Lots of all-caps ITC Korinna in two of its weights, for the cover of Bantam-Seal’s 1981 paperback edition of And No Birds Sang. From Wikipedia:

And No Birds Sang (published in 1979, revised in 2012) is Canadian author Farley Mowat’s autobiographical account of his military service as a junior Canadian infantry officer in the United Kingdom and Italy during World War II. The book describes Mowat’s transformation from a young man hoping to share the perceived glory of his father’s generation’s victory in The Great War to a combat veteran struggling to cope with the seemingly unending loss of his friends.

The cover art is by Paul Lehr

Le Grand Livre de la Moto, or “The Big Book of Motorcycles”, is a 2025 anthology by publisher Marabout. From the early days of racing to the rich history of MotoGP, via off-road racing, discover the iconic riders and bikes, the anecdotes and moments of bravery that have forged the legend of this sport.

As often, Atelier AAAAA display a polyphony of typefaces. In this case: NaN Metrify, Based, ITC Barcelona, Chromium One, Core Escher and BRZO are sharing the scene. Their combination provides a range of styles and functions, helping to structure content and create a consistent visual identity throughout the book.

Inside of the book, East of Rome’s Based does most of the legwork for the titles and subheaders, while ITC Barcelona, Chromium One, Core Escher and Brzo are punctually used for chapter headings. NaN Metrify A is used for most long running text as well as in tables and infographics, in many widths.

Typography is at the heart of the packaging created for Cookoa by the Brazilian design agency MOVE. Since around early 2020, the identity features Marujo from PintassilgoPrints, a lively hand-drawn script that gives the brand a warm feel. Its organic shapes bring a sense of craft to the packaging, echoing the care that goes into transforming fine cocoa beans and other ingredients sourced from agroforestry systems into chocolate and cocoa-based products with minimal processing.

Marujo’s expressive lettering contrasts with the clean, uncluttered layouts, becoming a recognizable element throughout the product line. The typeface feels natural rather than polished, helping communicate Cookoa’s focus on simple ingredients, hands-on production, and attention to detail. Earthy colors, straightforward compositions, and Marujo’s friendly voice come together to create packaging that feels honest, inviting, and closely connected to the natural character of cocoa.

The Cookoa logo is in Canopée from VJ-Type.

The light typeface is Marujo Fino.

La Petite Boisson is a young, committed natural apple cider brand rooted in the heart of the Norman bocage, in Castillon-en-Auge, Pays d’Auge, France. Built on principles of organic farming, hand harvesting, and additive-free apple processing, the brand launched its first product – Le Titi, a cider named in homage to the Parisian working-class spirit – as a small-batch release distributed exclusively to select restaurants that share the same dedication to quality. This debut was followed by a 100% organic apple juice line, Jus de Pomme LPB, which extended the brand’s commitment to nature-conscious, artisanal production. Most recently, La Petite Boisson introduced Vesper, a new 100% organic cider whose visual identity carries a deeply personal touch – centered around Vesper, the owner’s dog, now an affectionate and defining symbol of the brand. Each product line is cultivated through traditional pre-orchard methods that actively promote biodiversity, where trees, grass, and animals coexist within a living ecosystem.

The visual identity across all three product lines was conceived by French creative studio Le Piret à Venir, whose bold and distinctive design approach mirrors the brand's character at every stage. As the logotype and primary visual typeface, La Petite Boisson employs Base Neue, a typeface crafted by Power Type. Supporting typefaces include Editorial New and Helvetica or similar. Together, the brand identity, typography, and product philosophy cohesively articulate a single clear proposition: “Be Brighter, Drink Cider.”

The Vesper label uses Base Neue Super Condensed.

Believers Today is a bible studying course by the Shepherd International University taking place in Novara and Varese, northern Italy. The texts on their website are entirely set in various styles of Reforma 2018 by PampaType.

The headline mixes Romanisch Kursiv No. 20 with Koch-Antiqua fett. The latter is used with both forms for s, but the former isn’t. The question mark is added from Cooper Black, while the smaller copy is set in Futura.

This 1931 group tours brochure was issued by the MER – Mitteleuropäisches Reisebüro G.m.b.H. – of Berlin. The brochure gives details of organised holiday tours across Europe, by train and ship, as well as an extensive tours of the USA, out via the HAPAG line and returning on the Norddeutschen Lloyd for a cool 2,800 RM. The brochure also has numerous adverts for resorts, hotels and travel companies.

