Posters designed by Hani Wibowo for the design talks with Golnar Kat Rahmani and Sarah Fricke & Lea Sievertsen of Distaff Studio at UdK Berlin’s Klasse Kampagnen.

Printed at the art school’s in-house screen printing workshop. The fonts in use are Ready Bygone by Plain Form and Elastik by Benoît Bodhuin.

A candle celebrating the 16th studio anniversary and inviting to the open day 2025. 70×100cm letterpress hand-printed from hand-cut linoleum for the gradients and the main info layer.

The typeface used on this poster is Marko, issued by Schriftgiesserei Brüder Butter by 1913. It has been hand-cut from linoleum, so it really is just a shaky interpretation of the original typeface.

Graphic designer Jan Schaab created a vibrant poster series for the Hamburg community event Helenenviertel Sommerfest, using Carmen is Regular by Céline Hurka and Carmen Dusmet Carrasco as the central voice across three editions.

Playful curves and bold colors define the series, with Carmen is Regular flowing forms capturing the breezy spirit of late summer. From 2022 to 2024, the typeface anchors each layout in vivid color combinations, arranged with a loose, organic rhythm that mirrors the festival’s open, welcoming atmosphere.

Each year introduced a new supporting typeface while keeping Carmen is Regular as the constant:
2022: ITC Bodoni Seventy-Two by Sumner Stone
2023: Aliénor by Anne-Dauphine Borione and Lou Rainaldo
2024: Folio by Konrad F. Bauer and Walter Baum

Through this consistent yet evolving approach, Schaab established a recognizable typographic identity for the festival—radiating lightness, creativity, and warmth year after year.

Céline Hurka developed Carmen is Regular in 2020 in collaboration with her friend and graphic designer Carmen Dusmet Carrasco as a custom font for an initiative at the Royal Academy of Art that supported MFA students to give each other feedback across the departments. The typeface does not follow any systematic approach and was purely drawn from imagination. The two released the typeface a year later via the Solitype fundraiser. The version used in the poster series is said unfinished version. It took another three to four years for Céline to wrap up the project and release it in 2025 as a birthday gift for Carmen in March via her own type foundry. The updated version has 205 ligatures and each customer can request up to five custom ligatures that will be added to the set.

The Helenenviertel Sommerfest in Hamburg-Altona is a free community block party that brings together residents, cultural initiatives, and local venues. It welcomes families, culture enthusiasts, and anyone looking for a lively, creative day.

Activities include a flea market, children’s program, guided tours, live music and dance, exhibitions, film screenings, and a variety of food offerings from street food to waffles and Arabic coffee.

The block party was initiated by the fux cooperative, which transformed a former barracks into a collaborative production space. Today, over 240 people from art, design, culture, education, crafts, and social initiatives work here. The cooperative aims to secure affordable work spaces and support a vibrant local economy.

Norwegian poster from the collection of the National Library of Norway promoting early-morning service hours for Battenfjords Hotels Nightstation and Cafe. No date is visible on the poster, but the library dates it to 1909, which seems about right for its typographic style.

As was typical for much job printing at the turn of the 20th century, the poster features an eclectic mix of many different typefaces and font sizes. The background is printed with a split-fountain gradient of rainbow-like stripes.

See the related listing at the National Library of Norway.

Full transcription:

BATTENFJORDS HOTELS
Natstation & Kafe
holdes herefter aaben for Reisende fra Molde ou Hjelseth
fra Kl. 2 til 4 Morgen
Værelser for Ophold til Dampskibsafgang kan erholdes
◆ ◆ Kafeén i 1ste Etage anbefales ◆ ◆
Billige Priser ! ! !
Reisende har herefter at henvende sig til Hotellets Indehaver om Skyds
E. O. Samuelsen.

For over 80 years, Mexican-American and Chicano artists, mechanical engineers, and craft communities have shaped the vibrant American folk art of Lowrider culture. For the past 15 years, Slow & Low has hosted festivals celebrating the individuals and clubs in the Midwest.

The Slow & Low curators approached Span with a determination to elevate Chicago’s lowrider festival. More than just a car show, Slow & Low is a celebration of identity grounded in self-expression, social change, master craftsmanship, and machinery. The opportunity to take over Chicago’s largest tourist destination came with the responsibility of placemaking.

Collaborating with the event’s curators, Span designed a visual identity and exhibition graphics that foster a sense of belonging by celebrating the curators' dreams and the individuals of the community. Vivid, dimensional marigolds cascade across images from Slow & Low’s world-renowned and emerging photographers. Marigolds hold significance in Chicano and lowrider culture, symbolizing a celebration of faith, life, and death. The visual identity gains purpose by featuring Slow & Low’s photography, providing the design system with power by moving beyond showcasing stunning lowrider cars and highlighting the individuals in Slow & Low’s community. The juxtaposition of supergraphic flowers in the foreground of each designed item creates a dreamscape aesthetic.

