Based in Le Pouldu, Clohars-Carnoët (Brittany), Cécile Ollier a.k.a. La Doëlanaise produces prints and stationery drawn from the Breton coast. A former graphic designer, she launched her imprint in 2023, translating linocuts into postcards, notebooks, and other paper goods.

Her stark black-and-white compositions – Mamm-gozh, seagulls, coastal views – stem from a slow, hands-on engraving process, later refined digitally without losing their raw edge.

Type is central to the system. Ollier uses faces from the Breton foundry Skritur, especially Kornog, whose angular, decorative forms reference the Art Deco vocabulary of the Seiz Breur. The small type is also available from Skritur: it’s Brito.

Designed, printed, and largely produced in Brittany, the work ties together image, type, and place.

Poster for my solo poster exhibition titled Typoposterized, held in Berlin from 17 March till 13 April 2026. It took place at PANDA Platforma, a cultural venue famous for being a hub for independent shows and exhibitions, where you can listen to jazz or poetry while watching the works of designers and artists on the walls.

Since my main practice is typographic posters, the name Typoposterized was proposed by exhibition curators as a pun on both typography and pasteurized milk, safe from harmful bacteria (or safe from anything except of typography). The poster consists of digital lettering, acrylic paint applied to clumps of paper, the playful Onlysans by Daria Cohen, and the somewhat stricter, more functional and rhythmic FL Art Grotesk by Alex Slobzheninov of Flight Mode.

The original poster was screenprinted at Bankov Print Space in Prague by the legendary Peter Bankov and Julieta Fedulova.

Bubble Trouble by Laura Dower, May 2000. Cover design by Peter Kobish.

Around 2000, Scholastic published a series of picture story books adapted from Cartoon Network’s Powerpuff Girls. The main typeface on the covers (and, for some books, also on interior pages) is Whachouse. Designed in 1993 as part of House Industries’ General Collection, Ken Barber’s bold wide semi-slab appears to be inspired by faces like Benguiat Interlock. A decade later, in 2004, House Industries would collaborate with Ed Benguiat on a more advanced interpretation of a similar design, Ed Interlock.

Whachouse is typically used with one or more colored contours, and a curved setting of the subtitle. All smaller text is in Zuzana Licko’s Base 9 Sans.

The Powerpuff Girls logo is custom drawn and doesn’t use a font. There at least two fonts based on it, though: Powerpuff Girls by Tom White and Powerpuff by Neale Davidson of Pixel Sagas (2011–2014, revised in 2015 and renamed Utonium). The Cartoon Network logo that’s partly visible in the top right corner uses Eagle, see the dedicated post.

Mojo Jojo’s Rising by Laura Dower, April 2000. Cover design by Peter Kobish.

Monkey See Doggy Do by Laura Dower, October 2000. Cover design by Peter Kobish.

Snow-Off by E.S. Mooney, December 2000. Design by Louise Bova.

Beat Your Greens by Laura Dower, 2001

Fishy Business by Laura Dower, 2001. Cover by Christopher Cook, design by Louise Bova.

The Mane Event by Alice Jablonsky, 2002. Cover by Bill Alger, design by Bethany Dixon.

Let the Fur Fly by Laura Dower, 2002. Cover by Carlo Lo Raso, design by Peter Kobish.

Together with agency Jellyfish, Triboro has developed a new identity system for Japan Airlines. With the exception of JAL’s iconic crane logo (designed in 1959), we altered all aspects of the airline’s identity toolkit, including new typefaces, graphic patterns, imagery approach and bespoke iconography.

Founded in 1951 Japan Airlines is the flag carrier of Japan, and the sixth largest airline in the world based on passenger counts. JAL flies to 220 destinations in 35 countries worldwide, with a fleet of 279 aircraft.

David Heasty, Partner at Triboro, explains: “Collaborating with Japan Airlines on the redesign of their visual identity was a dream project. Each design element was carefully crafted to honor the legacy of Japan Airlines while infusing it with a fresh, contemporary energy that speaks to the spirit of innovation that is so core to the brand’s ethos. We embraced the challenge of reimagining the airline's visual identity and exploring new possibilities to create something truly timeless”.

One key component of the identity system to highlight are a collection of cloud patterns which complement imagery and subdivide layouts. In addition, Triboro created an iconography library of graphics which can be used for key communications.

Michael Walsh Kirwan, VP Creative at Jellyfish, says: “Japan Airlines came to us with a significant challenge – to breathe new life into a storied brand that was due a refresh across global markets. We’ve created an entirely new visual identity that ushers in a new era of modernity, flexibility and dynamism for the brand, and we’re excited to see it rolled out on an international scale”.

For more about the project, watch “Jupiter to Japan” held in the Herb Lubalin Lecture Series at Cooper Union on June 24, 2025.