The various adverts, a selection of which I have scanned here, are also interesting from a typographical and design standpoint. Many are in the very latest German ‘style’ and feature some interesting and often relatively new typefaces. This advert, with a variety of typefaces and a decorative border asks “Kennen Sie schon die volkstümlichen Gesellschaftsfahrten des MER?” (“Are you already familiar with the popular group trips offered by MER?”) It gives a list of destinations within Germany and abroad as described elsewhere in the brochure.

MER was formed as a Central European Travel Agency in Berlin in 1917 and grew to include the travel interests of the Austrian and Hungarian railways. Many of its services were similar to those of say, Thomas Cook, in the UK. The company was heavily implicated in the crimes of the National Socialist era and in post-war years the company, in both East and West Germany, underwent several complex reorganisations but survives under the name of DER Travel.

“Shakespeare’s hometown is the quiet, picturesque market town of Stratford-upon-Avon in the county of Warwickshire.” Motor can be seen in early use, featuring a non-standard narrow R.

“Don’t miss a chance to visit Lake Lucerne and its eight mountain railways during your trip to Switzerland”
Two weights of Memphis plus a drop cap from Schaefer-Versalien.

Schaefer-Versalien and all-caps Memphis for “Lucerne Lido, the Swiss lakeside resort”

“Finland – the idyllic land of a thousand lakes. A new travel destination!” More Motor – with a narrow alternate N.

Adverts for the San Marco Schiffahrts-Gesellschaft Venedig and Palace Hotel in Tunis, Tunisia. “San Marco” shows Motor’s narrow N again, and features yet another alternate glyph, this time for S. “Dalmatien” is in Berthold Block. The description of the hotel uses Koch-Antiqua.

Adverts for Jadranska Plovdibda D.D. Sušak and Dubrovačka Parobrodarska Plovidba, with several Futura weights and three sizes of Neuland

Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

Positioned as a precision-driven, craft-oriented baseball brand, TUCCI defines itself through a balance of performance and authenticity. Rather than competing on mass appeal, the brand speaks to a more discerning segment—players who value control, detail, and material integrity. This positioning translates into a visual identity that is clean yet assertive, technical yet expressive, reflecting both the discipline of the sport and the individuality of its athletes. Every design decision, including typography, is treated as an extension of this philosophy.

Since March 28, 2025, as observed across its Instagram posts, TUCCI has consistently adopted Yapari as its primary typeface in both website copy and social media graphics. Inspired by street typography from Makassar, Yapari offers extended and expanded forms alongside a comprehensive weight range, enabling a flexible yet cohesive visual system. Its bold, stretched character introduces a distinctive voice that sets TUCCI apart from conventional sports branding, while its versatility supports both structured and expressive applications. In this context, Yapari is not merely a stylistic choice—it becomes a strategic tool that reinforces Tucci’s identity as a brand rooted in performance, yet unafraid to express a broader cultural perspective.

Genesis is a photography book by Juan Brenner that explores the people and culture of the Guatemalan Highlands. The culmination of over five years of work, the book focuses on youth culture and captures a new generation of Guatemalans establishing an intelligible dialogue with the rest of the world. It serves as an extensive visual study of highland society, documenting a territory in the midst of great change and the “process of becoming.”

Nightflier by Christopher Fahy (1937–2024) is “a novel about the ultimate out of-body experience.”

Jonathan Petrie can leave his body and fly. Best of all. Nobody knows it—yet. Not his alcoholic, ailing mother, nor his uncaring father. Not the teacher who senses that he's changing, nor the girl who befriends him. And surely not the school kids who torment him mercilessly.

None of them knows the force he commands—that he can see without being seen, hear without being heard, and that even now, as the night winds howl, he's plotting his revenge on them all!

First published by Jove Books (as Nightflyer), this is the British paperback edition by Corgi Books. I don’t know who did the artwork. Inside, body text is set in 9½ pt Caledonia (not shown here). The book cover was set in the Black, Heavy, and Regular weights of ITC Serif Gothic, featuring the alternate round E in the title.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

homesickness is “an annual zine that centers the work of filmmakers and artists of color”. It offers a platform for film and art that reaches towards ancestral lineages which re-contextualize our present and build community across divides. The publication aims to create a space where artists of color can find themselves in each other’s art and form relationships.

Volume 02, measuring 10″×8″ and counting 374 pages, “leans into a certain tension inherent to process—the in-between, the “not-yet,” the moments when artists are neither promoting nor premiering, but instead grappling, searching, questioning.”