In selecting our typographic palette, we drew inspiration from the cars, customizing Lucas Sharp and Wei Huang’s Respira, a typeface inspired by blackletter found in ancient manuscripts and the plaques within each lowrider. This choice pays homage to the omnipresent role of faith within the community. Complementing this is Miguel Reyes’s graceful Canela, a supportive typeface that, like lowriders, defies traditional classifications.

See also a post about the 2022 edition of this festival.

3 ON was an exhibition held in Munich’s Kunstpavillon gallery in March 2020. The show revolved around three artistic positions and the interaction between them, presenting works of Isabelle Enders, Simone ten Hompel and Silvia Weidenbach and demonstrating the parallels in the outcomes of their interdisciplinary research-based practice. All three artists work, research and teach at the intersection of art, craft and design.

The edition of 20 posters was screen printed in black and neon color gradients by Steve Viezens. The information is set in Surt. The exhibition title is constructed using Apoc Sans. Both typeface families are available from Blaze Type.

Slow & Low co-founders and co-curators Lauren M. Pacheco and Peter Kepha brought design studio Span in to build upon their history and vision by designing the event’s visual identity, promotion materials, and supergraphic environmental signage. More than a car show, Slow & Low is a celebration of identity grounded in self-expression, social-change, master-craftsmanship and machinery. The opportunity to take over Chicago’s largest tourist destination came with a responsibility of placemaking. Together, we did so by celebrating the individuals of a community that mainstream cultures often overlook.

Typographically, the design system employs a highly expressive, showroom approach. Span assembled a suite of typefaces mirroring letterforms found on the eye-catching cars, the chromed plaques of the car clubs, and masthead of the classic Teen Angels publication. The star of the showroom is the swash capitals of Frida Medrano’s Jabin – a contemporary evolution of the Gutenberg bible’s blackletter. Jabin’s curves and contrast are paired with Sharp Type’s dramatic Respira Black, a reprisal of 15th century Spanish blackletter. The supportive type is Archivio Tipografico’s version of Aldo Novarese’s Nova Augustea. This over-the-top, eclectic range of type is united in flamboyant beauty and in holding key roles in history. These qualities – beauty and history – are principles in the artistry and aesthetic of Lowrider culture.

Beyond letterforms, symbolically, the design system embraces an omnipresence of arches, marigolds, and praying hands – religious iconography important to Pacheco and Kepha given their prominence throughout Chicano and lowrider culture symbolizing a celebration of faith, life, and death. The visual identity comes to life with purpose by featuring Slow & Low’s world-renowned and emerging photographers. The photography gave the design system power, by going beyond showing the stunning, lowrider cars and spotlighting the individuals in Chicago’s lowrider community.

An A5 print course and workshop booklet for Spike Print Studio in Bristol, UK, detailing all of the educational print programs they run year-round.

Regular process inks were swapped out for their fluorescent equivalents, resulting in a brightness that cannot be matched with regular inks. It was printed by Taylor Brothers Bristol Ltd.

The titles are set in Common Demibold by Si Billam and feature a gradient fade. The body copy is set in Capraia by CAST Foundry.

Barco Verde Hostel is a cozy hostel on Isla Holbox in Mexico. With comfortable rooms just next to the beach, it offers high-quality service, calm and elegance. The positioning and branding are inspired by slow lifestyle, island vibes and the friendliness of the everyday beach sunset meetings that both locals and travelers enjoy together.

The visual identity design by Celia Grandhomme Agency uses Voyage for the main logo, and Oil Can for alternate versions. Espresso is used for text details.

The design comes with goodies and ephemera, some of them adorned with additional typefaces: the post cards re-use found type from vintage postcards; the business cards feature Metropolis 1920 and Montecatini.

Méchant Machin (“mean machine”) is about two nice and passionate screen printers – Maria Bohorquez and Celia Grandhomme – who love to print their funny visuals on all types of textile from T-shirts and tote bags to underwear.

They organise personalized live screen printing for events in France and abroad, for clients and brands in the cultural, art and event field, as shop openings, fanzine launching, museum nights, or coffee and bars events.

Pilowlava is used for the logo, the website adds IBM Plex Mono.

Back To The World album cover, Curtom Records, USA, 1973

Milton Glaser was born on this day in 1929. Happy birthday!

In the late 1960s, Glaser designed a set of geometric sans-serif caps with stencil bridges. Originally named Glaser Futura Stencil, the face was first shown in Photo-Lettering’s Yearbook 1969.

This post shows Glaser Stencil in use for the cover of Back to the World, an album by Curtis Mayfield released in 1973 on Curtom and distributed by Buddah Records in Europe. Curtom was the Chicago-based sould label established by Mayfield together with Eddie Thomas.