In the context of the French legislative elections of 2024, Bye Bye Binary*, a French-Belgian collective for post-binary typography, organized a T-shirt printing workshop along with the communist queer collective Les Inverti·es. The phrase “I put the ASS in lutte des clASSes” (“I put the ASS in clASS war”) is set in the Lobular typeface by Ariel Martín Pérez, which was chosen by the T-shirt designer H·Alix Sanyas because of its voluptuous lettershapes. The additional typeface is some version of Baskerville.

A Child’s Garden of Grass started out as a handbook written by Jack S. Margolis and Richard Clorfene, first published by Contact Books in 1969. In 1971, it was adapted into A Child’s Garden of Grass (A Pre-Legalization Comedy), a long-playing record produced and directed by Ron Jacobs, along with Margolis.

Dave Davison’s Fandango is used for the title both on the album cover and on the paperback reissue of the handbook by Pocket Books, as well as for the promotional campaign. Fandango is similar to Davison Bolero, with noticeable differences – such as Fandango having additional ornaments in certain glyphs or double notches in letters such as O and D. Both Fandango and Bolero are modelled after Central’s Othello.

The album was art directed “in a joint effort” by Robert L. Heimall and William S. Harvey. John Balsley styled the photo. It features all kinds of topical items from marijuana plants, a hookah, tobacco crumbs, papers, and matchboxes to a Lady Justice scale, a package of Stoned Wheat Thins, pinback buttons, headphones, a can of air freshener with green leaves, and a Monopoly board.

[More info on Discogs]

There are some words at the top left of the back cover that use Smoke (“GRASS”), Flirt (“MARIJUANA”) and Karnac (“CANNABIS SATIVA”). Track list and credits are set in sober Helvetica.

Cover of the handbook as reissued by Pocket Books. The secondary typeface is (a phototype version of) Page No. 506.

Promotional poster by Elektra Records

A billboard on Sunset Strip, advertising the release of the album in 1971. Coincidentally, the Music Hall sign below uses a stylistically related typeface, Rubens.

Front and back of the gatefold LP

From Wikipedia:

The Baja Marimba Band was an American musical group led by marimba player Julius Wechter. Formed by producer Herb Alpert after his own Tijuana Brass, the Baja Marimba Band outlasted the Tijuana Brass by several years in part due to TV producer Chuck Barris, who included the group's music on his game shows in the 1970s. […]

The group would appear on stage dressed in sombreros and old clothes, with fake mustaches, smoking cigars, and drinking beer, all of which was regarded as humorously exaggerated Mexican stereotypes. The group appeared in goofy group photos on their album covers, stylishly created by Peter Whorf Graphics, and added a comedic allure.

A prime example of such a goofy group photo can be found on the cover of this album, with all members having their watch out. Watch Out! was released in 1966 on A&M Records (established in 1962 by Herb Alpert and Jerry Moss). The font in use probably is Victory. This phototype revival of Victoria (Flinsch, before 1900) was made by Lettergraphics shortly before. A decade later, Freda Sack would do a looser interpretation for Letraset’s dry transfer range under the name Victorian.

[More info on Discogs]

When founder and creative Abigail Stern came to us, asking to create the visual identity of Matek, we were thrilled to discover that we shared the same 100TB folder of retro ski references.

From that starting point it was easy to create a logotype and a symbol rooted in timelessness. For the tone of voice and typeface we pushed and revived a style of communication referencing the old ski resorts locations in the Alps from the early 1900s. At that time we were working on Zug Etc only as a single cut but soon thanks to this project we expanded and developed it into a full family of seven styles.

The BND, short for Bundesnachrichtendienst, is the foreign intelligence agency of Germany, directly subordinate to the Chancellor’s Office. Since 2019, the BND headquarters is located in central Berlin. The BND’s current recruitment campaign uses Cy by supertype.

It’s the first application of the BND’s new identity including a new logo featuring a stylized eagle and a BND wordmark in Linotype’s DIN Next, which is also used for accompanying text. For security reasons, the name of the responsible agency will not be made public.

“We’re looking for terrorists (m/f/d). Find them with us.”

“Imagine that YOU are wanted by the BND. As part of the team.”

“No shaking, no stirring. Simply applying.”

“Get behind it.”

From agency Kreuzbergkind (translated):

With our funny campaign we bring Karls strawberries on everyone’s lips. Because after a century, the strawberry original is advertising its delicious little fruits for the first time. So we gave them the appearance they deserve: iconic, playful, red. So that every motif feels like a visit to Karls adventure villages. Sweet, right?

The typeface used for the campaign is Arnet by Ultra Kuhl. The (preexisting) logo combines Res Publica for “Karls” with True North Script for “Das Original”.