The publication, co-edited by Alfonso Morgan-Terrero and Kevin Xian Ming Yu, was designed by Andrea Mato using Exposure by 205TF, and Public Sans by the United States Web Design System. ISBN: 817525766-0

Pentagram partners Michael Gericke and Michael Bierut collaborated on a new visual identity for the National Gallery of Art in Washington, DC, one of the most beloved and visited museums in the US. Its goal is to “reflect the vibrancy of the institution and its diverse collections, programming and audiences.”

The new wordmark was tailored from a bespoke version of Empirica by Frere-Jones Type. It has “stature but is friendly and welcoming, conveyed in the deliberate shift to upper and lowercase type,” says Pentagram.

The National Gallery of Art (NGA) is a world-renowned art museum on the National Mall, founded by Andrew Mellon in 1937, offering a vast collection from the Middle Ages to today, including European and American masterpieces, sculpture, and modern art, with free admission and two distinct buildings (West for classics, East for modern) plus a Sculpture Garden, welcoming millions annually to explore art freely.

For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

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

Kit’s gone glamping! The modern rounded sans by Darden Studio helps Park Lane Holiday Parks to advertise their family-friendly getaways. Kit Rounded features in a range of its eight weights for sale announcements and other social media posts.

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

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

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

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

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

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

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

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

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Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Design for the two-day festival marking the end of the concert tour by the musical duo Dupla. All promotional material exclusively uses the Basati typeface by Blancoletters, in its various weights. The typeface is applied consistently across the compositions supporting the poster’s focus on local culture and public celebration.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Base Neue is the brand typeface of Westbrook Racing. The second font used in the logo is Yapari, also by Power Type.

From the website of their sponsor TheArsenale:

Westbrook Racing, led by visionary Will Smith, is at the forefront of the E1 series, the world’s first electric powerboat championship. This dynamic team comprises elite racers, engineers, and strategists who consistently push the boundaries of what is possible on water. Their innovative approach to design and performance has earned them a reputation as trailblazers in the marine racing industry. Westbrook Racing’s mission aligns perfectly with TheArsenale’s vision of promoting sustainable and futuristic transportation solutions, making this partnership a natural fit for both brands.

On the website, Base Neue is supported by Rajdhani.

Two contrasting styles of Base Neue, combined

Paperback edition, February 1989

A rare sighting of Obliq, a Letraset release from 1984, used in both of its weights for a science fiction novel by Hal Clement (1922–2003):

The Riddle of Enigma Years of exacting study were coming to an end. All five student scientists, each the best its species had to offer, were one step away from their final degrees. One examination remained: the students were to determine why the tiny planet of Enigma, a planet with so little mass that it should never have had an atmosphere, in fact it did. Everything seemed to be running smoothly until the only Human member of the team, Molly was accidentally blown into one of the deep fissures that pocked the planet’s surface. She found herself trapped in a series of tunnels and caves that only led her deeper into the riddle that was at the heart of Enigma. But as her concerned companions followed her, they found Enigma’s most puzzling anomaly. For in the dark passages they discovered life – life which couldn’t possibly exist.

For the title, the caps were enlarged and shifted down, so that they align with the ascenders and the underline underneath the lowercase letters. Small text is in Univers.

[More info on ISFDB]

Hardback edition, June 1987

Swatch Rebels for Good is “Swatch’s new global community program championing positive change. The initiative brings together individuals committed to creating meaningful impact through creative action and social engagement.” Within the program, Swatch Minutes function as points that members can earn and exchange.

Art direction and brand identity by Dennis Moya Razafimandimby with motion design by Fabian Luginbühl and graphic design support from Guillaume Pavia. The visual identity is set in Baikal, a variable typeface from Swiss type foundry Newglyph.

More motion assets are available on Dennis Moya’s Instagram and the Swatch Rebels for Good page.

Poster design by Paula Scher of Pentagram, featuring Garage Gothic typeface by Frere-Jones Type.

Shakespeare’s Taming of the Shrew was presented by the New York Shakespeare Festival/Public Theater at the Delacorte Theater in Central Park from August 10th through September 5th, 1999, together with Molière’s Tartuffe.

From Playbill:

Tartuffe concerns a venal and libidinous religious hypocrite who holds a household under his thrall until being exposed for what he is. When first presented in 1664 France, the sharp satire created such a furor that the pious of Paris suppressed the play. It was not performed for another three years, and then in an altered version.