defined projects, each distinct in character. The visual approach is paired with dusty, low-saturation tones, allowing the materic quality of the printed matter to emerge, so as to highlight the attention that Finemateria dedicates to materials, enhanced through a precise and thoughtful photographic perspective.

Pomme d’Api is a French monthly children’s magazine edited by Bayard Éditions, known for its illustrated stories, games, and iconic characters like Petit Ours Brun.

The typeface Borel Display was used throughout the main story “Agata détective : enquête au manoir” to give the narrative lettering a lively, handwritten feel suited to the magazine’s target age range of 3–7 years old.

Additional typefaces used by the magazine and shown in the images include Uniform Rounded, Futura, and Mr Dodo.

Bottle and label design for the very limited água-pé Pomo de Ouro, made by Juicy.ttf.

Traditionally, água-pé is a very light wine made by adding water to the leftover grape skins, seeds, and stems (bagaço) after regular wine has been pressed, then letting it ferment again. With Pomo de Ouro, that process was made with cider apples.

Art Direction by Francisco Torres and Miguel Mesquita, with design by Mesquita and illustration by José Luis Dias. The chosen typeface is Ramboia by Rui Abreu. Pedro Lopes took the photos.

For more detailed info, check out this Instagram post and feel free to get in touch with the producers.

Labels for a cider producer in Normandy, France. Fred’s Apples engages in traditional production methods, using a press, with apples picked locally by hand.

Divine Ruin, January 2026

From Wikipedia:

A series of books featuring Sister Holiday, “a chain-smoking, heavily tattooed, queer nun, puts her amateur sleuthing skills to the test.”

Douaihy’s debut novel, Scorched Grace: A Sister Holiday Mystery received numerous accolades, including a starred review by Publishers Weekly, which called it a “stunning fiction debut ... briskly plotted master class in character development.” Scorched Grace was twice recognized by The New York Times, as a New York Times Book Review Editors’ Choice, and as a New York Times Best Crime Novel of the Year for 2023. The Guardian twice recognized Scorched Grace as one of the best crime and thriller novels of 2023.

Originally published in hardback by Gillian Flynn Books, the paperback editions are by Pushkin Vertigo/Pushkin Press.

Alias Cactus is used for title type. The blurbs on the paperbacks are in Owners.

Scorched Grace: A Sister Holiday Mystery, February 2023

Blessed Water, March 2024

Every Apple is a limited edition aromatic stone sculpture by Clue Perfumery. Shaped like a ceramic apple core, it is soaked in perfume oil to gently release fragrance notes inspired by the entire life cycle of an apple, from crisp skin and mealy pulp to timber, seed, and botanic rot. The apple is accompanied by a poster featuring drawings of apples by 29 invited artists, making it a multisensory collectable for the home.

Store Norske Eleganse from Skriftkompani is the typeface used for the campaign’s visual identity. With its refined forms and graceful presence, Eleganse perfectly matches the poetic, slow-release character of Every Apple. The typeface adds a sense of sophistication and quiet allure to the campaign, echoing the sculptural and aromatic qualities of the product.

Morris F. Benton’s Freehand (ATF, 1917) on the cover of Rossini’s William Tell Overture as recorded by Eugene Ormandy with the Philadelphia Orchestra, released in 1972 by Columbia Records.

Cover design by Teresa Alfieri, with an illustration by Roy Carruthers (1938–2013). 1stDibs describes Carruthers’ work as “a brilliant mix of George Tooker and Fernando Botero but with unexpected charm”.

[More info on Discogs]

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.

Some interesting customization was done for the title: double underlines that blend into certain letters; a flourished, angled crossbar and differing leg lengths for the A; and extended and shifted arms of the & and swash M.

While most community cookbooks have a reach limited to a specific time and place, some do go onto wider acclaim and use, as is the case with some of the cookbooks produced by Junior League associations. One example of such a cookbook is the Rochester chapter's Applehood & Motherpie. The cookbook has gone through at least 17 print runs, numbering over 250,000 copies. In 1990, it was inducted into the Walter S. McIlhenny Hall of Fame for community cookbooks.

Applehood is set overwhelmingly in varying weights of ITC Bookman, with titles and other key text using swash alternates. The one small exception is that the opening initials to passages dedicated to anecdotes and tips use swash neo-Bookman Bold Italic instead.

A green apple next to a recipe indicates that it ranked very well amongst the cookbook’s testers.

An example of the anecdotal text interspersed throughout the cookbook, seen here with a swash neo-Bookman A.

The Rochester area is a large producer of apples, thus the title and motif (and numerous recipes featuring the fruit).

The crease that runs horizontally across the cover is designed to be bent so as to allow the book to stand upright.

Rethink’s branding work for Cidrerie Milton exemplifies a masterful blend of expressiveness and sophistication. Complementing a custom wordmark, they leveraged F37 Attila in all caps, which exudes boldness and modernity. This typography harmonizes with the brand’s distinctive angled and rough illustrative elements, creating a dynamic visual balance. The choice of F37 Attila underscores clarity and strength, while the illustrative style injects a sense of handcrafted authenticity, reflecting the artisanal qualities of the cidery. The result is a cohesive and memorable brand identity that stands out in the craft beverage market.

