Designed by Studio Diyen, Masonolay i Cepo’ is the latest album by the Taiwanese band Outlet Drift. In this work, the band members take the exploration of their own culture as a starting point. By sampling tribal music and heritage, and drawing from their experiences of wandering across different lands, they have gradually woven their faith, culture, and life journeys into the soul of this album.

The visual expression is rooted in the band’s core philosophy: “Sky, Earth, and Sea.” Drawing inspiration from the maritime culture and spiritual beliefs of the Amis people in Taitung, we ensured that the wardrobe, photography, and packaging all expanded upon this central theme.

The album packaging utilizes a three-layer structure to mirror the band’s worldview. The lyric book is secured by hand using hemp rope and traditional hip-bells, while carefully selected fabrics are used to evoke the fluid movement of seawater. By employing a diverse range of materials and a near-handcrafted approach, the packaging reflects both Outlet Drift’s eclectic musical style and the cultural preservation of their tribe.

For the album and track titles, we used a mix of Gothix (by DM Studio) and Super Sabretooth (by Set Sail Studios). These two powerful, wild, hand-drawn typefaces capture the band’s passionate and psychedelic musical style. In contrast, the Chinese titles feature Loksin (justfont) to convey their deep connection to nature and faith, while revealing a more introspective side of their character.

To maintain readability across three languages—Chinese, English, and Amis—the lyric book features a thoughtful combination of Wotfard (Atipo), Utopia (Adobe), GenRyu Mincho, and GenSeki Gothic (ButTaiwan). This typographic blend was chosen to present a sense of warmth and humanistic emotion.

The folded accordion-style lyrics booklet mimics the rhythmic rise and fall of ocean waves.

Austin Clarke was one of Ireland’s leading writers. Though he wrote novels, plays, and memoirs and was a cofounder of Belfast’s Lyric Theatre, he’s best known for poems that employ complex patterns of assonance and half rhyme, techniques he drew from his deep knowledge of classical Irish language poetry. An Post issued this stamp to mark the fiftieth anniversary of his death in 1974. Designed by David Pakenham at So Studio using Ballinger Mono; first day cover (not shown) also features An Post Sans, the Irish post office’s proprietary typeface.

Exhibition catalog for Transmergence #04, held at FRAC Alsace, France (translated by the contributor):

Transmergence#04 is an exhibition format developed by FRAC Alsace, which showcases the regional and cross-border art scene while questioning its definition in the face of a globalised world with increased mobility, where time takes the place of geographical distance.

For the fourth consecutive year, FRAC Alsace’s Transmergence format is part of La Regionale, a unique cross-border project bringing together 18 institutions from three countries (Switzerland, Germany and France).

For Transmergence #04, the curators have selected artistic proposals that create a dialogue between art and craftsmanship. The exhibition presents works and new productions by artists of diverse origins who now live or work in the cross-border region.

The catalog is bilingual (French/German) and is printed in four colors with a spot color. French text is printed in black while German text is printed in a Pantone silver.
Thomas Leblond and Audrey Ohlman did the graphic design with EB Ackerhof ​​​​​​ from Électro-bibliothèque. Transmergence #04 was published by Pétrole and FRAC Alsace.

Title in Seance Graphic; text in Nicola

Document Journal’s Spring/Summer 2023 issue, “Return to the Real”, employs three Commercial Type releases: Nicola as the primary typeface, Seance for section and feature titles, and a cameo appearance of Styrene B for page numbers.

Both styles of Seance are featured; Seance Graphic introduces the numbered chapters and appears (alongside Nicola Display) in article titles in the back portion of the magazine, while Seance Ornate is used for opening spreads in the main feature well. Most of the display type is printed in metallic silver ink to further contrast with the text and captions.

Title in Seance Graphic; text in Nicola. Metallic silver ink is used for display type throughout the issue.

