Circue is a naïve display face that looks like it was created with a hole punch. Shown by VGC in 1973 without designer credits, it can here be seen in use on the sleeve for “The Day My Baby Gave Me A Surprize”. The song was released as the first single from Devo’s 1979 album, Duty Now for the Future.

[More info on Discogs]

The back cover mentions the title of the B-side, “Penetration in the Centrefold”, and credits the graphics to Devo, Inc. The wide all-caps sans is some derivative of Blair (but not ITC Blair), possibly Amsterdam Card Grotesque, which is Photo-Lettering’s adaptation of Kaart-Antieke. The bold style is Univers.

Doble Residencia (“Dual Residence“) is a striking book of images. It is a reflection on the human face and the duality conferred by the mask or, ultimately, on the duality shown by the mirror looking the face with or without the mask.

The book comprises of 40 photographs taken by Gustavo Lowry at the house of Juan Carlos Romero, drawing on his personal collection of masks. The project was curated by Maria E. Galera. Ral Veroni oversaw the edition.

It has 96 pages and measures 16×24 cm. Titles are set in Cooper Hewitt and the body text in Andada HT.

This bilingual edition (Spanish-English) was published by Ediciones Urania in collaboration with the Juan Carlos Romero Artist Archive.

Heimann + Schwantes:

100 years ago, political pressure forced the Bauhaus school to relocate from Weimar to Dessau. Dessau became a place where the Bauhaus could flourish and put its vision of a better life for all into practice.

From September 2025 onwards, the Bauhaus Dessau Foundation will celebrate this anniversary with a year-long festival programme entitled ‘An die Substanz’ (To the Core). The focus will be on the material, economic and technological foundations of the Bauhaus, from the extraction of raw materials to production processes, trade routes and the social and ecological consequences.

To mark the anniversary, we have developed a corporate design that restores colour and diversity of form to the Bauhaus Dessau identity. The design aims to breathe life into both the historical dimension of the Bauhaus and the discourse on contemporary design requirements.

Rhode Montijo's The Halloween Kid is a children’s book published in 2010 by Simon & Schuster. The story revolves around the titular Halloween Kid, a cowboy whose mission is to save Halloween from pumpkin-sucking vampires and toilet paper-tossing mummies.

The title typeface is Foo, used here with heavy distortion. The name is added in FF Providence, with a modified j.

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A Court of Thorns and Roses

A Court of Thorns and Roses is a fantasy romance series by Sarah J. Maas, started in May 2015 with the publication of the titular first book. It was concluded with A Court of Silver Flames, a New York Times #1 bestseller, in February 2021.

When Bloomsbury started reissuing the books in 2020, Patti Ratchford was in charge of the cover designs. The hardback edition got yellow titles against a colored background. This color palette was reversed for the paperback edition, which was released simultaneously.

For the ornate art, Ratchford brought in Violène Pont and Patch Monnier of Happypets, the Lausanne-based illustration and tattoo studio. For the typography, she exclusively worked with Grand Central by Tobias Frere-Jones, alternating between stacked-and-staggered, right-aligned and center-aligned title settings.

Chances are the all-caps serif typeface with roots in the French Oldstyle genre was selected for its thorny R – a hallmark glyph that appears at least five times on every cover. With over more than 13 million copies sold in total (across the editions), A Court of Thorns and Roses probably represents the most visible use of Grand Central to date.

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A Court of Mist and Fury

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A Court of Wings and Ruin

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A Court of Frost and Starlight

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A Court of Silver Flames

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Box set with the paperback editions of the five books

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The dust jackets for the hardback edition have colored titles against a gray background. The final book, A Court of Silver Flames, represents an exception, featuring orange cover art and white type.

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Box set with the hardback editions of the five books

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Spine lettering on the jackets of the hardback edition

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Night Court Edition

Putin’s Witnesses is a documentary by Russian and Ukrainian film director Vitaly Mansky. It examines the early life of Vladimir Putin and the political machine that brought him to power. It’s distributed by Aardvark Film Emporium.

Single cover for the 1976 NEMS reissue of Black Sabbath’s single “Paranoid”, with B-side “Snowblind“. The cover art by artist Dave Field was rendered in ink and pencil.

[More info on Discogs]

See Field’s designer profile on Discogs for his other album artwork.