Photography by EyeCandy Berlin
Post production: Tilmann Classen
Food styling: Natasha van Velzen
Motion design: DORIAN dodo HEHN
Online media planning: Robert Helbig

Billboard with typographic guest appearances from Jérémy Landes’ Digestive, Egoshin Vladimir’s Choowee and a few other typefaces

Moret fits the grill perfectly as the type family of choice for the rebrand of Grillgott by Arndt Benedikt. It is paired with Söhne from Klim Type Foundry. Designer Arndt Benedikt explains:

Whether it’s meat, veggie alternatives, outdoor kitchens, recipes or grilling classes, the idea behind GrillGott is to give everyone the opportunity to explore their passion for grilling. Quite simply, to make you a GrillGott (GrillGod). We had the pleasure to redesign the brand positioning, the corporate design and the webshop for the grill expert.

The visual identity is designed to stand out from the monotonous competition. No stereotypical flame logo, no fonts with textures. Rather, the focus was on a clear logo. Derived from the initials GG, barbecue utensils serve as a visual starting point, a star as a sign of the highest quality one can think of and of the perfectionism lived by GrillGott. This results in a seal to certify the dedication. Speaking of gods, it gets a little more mystical: all the letters of the name are found in the sign.

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

Front cover of the original release (Westbound Records WB 2001)

Free Your Mind… and Your Ass Will Follow is the second album from the funk-rock band Funkadelic led by George Clinton, released just five months after the self-titled debut.

From Wikipedia:

The album's gatefold cover forms something of a visual pun, echoing the sentiments of the album title. The woman holding her arms towards heaven in an ecstatic pose is found to be nude upon opening the sleeve.

The original 1970 issue’s artwork featured the woman facing downward, and the “Free Your Mind…” title in brown. Reissues beginning in 1990 reversed the woman’s direction (substituting an alternate photograph where her head is more inclined and her fingers are more widely fanned), and have varied the placement and color of text elements.

Cover design by Stanley Hochstadt and The Graffiteria, with Dave Davison’s Arabesque, photography by Joel Brodsky, and art direction from David Krieger. The track titles and credits are set in Dominante.

[More info at Discogs]

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

Gatefold of the original release (Westbound Records WB 2001)

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

Back cover of the original release (Westbound Records WB 2001)

Source: newmusicunited.com New Music United (edited). License: All Rights Reserved.

Front and back cover, 1990 reissue (Westbound Records SEWA 012)

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

Front and back cover, CD release, 1989 (Westbound Records WBCD 2001)

Challenge Bold and Hobeaux.

World Famous Original is a independent goods store in Portland, Oregon, founded by Ben Goetting.

Among the many items sold online and at the brick & mortar store are an ongoing series of humorous, retro style pinback buttons. The mostly typographic buttons feature a broad selection of vintage and contemporary typefaces.

Felten Shaded and Felten Regular

Cheee Jimbo

Challenge Bold

Challenge Bold

Eagle Bold

Challenge Bold and Hobeaux

Gill Kayo (and the Stiff Records logo which is probably based on Quicksilver)

Felten Shaded and Felten Regular

Hobeaux

Eckmannpsych

Challenge Bold

Felten Shaded

Franklin Gothic and Hobeaux

Franklin Gothic and Opti Sport Script

Freestyle.

Hobeaux and Blimey

Shown here is the original application of Und. A contemporary type tribute to the Psychedelia genre, it was made as a quick uppercase-only display typeface for a release by Danish fashion brand Baum und Pferdgarten, presented at Copenhagen Fashion Week 2020. Fashion Forum writes (translated):

AW20 is headlined #Baumunity, and with the humor and energy that has always characterized the two cool ladies, the invitation was a gif flicker that played on the word “und”, as in Rise und Shine, Peace und Love, Rock und Roll , John und Yoko, und und und… In other words, the collection was intended as a tribute to both the 70s, festivals and togetherness.

The typeface was just so fun to work on that we decided to further develop it. ⁠As soon as we started doing the lowercase the personality of the typeface further materialized, which led to us reworking most of the uppercase, adding round corners and overall refining and reevaluating shapes, ultimately making this creature even more playful, colorful and psych. ⁠

In December of 2022, It’s Nice That unveiled a curated collection of art prints featuring work from a wide range of artists and graphic designers. The prints were made available to purchase through the site RoomFifty.

This particular print was designed by Gabriel Alcala.

"We hope you'll" is set in Gooper Regular Italic. "Stick Around" is set in Central Type's Zonk with an outline and drop shadow added.

Cylindre is a studio for design and graphic research, founded by Vincent Desclaux, and active on the axis Paris—Montreuil. In December 2022, it launched a spinoff dubbed Cylindre Club. On this playground, Cylindre designs and distributes graphic objects related to bikes and bicycling, as expressed by the slogan “wheely good stuff”. All of this is done with a focus on crafts and collaboration, for a “super-local and meaningful production”.