Title in Seance Ornate; text in Nicola

Title in Seance Ornate; text in Nicola

Title in Nicola Display and Seance Graphic; text in Nicola

Title in Nicola Display and Seance Graphic; text in Nicola

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Looking Back: Lucas Samaras’s Mirrored Room was presented at the Buffalo AKG Art Museum during its 2023 reopening (June 12, 2023 – January 29, 2024). Installed in the M&T Gallery, a free-admission space, the exhibition highlights Mirrored Room (1966), a sculptural work the museum has held in its collection since its acquisition that same year.

The exhibition graphics were developed within the Buffalo AKG institutional identity, originally designed by Wkshps (Chris Wu, Eric Price, Sarah Demeuse, Ivy Yixue Li, Ella Viscardi). The identity typefaces, AKG Sans and Algebra, both by Commercial Type, were used throughout.

The exhibition design was conceived architecturally: large-scale titles in reflective vinyl, curatorial texts, and archival images were organized within a grid derived from the sculpture’s exterior mirrored panel structure. This grid also referenced a 1966 Members’ Opening invitation from the museum’s archives—the year the work was first exhibited—translating its typographic tone into the contemporary AKG identity.

The exhibition was curated by Associate Curator Andrea Alvarez and designed by Katharine Wimett. Photography by Brenda Bieger.

Eric Price, formerly of Wkshps, on AKG Sans:

Reopening in 2023 with a new OMA-designed addition, Albright-Knox Art Gallery needed a new identity to go along with their new name—Buffalo AKG Art Museum.

While the length and intermingled acronym both posed a challenge, we decided to embrace them in a typographically-driven approach that uses unconventional, alternate-universe forms for the A, K, and G in a custom typeface based on Neuzeit and similar classic grotesques. With enthusiasm for the direction, we collaborated with Christian Schwartz of Commercial Type to create AKG Sans.

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Installation view of Looking Back: Lucas Samaras's Mirrored Room

Takeaway exhibition guide for Looking Back: Lucas Samaras’s Mirrored Room printed on mirrored paper

Takeaway exhibition guide for Looking Back: Lucas Samaras’s Mirrored Room printed on mirrored paper

The posters were screen-printed at the university studio.

Enpen Teien Shokukaku (縁辺庭苑小区画; “A small plot in a peripheral garden”) was a performance by the student group Tosok from Tama Art University in Hachioji, Tokyo. The event took place at SCHOOL in Mitaka, Tokyo. I designed the poster and flyer for the performance, featuring a layout that mixes an extensive variety of fonts.

For the large Japanese title on the poster, the fonts Iwata Fuku Marugo, Iwata Mincho, Wapuro Mincho, and Gothic MB101 are layered together. The small English title uses Tsukurimashou.

In the smaller text sections, I paired Japanese and English fonts as follows: Chu Gothic BBB with Lo-Res, Tsukushi A MaruGothic with VAG Rounded, and Tsukushi A Old Mincho with Garamond Premier.

The layout for the inside of the flyer repeats the same information while varying the typography. In addition to the poster’s fonts, I incorporated pairs such as DNP Shuei ShogoMincho with Didot, HanaKocho with Garamond Premier, and Midashi Go MB31 with Univers Next.

The flyers are offset printed and have a half-fold format.

From Marsèll's press release:

Indice is the yearly publication that collects and celebrates Marsèll’s most important projects and collaborations. Like every object produced by the brand, this book is a limited-edition release that puts method into practice: experimenting with form, materials, creative processes, and diversity.

Founded in 2001, Marsèll is an Italian luxury footwear brand born from a new craft culture that reinterprets traditional shoemaking through a deconstructed, countercultural lens. The brand subtly distorts classic forms with innovative leather treatments, unexpected cuts, and sculptural silhouettes, blending experimental design with traditional artisan craftsmanship. Every shoe is handmade in the brand’s in-house atelier near Venice.

Marsèll Indice 2023 is the second issue of the brand’s annual publication, gathering all campaigns, editorials, and special projects released throughout the year. The book is divided into two sections, dedicated to SS23 and FW23–24 respectively, separated at the centre by a four-page signature containing the foreword, index, and colophon. The index is meticulously designed to reflect the structure of the book itself. All text is set in a single typeface, Times New Roman Seven, and kept at a consistent size throughout.