The title combines caps from MTM Cascorro 18’s Lisa and Classic styles. The latter is distinguished by spurs.

Poster-booklet for En las Fiestas del Futuro (“At the Parties of the Future”), an exhibition by Paco Graco collective about recovered shop signs at La Casa Encendida art center in Madrid, Spain.

Designed by Ricardo Barquín featuring fonts by Madrilenian Typographic Manufactures, Riccardo de Francheschi, and Alexander Colby, with texts by Miriam Martín.

The exhibition reflects on the vanished city and memories through the commercial signs rescued by the collective in the neighbourhood where the art centre is located.

As the booklet reads:

in the face of Madrid's destruction: in the fire of what was, burns what will be

The inauguration took the form of a popular party with music, wine and the owners of the closed shops coming to see their signs saved from the dump at the last minute.

Photos: Daniel de Jorge

“Madrid será” uses Vampiro. Text is set in Lacrima Italic and Serif.

Installation with vintage signs from shops and pubs

Pelo de Foca is an album that explores love and self-destruction from an eclectic perspective, leaving room for each listener to interpret the meaning of the songs based on their own experiences. Through symbolism and an esoteric use of color, we visually convey the essence of each track, transforming the visual aspect of the project into a ritual that celebrates and proclaims the visceral energy of rock.

[More info on Discogs]

See also the previous post about the visual identity for Ultraligera’s Pelo de Foca.

A compilation of folks song, recorded by ethnomusicologist Henrietta Yurchenco (1916–2007) in Puerto Rico between 1967 and 1969, together with Peter Gold and Peter Yurchenco. The album was released in 1971 in the Asch Mankind Series by Asch Records, which was sort of a sister label to Moses Asch’s Folkways Records.

Cover designer Ronald Clyne worked with Bookman Swash Bold Italic. The capital swash S is meant to descend, but here this would have clashed with the outstretched leg of the preceding k.

[More info on Discogs]

A variant of the album cover with text

Chromakopia is the long-awaited and highly anticipated seventh (or eighth, depending on whom you ask) studio album by Tyler, the Creator. The ten days I waited for the album were agonizing but worth it.

Chromakopia’s aesthetic seems to take heavy inspiration from old monster films. Most evident is the sepia filter used in all branding, general darker tone, and the imagery of horns which evokes the devil. A slightly dim green is the album’s branding color.

“Chromakopia” is set in Poleno SemiBold, modified to have horns on the first and last letter. It is complemented by Rift Soft which is used on smaller text, likely to balance the hard, uneven look of Poleno.

[More info on Discogs]

Title card used in the promotional videos

Chromakopia World Tour poster. “The World Tour” is also set in Poleno SemiBold.

An alternate version of the poster

The website includes a text generator. I had to do it.

Promotion of the album via “Chromakopia’s Trucking Company”, the title displayed loud and proud

A map tracker on the website, showing where the trucks are located.

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Nature Morte is the first artistic collaboration between photographer Ruth Ward and Studio Omelette, a creative studio founded by Cécile Dumetier. During the height of the pandemic, Ward created a series of still life photographs, featuring discarded waste collected in the streets of East London.

The term Nature Morte is the French term for Still Life. The phrase literally translates into English as Dead Nature, an appropriate play on words that encompasses both the essence of the inspiration and the realisation of the images.

The series zeroes in on three iconic items: masks, gloves and paper cups. After two years of collecting, the images were presented in a fundraising exhibition at Dalston Curve Garden in spring 2023, culminating in a stylized reflection of a unique moment in time. Prints are sold through a dedicated website, with all benefits directly supporting the community garden in London’s Hackney borough.

In addition to posters and postcards advertising the show, Studio Omelette also produced an ​exhibition catalog. The blue of the catalog cover (which can also be seen on the website and the Instagram channel) is “a nod to the artificial colour of the masks and plastic gloves popping out in nature”. The designers opted for newsprint paper, in order “to give a continuity with the disposable items featured in our photographs”. Each chapter is introduced by copy written by Francesca Tenenbaum.

The typefaces used for the project are Production Type’s Cardinal and Dinamo’s ABC Favorit Mono. More specifically, the filigrane Italic style of Cardinal Fruit serves for the Nature Morte wordmark. The wider Cardinal Classic Mid (with extenders of moderate length) was used for text.