Design by Benjamin Lecuyer and Danick Gemme, with design lead by Margot Brejon de Lavergnée and creative direction by David Roger. See the full list of credits on Behance.

F37 Attila for the tagline “Y’a nature à explorer” (“Nature to Explore”)

Website detail

Website detail

Website detail

Pop’n Music is a music video game series made by Konami’s Bemani division, first released in 1998. This card for the character Yuzuru is part of a card-collection merchandise based on the series, issued by Konami Digital Entertainment in 2015.

DF Maru Gothic is used for text, with DF Li for the character name. The word “animation” as well as the labels for the various characteristics listed on the back are in Dolmen, while the speech balloon with “Lose” is in Compacta. The Bemani logo uses ITC Grizzly with glyphs in alternating colors.

Olssøn Barbieri designed the graphic identity of Tessas Eplegård (“Tessa’s Apple Orchard”) using the Or Lemmen typeface throughout. From the studio’s website:

As self-proclaimed happy amateurs, Tessa and Ander operate one of the few organic orchards in Hardanger, an area on the Norwegian west coast, historically known for its beautiful nature and delicious fruit.

While fruit growing has long traditions here, it is not as romantic as it sounds. Insects and animals damaging the crops, alongside the discovery of diseases and fungi in the 1930s, initiated “the pest war” that escalated with the first experiments with pesticides and herbicides. It did not take long until all fruit farms in Hardanger started to use chemical agents in their farming practice. […]

Collaborators:
Manon Cezaro (France), Illustration
Erlend Peder Kvam (Norway), Illustration
Sharmila Banerjee / Bone Jelly (Germany), Illustration
Anne Valeur, Photography
Bojan Milinkovic (Denmark), Animation

Cover for an album released in 1968 by Boston-based "power" trio Eden's Children consisting of Jimmy Sturman (drums), Larry Kiley (bass) and Richard "Sham" Schmack (guitar, vocals) which remained active from 1966 to to the year (1968) where the album was introduced. A reissue of this album appeared in 2011 by Sweet Dandelion Records in the UK.

The title of this record is lettering based on Bosco Silhouette, an Art Deco-inspired typeface designed by Alfred R. Bosco for Photo-Lettering, and was added to the foundry's library before 1950. Differences in the glyphs are the customized letter H (which in the font’s sample looks like a rotated X), and D, R, and S glyphs appear to be modified with some stretching and added counters/notches.

[More info on Discogs]

R&R Smith is a family apple distribution business established in 1938. The orchard is situated in the Huon Valley, a once thriving apple-growing region that exported apples all over the globe and earned Tasmania the title of the Apple Isle.

The rebrand is a contemporary re-imagining of the golden era of the Apple Isle, with a versatile suite brand assets that draw on nostalgic references to traditional apple box typography and illustration styles. The main typeface is Optician Sans, used with a custom apple-shaped ampersand.

Proxy is a podcast from Yowei Shaw, formally the co-host of NPR’s Invisibilia. Neither advice show nor therapy, Proxy offers something different: a space for people to confront, commiserate and even find the comedy in their situation through frank conversations.

With this in mind, Good Tape Studio set out to design podcast branding that communicated Shaw’s surrealist approach as an “emotional investigative journalist” with a nod towards René Magritte’s famous self-portrait, Son of Man. This lead us on a search for a typeface that could provide some personality to our tile as well as balance nicely with a prominent green Apple. Eventually, we landed on Thunder by Rajesh Rajput.

The strong contrast between strokes in Thunder added a playful and solid feel to your wordmark, with enough personality to be recognizable when separated from the context of the full tile. To pair with the bold font choice for the wordmark, we needed a solid geometric sans and Rajput’s Nohemi was the perfect compliment.

Golden Delicious is a predominantly-instrumental improvisation album by John Stowell, released in 1977 by Inner City Records.

The geometric sans with peculiar letterforms is Morishima Funletter, here accompanying a picture of John Stowell on an electric guitar, taken by Ken Haas, in front of the titular apple. The design is credited to Leo Bliok.

[More info on Discogs]

Text on the back cover is set in two weights of Helvetica, right-aligned.

The cover for Vintage’s 1989 paperback edition of Friedrich Nietzsche’s Beyond Good & Evil, which was translated by Walter Kaufmann.

The typography shown here uses a ton of styles from Eric Gill’s Gill Sans. These include the extra bold for the original author’s last name, the light for his first name, and initials from Gill Kayo (for “Good”) and Gill Sans Bold Extra Condensed (for “Evil”).

Source: www.abebooks.com Keoghs Books. License: All Rights Reserved.

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

The first British edition of Theodor Reik’s On Love and Lust was published by Souvenir Press in their Condor imprint in 1975, as the second volume in a series of works by the influential psychoanalyst.

While Farrar, Straus and Giroux used the lofty capitals of Michelangelo for their edition, Souvenir Press went for very different typographic direction. For his cover design, Mike Hasted specified Pump. This hefty follower of ultrageometric designs like Harry, Burko and Blippo Black was drawn by Bob Newman and issued by Letraset in 1970. It’s here used in all caps, with (too) wide word spacing.

The author’s name is set in all-caps Monotype Baskerville.

The name of the imprint appears to use Monotype Garamond Italic.