Spineless softcover plus book case
245×305 mm, 132 pages
Printed on Munken Print White, Fedrigoni Sirio Blu and Perla, and Sappi Magno Volume

Booklet and communication for the end-of-the-year exhibition of the Typography and Type Design department at Bauhaus-Universität Weimar:

What happens when order is disrupted and decoded? Constantly shifting between control and uncertainty. Join us in the lab and carefully move among tools, lists and handmade code. Here design becomes an act of survival, the showcased works being the traces left behind.

Design and concept by Anni Welz, Lea Sailer, Mona Kerntke, and Yasmina Khalil. The typeface in use is Ufficio Mono.

Written by Edward Gibbon in 1776–1789, The Decline and Fall of the Roman Empire has been published in many editions. This Washington Square Press boxed set from 1962 is very America in the early ’60s: the colors, the informal illustration, and the type – a casual hand-drawn boxy sans with a subtle swelling at the ends, Microflair.

Compare to the 1970s Modern Library edition which also represents its time quite well.

J.R.R. Tolkien’s Silmarillion was first published by Allen & Unwin in London (with Hawthorn for the jacket typography). Shown here is the first U.S. edition, by Houghton Mifflin, with cover art by Tolkien himself. The display typeface is Rubens.

Note how the J towers a little over the other capitals because its base was aligned to the line of the frame, instead of letting it overshoot.

The typography on the spine and inside the book follows the British precursor, with Perpetua and Imprint.

[More info on ISFDB]

Founded in 2015 and currently based out of New York City, Pomegranate Press is an independent publishing house specializing in limited edition publications of contemporary photography through books and other ephemera. In August 2025, to celebrate their tenth anniversary, Pomegranate Press organized Breathless in Glowing Air, a large group exhibition at London's 10 14 Gallery featuring work from 62 photographers. A similar exhibition was also held in November in KAMP Gallery in Portland, Oregon.

A book, sharing the same name as the two anniversary shows, was released in a limited run of only 250 copies. Featuring 100 images from the exhibitions, the book includes work from Brian Karlsson, Morganne Boulden, Caroline Tompkins, Heather Sten, Oji Haynes, Matthew Genitempo, Carlos Jaramillo, Julian Klincewicz, Lucia Bell-Epstein, Will Matsuda, Lisa Sorgini, Andrés Vargas, Andy Jackson, Jess Tran, Andres Sanjuan, Peyton Fulford, David Brandon Geeting, Marcus Maddox, Samone Zena Kidane, Steven Molina Contreras, Scott Rossi, Sinna Nasseri, Marisa Chafetz, Eric Chakeen, Daniel Jack Lyons, Christian Michael Filardo, Lina Sun Park, Henry Archer Grade Solomon, Jingyu Lin, Daniel Dorsa, Jerry Hsu, Pia Paulina Guilmoth, Rosie Marks, Kyle Berger, Daniel Arnold, Mikayla Jean Miller, Chris Llerins, Tamara Blake Chapman, Kirk Lisaj, Daniel Rampulla, Matt Eich, Jack Bool, Tyrone Williams, Allan Sallas, Rose Marie Cromwell, Chris Maggio, Willem Verbeeck, Sarah Walker, Juan Brenner, Andrés Ríos, Jacob Ogden, Melissa Alcena, Henry O. Head, Meghan Marin, Brad Ogbonna, Alana Celii, Stephanie Stamatis, Clark Hodgin, Enrique Escandell, William Mullan, and Adam Powell.

The book, designed by Jesse Feinman, is 116 pages, measures 7.5×9.5 inches and comes in a linen-bound hardcover with silver foil text using Carta Nueva by My-Lan Thuong, available from Sharp Type. The delicate calligraphic letterforms pair nicely with the intimate and raw photographs celebrating everyday life and love.

Copies of Breathless in Air are still available for purchase from Pomegranate Press and KAMP.

Poster for the show in London. The title in Carta Nueva is paired with Suisse Int’l and Junicode Italic.