Just like routes are central to biking, space and time play an important role in Cylindre Club’s process, too. The club members love detours and getting lost in maps. This geographic aspect is found back in the presentation of the online store. For all products, the involved providers and partners – think printers, textile companies, and other craftspeople – are not only credited. They are listed with the distance it takes to travel by bike to the respective facility: while the sticker manufacturer is located in Nantes (350 km), the trusted Risograph print studio can be found in nearby Paris (7.2 km), and the embroidering service of choice is just around the corner in Montreuil (500 m), etc.

This way, Cylindre Club maps out their network and shares the acquired know-how for a graphic production that’s local and sustainable. The experience is progressive, and Cylindre Club points out they’re always on the lookout for new recommended addresses.

The club’s identity is based on two typefaces. Kreuz was designed by Emmanuel Besse of Large, Paris (7.0 km), and published by Production Type, situated a short sprint further to the west (8.4 km). Built around the visual metaphor of nuts and bolts, Kreuz is an obvious choice for a project concerned with crafts and bikes.

If Kreuz is the mechanic, its counterpart is the pacemaker. Superette, a script typeface distinguished by a drastic slant angle, adds velocity. Superette hails from a more distant source: conceived by Canadian type designer (and avid cyclist) Ross Milne, its initial inspiration draws from a peculiar style of semi-connected script lettering on the fruit and farm signs spotted in Île d’Orléans in southern Québec. Superette is available from Commercial Type, a foundry based in New York and London.

This typographic team of two features in the logo and the website. It’s also used to render the punny texts on the posters, shirts, buttons, and other items offered by the club.

Embroidered bike patches in the making at Broderie Lévêque (500 m)

The Cylindre Club logo is getting ready for hot foil stamping, handled by Letterpress de Paris.

A3 poster with bike badges (detail), Riso printed in five colors by Studio Fidèle (6 km), combining Kreuz and Kreuz Condensed

Pinback buttons ft. Kreuz Condensed and Superette Light. The URL and the slogan is added in Kreuz Extended.

“Rings of Temper” badges, printed in neon colors by h2impression.fr (8 km), featuring Superette Shaded

2nd edition, Nov. 1968

A good question to ask a few days after New Year’s Eve!

This booklet was “prepared in the public interest for the medical profession”, initially by Strasenburgh Laboratories, with later editions credited to Pennwalt. Founded in Rochester in 1888, R.J. Strasenburgh Co. became the pharmaceuticals division of the Philadelphia-based Pennwalt Corp. in 1969. The first edition is from 1968. A “new expanded 15th edition” came out in 1982. Looks like the question will remain relevant forever.

7th edition, Sep. 1973

10th edition, Jan. 1977

Reyner Banham inserts the Baede-Kar tape into his car’s audio system

Reyner Banham Loves Los Angeles is a documentary produced by the BBC in 1972. The viewer follows Reyner Banham, professor of architecture at University College London, as he tours the “four ecologies” of Los Angeles – Surfurbia (beach), Foothills (basin), The Plains of Id (foothills), and Autopia (freeways) – by automobile. [AHBE LAB]

Gemini Computer is used for the fictional tape-based “Baede-Kar” navigation/tour system (a play on the Baedecker travel guides) that helps to organize the narrative of the film .

This poster (17.5″×24″) for the Canadian rock group Chimo! was printed in late 1970 or 1971. The band name is rendered in Fat Albert, a set of extrabold shaded caps with close similarities to Walter Haettenschweiler’s OP-Letter, issued by Californian phototype company Lettergraphics in the late 1960s. “Reach A New Canadian Hi” uses all-caps Frankonia, set on a curve. This hybrid of roman and blackletter forms was first cast by the German Flinsch foundry in 1902. A phototype adaptation is shown as Francon in a Lettergraphics catalog from 1969. The original metal typeface had a number of alternates including a roman H. This poster features the other shape that follows the blackletter construction and resembles a lowercase h with roof.

Chimo! was a prog rock band from Ontario, formed under that name in 1969. Before disbanding again already in 1971, they released one self-titled album in November 1970, on the equally short-lived Revolver Records, which was distributed by RCA since December 1970.

The band’s name is taken from a friendly greeting in the Inuktitut language. The illustration shows an Inuit man wearing headphones, enclosed in a frame that apparently is meant to reference a style found in the art of indigenous peoples of North America.

Happy Canada Day!

Fontdinerdotcom Huggable (2003) in use for the packaging of Phoney Faces, a set of stickers meant to be sticked onto a phone case. Helvetica and Helvetica Rounded are used for more secondary roles.