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Website

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Dust jacket of the hardback edition. The secondary typeface looks like some bold variant of Times New Roman.

Walter Sorell’s “exploration of the elements of humor as expressed through comedy, satire, and farce from Aristophanes to Ionesco, from Menander to S.N. Behrman” was published by Grosset & Dunlap in 1972. The swashy display typeface is Davison Art Nouveau, which in 1975 became “the Dune font”.

Cover of the paperback edition. Here, the small text is set in a different typeface, Caslon 3.

Man vs. Machine is the fourth studio album by American rapper Xzibit. It was released on October 1, 2002, with special guests that include Dr. Dre, Snoop Dogg, Eminem, M.O.P, and Nate Dogg.

The cover features the typeface Earth with the artist’s name in outlined capital letters being slightly customized to cover the gaps of the letters Z, B and T and made to look like an outline along with some other touches made near (but not directly to) the letters.

Below the artist’s name, the title is again set in Earth but with small modifications to it to close the gaps.

[More info on Discogs]

The insert combines titles in Earth with Interstate for credits.

Odd Beholder’s latest album Feel Better catches the eye with surrealistic imagery (by Ella Mettler) in combination with Martina Meier’s contemporary proto-roman typeface NN Konrad.

Sonagi is a skincare sheet mask subscription service that “brings the magic of Korean sheet masks to the UK”.

Seoul and London based K-Beauty brand Sonagi uses Instrument Serif paired with Acumin on their website and for social media posts.

Conceived by Odilon Roelens-Delrez and Anne Delrez and published in France by Éditions de la Conserverie, this elegant book comprises a series of arty photographs made by the authors between March 15 and May 25, 2020, that is during the confinement. The volume was designed by the ramel · luzoir studio in Strasbourg, using for all texts the typeface Carolinéale, designed by Francis Ramel and published by PampaType.

Ritual was first published in 1988 under the title Feast. This is the British paperback edition by Sphere from 1989. I haven’t seen a physical copy of this book, but my understanding is that the image above depicts the front cover, which has a triangular window that reveals a detail from a second cover underneath. The image below shows a 1993 reprint by Warner Books which apparently uses that second cover as the primary one.

The bold eroded caps are from a typeface known as Frankenstein. The wide flare serif used for “Ritual” is ITC Newtext, which was also used for a number of other Masterton books published by Sphere. The typeface used for the author’s name is unidentified, or maybe a heavily customized American Gothic.

[More info on ISFDB]

1993 reprint by Warner Books

Concert poster for the Grateful Dead’s only stop in Germany on their European tour in fall 1974, at the Olympiahalle in Munich. The poster was designed by Günther Kieser, who died earlier this year, just short of his 93rd birthday.

From the description by Heritage Auctions:

It features a very colorful bust dressed up in Dead fashion through the eyes of Kieser. Worked into his creation are skeleton & rose elements and even a Jerry Garcia “U.S. Blues” top hat. Speaking of which, the Dead were on tour behind From the Mars Hotel, released three months earlier.

The band name is shown in contoured and tightly spaced Pretorian, with some letters overlapping. The late-Victorian heavyweight is contrasted with caps from Condensed Sans Serif No. 7 (Stephenson Blake, 1893). Additional text is added in two weights of Helvetica.

My studio – Jean Guerreiro – was founded in Porto Alegre, Brazil, in 2020, and specializes in creating impactful visual identities and brand strategies for companies and independent professionals.

On a journey of self-discovery and renewal, my new professional identity embraces simplicity, robustness, and vibrant colors to craft an entirely fresh universe. At the core of this transformation lies self-awareness.

This vision is rooted in my surname, Guerreiro, which stems from the Spanish word for war, battle. The shield and helmet emerge as central elements. Furthermore, the identity unfolds into myriad subjective interpretations, fostering an interactive experience.

Grounded in the neo-brutalist style, my identity seeks clarity, simplicity, and authenticity, conveying the sensation of pure and direct design.

I have chosen Normalidad as the primary typeface for its flexible and practical use. It encompasses a wide range of widths and plays a prominent role in our identity. The secondary logo is set in Yellowtail.

Aligned with the new identity, the studio’s positioning aims to pursue disruptive and bold projects that, like its own identity, are rich in colors and unafraid to venture forth, regardless of their target market.