Poster for the show in Portland

Material Meanings was an exhibition shown at the Art Institute of Chicago from February 22 to July 5, 2020. The accompanying catalog, edited by Matthew S. Witkovsky, is distributed by Yale University Press:

This book features 31 objects from Constance R. Caplan’s noted collection of 20th- and 21st-century art, including works in a variety of media by artists such as Hans Arp, Lydia Benglis, Liz Deschens, Claes Oldenberg, and Cy Twombly. Rather than specialize in one medium, artist, or movement, Caplan has instead assembled paintings, photographs, drawings, sculptures, and examples of decorative art that include voices from both the school and the museum of the Art Institute of Chicago. Yve-Alain Bois provides a historical overview of the collection's genesis, with a particular focus on the dialogue among works from different artistic disciplines.

The book was designed and typeset by Emma Cole, pairing Granville (Jean-Baptiste Levée) and Univers (Adrian Frutiger). The cover shows a detail from Louise Bourgeois’s Observer (1947–1949) and features silver foil stamping.

Les Perséides / Le Papier du Mois is a collaboration between Fedrigoni, Spaciofino and L’imprimeur Simon. Every month, Fedrigoni organises a collaboration between a design studio and a printer to showcase their range of papers. Responsible for the August 2025 edition, Spaciofino took inspiration from the Perseids, a meteor shower that occurs every summer. The result is a leporello – measuring 560×205 mm and printed on Cocktail Blue Moon 120 g/m² paper, contained in a pocket revealing a poem by Pierre Reverdy, “Étoile filante” (“shooting star”). On the back, the studio has drawn a star collection reminiscent of a naturalist’s board.

The typography uses Neue Haas Unica by Monotype. Fedrigoni’s branding on the other hand (as seen on the envelope) is set in Forma DJR by David Jonathan Ross.

Cover and spine of the hardback edition with gold foil stamping, 29.7×25.6 cm

For me, Monoline Script will always be linked to its prominent use for the comprehensive Martin Parr monograph:

This encyclopaedia of Martin Parr covers his long career as an image maker and has an insightful text written by longstanding friend and colleague, Val Williams. The book was produced to accompany his retrospective exhibition at the Barbican in London, which then toured over ten more venues. A detailed analysis of Parr’s development and career shows how he became a passionate collector of ephemera. Published by Phaidon Press Limited, London, 2002. Text by Val Williams. Designed by UNA (London) Designers.

With the spine lettering featuring the artist’s name in big pink script letters against a purple background, the book stands out from every shelf. I treated myself with a copy after attending a presentation held by Parr at a photography conference in Berlin in the early 2000s. I immediately fell in love with his keen eye for fellow human beings and their quirks.

Martin Parr sadly died on 6 December 2025 at his home in Bristol, England. In his obituary for the Guardian, Charles Darwent described him as a “photographer whose unblinking eye documented the human subject as a birdwatcher might, via plumage, habitat and diet.”

Works by Parr and such that are related to him and his foundation came up on Fonts In Use before. His Boring Postcards even inspired a set of Uses with generic tourism postcards from the mid-20th century.

Cover of the softback edition (2003) with silver (?) foil stamping. The text typeface is another creation by the English Monotype Corporation: Plantin. The heavy wedge-tailed rightwards arrow (➽) looks like it’s taken from ITC Zapf Dingbats, cf. the 1978 promotional booklet.

The same typeface combination was used for a free gallery guide with postcards published on the occasion of Parr’s retrospective exhibition Photographic Works 1971–2000 at London’s Barbican Gallery in 2002.

The cover for the second edition from 2014 adopts the colors of the gallery guide (see above) and foregoes the foil stamping.

Logo

In 2024, the Museum of the San Ramon Valley in Danville, California, became MuseumSRV. The rebrand used type as a bridge between the Valley’s past and its present younger, diverse community. We chose OH no Type Co.’s Fatface and Compadre for their mix of historical flair and modern charisma. We wanted something expressive enough to engage kids and families, yet refined enough for longtime supporters. Their bold curves and contrast brings warmth and friendliness to everything from exhibit titles to donor materials. Paired with a bright, Valley-inspired palette, the typefaces helped transform the museum’s voice into something fresh, welcoming, and alive. See more on the Small Forest website.

Stationery

Swag for students in educational programs run by the museum

Home page header

Social posts

Premium membership status for extra generous donors

Printed quarterly newsletter

Annual craft beer stroll to support the local business community

Timeline feature from the website. Smaller text is set in Georgia and Fira Sans Condensed.

La stella dentro (“The star within”) is the official catalog of the 69th edition of the International Festival of Contemporary Music in Venice, the Biennale Musica 2025. This edition, under the artistic direction of Caterina Barbieri, is marked by an openness towards contemporary electronic and electroacoustic music, and understanding music as a possibility for expanding one’s perception.

Thus, the catalog, designed by Tomo Tomo, conceals a colourful, psychedelic star within its austere, sidereal cover, and the object itself changes and expands in the hands of those who leaf through it, expressing the dynamics of sensory expansion. Except for a sixteenth of ‘stellar’ images, the book is printed entirely in a silver spot color with a few elements in black and a large amount of white space. Cold, electronic, rarefied.

The typography, on the other hand, interprets the link with the refined tradition of classical music, with a font inspired by the work of Jean Jannon, Robert Granjon and Philippe Grandjean and other – it’s Store Norske Gangster, designed by Arve Båtevik. Used very often in italics and in very small sizes, it creates an interference with the electronic and intergalactic aesthetics of the catalogue and the ‘Biennale’.

This type specimen was made as a school project by Tom Choquet at ECV Lille. The editorial specimen showcases Aukera, a typeface by Alexandre Créquer. The fan was produced using screen printing techniques at Mutuelle de la Racle, with the final results captured in photography by Louis Serres.

Elusive is a true passion project from the beginning. As global supply of a certain ubiquitous green liqueur saw a sharp drop in availability a few years ago (due to the production philosophy of the Carthusian monks who make it), the idea of not being able to serve some of the essential classic cocktails felt wrong in a proper cocktail bar. The solution for Echo Spirits was to make their own interpretation, painstakingly, by hand. What started as a practical solution for the bar led to a massive response and demand from guests and the community—this stuff is good enough to share.

The packaging aims to capture a sense of the same craft, and attention to detail, and finesse that went into the spirit within. We broke from the aesthetics that have defined the brand so far, and went all-in on lush illustration, calligraphic typography, and maximalism to evoke the same handmade feeling. Each of the (approximately) 40 ingredients is pictured and represented on the label, rejecting the mystery of “secret ingredients” in favor of strong visual storytelling.

“Elusive” is set in a very slightly modified Talu by Beasts of England, making use of its extensive alternate character sets. Supporting type is set in Tiller by Fort Foundry, relying on its flares to bring a more refined vibe, and its structural similarity to Interstate (used as Echo's primary brand type family) to connect back to other products.

Brand identity by Raphaële Four for FIRN, a new skincare brand developed by Dr. Fred Zülli and Sacha Bostoni.

The name “FIRN,” borrowed from the vocabulary of glaciologists, refers to snow that has been compacted at high altitude.

Its aesthetic is inspired by fashion, design, and perfumery. The packaging – white domes reminiscent of a mountain’s shape or of 1970s opaline lamps – expresses this meeting point between science and sensibility.

From Bureau Strada:

Poster for a heavy metal concert and performance event at Bad Bonn, in collaboration with Nathan Meyer. The aim was to design a poster that was coherent with the event, while subverting common heavy metal clichés. To provide a contrast to the handcrafted feel of the linocut, the Metaballs typeface by Maxitype introduces more geometric forms, subtly referencing the bone motif of the illustration.

The F4 poster was printed in a black only version, and another 50 × 70 cm version is printed in offset silver and black with a matte varnish by Cric Print in Fribourg. The concert was organised by Maxime Barras & Maxime Papaux, under the name Maxi-Maxi.