Art direction by Glen Christensen, creative direction by Milton Sincoff. Gary Wolkowitz provided the illustration. Parts of the artwork were reused for the French picture sleeve for a single release, see below.

[More info on Discogs]

“Future Shock” / “The Other Side of Town” single sleeve, Buddah Records, France, 1973 [More info on Discogs]

In 2019, for the first time, we celebrated the International Day of Printing Art. The HBKsaar (University of Fine Arts in Saarbrücken) organized a small exhibition including workshops and lectures; kind of an open printshop, where you can exchange and learn about the art of printing.

The German title “hoch, tief, durch” (high, low, through) stands for three types of printing that we use in our workshops at HBKsaar: Hochdruck means relief printing, Tiefdruck means intaglio and Durchdruck is for screenprint/stencilprint.

The poster is printed on a mimeograph from 1967 in eight runs. Mimeography is a more or less extinct stencilprint technique and a predecessor of risography. Although the process is more complex, you can do things that the Riso cannot do, such as printing on folded paper, cardboard and textiles, or creating gradients.

Cooper Black and Superclarendon are great historic typefaces with roots in print, which is why it was not very difficult for us to choose these two.

3,650 Days is a calendar using typography and color to examine the passage of time over the new decade. Both fonts in use, Comic Strip and Tiny, are composed using circles or dots. This structure is mirrored in the design of the calendar. Circles are used to represent the days of a month and are combined using the same sort of mitosis shape that is present in the Comic Strip typeface.

Castle Ruins III zine

Castle Ruins is an annual exhibition at the King Billy Pub, Nottingham. It is a showcase of thirteen Nottingham artists who have been randomly selected.

Alias Harbour is used for logo and graphics for posters, riso-printed zines, banners, as well as occasional graphics throughout the exhibition.

Castle Ruins II banner for closing ceremony

Castle Ruins II zine

Castle Ruins II zine

Delve Withrington’s 2017 poster celebrating the first anniversary of Type Thursday San Francisco is set entirely in Aglet Slab, and letterpress printed with a split fountain effect.

Sometimes
it’s the small things
that matter most —
small stories,
small publications,
small events.

Sometimes
it’s the ordinary things
that are the most dear —
dearest objects,
dearest people,
dearest moments.

Graphic design for a small publication that is an ode to ordinary objects. Containing 55 word stories that are the results of a flash fiction workshop run at Onomatopee by Lara Chapman and Edoardo Tedone of the Master Department Design Curating and Writing at Design Academy Eindhoven. The booklet was written, designed and risoprinted during the Super Book Saturday, 30 March 2019 at Onomatopee, Eindhoven.

Cover drawing: Kirsten Spruit.
Special thanks: Josh Plough, Nadine Botha.

Milton Glaser designed this poster to coincide with the May 10, 1969 International Grape Boycott. Beneath the image of a bunch of grapes, doubling as a deathly skull, is a quote by Cesar Chavez, respected Chicano civil rights leader and labor activist.

“Don’t eat grapes” uses Helvetica Black. On the bottom of the poster, the quote by Cesar Chavez is set in what looks like News Gothic. The header uses Lightline Gothic — which is similar to News Gothic, but can easily be discerned here because of its M with an apex that does not touch the baseline.

This piece can be seen at Letterform Archive, a San Francisco nonprofit center for inspiration, education, and community with a large collection of posters.

Changing Colors is an album by Nelson Riddle (1921–1985), the famed arranger for Frank Sinatra, Ella Fitzgerald, Nat King Cole, Judy Garland, and others. First released by MPS Records ‎in Germany in 1971, it was reissued in the UK in 1973. The cover design is credited to MPS-Atelier and features caps from Zipper (Letraset, 1970) with a rainbow gradient.

From AmbientExotica:

[Changing Color] doesn't feature exotic instruments, but is in fact the purest incarnation of a certain genre called Easy Listening, foreshadowing lush, string-heavy orchestrations and occasional appearances of Latin-style pianos.

ThéâtredelaCité is a French national drama centre located in Toulouse. Identity, posters and leaflets by Pierre Vanni. Both posters and the website (design by Paul Gacon) use a two-color scheme. For the posters, the palette may vary for every new design; the website changes its secondary color – used for images – on (re)loading the page. Klod Regular and Italic are used throughout. On the website, most non-headline typography uses MT Garamond.

Website.

Website.

Mobile website.

Putting things together (or taking them apart) rarely goes exactly according to plan. Matter Battle is an essay, written by Bryan Boyer, Partner at Dash Marshall, to help you make sense of this by explaining the difficulties of construction, particularly to audiences who are used to the fluid possibilities afforded by the digital. We’ve converted the essay into a poster so you can more easily decorate your construction site, lab, or studio.

This limited edition of posters is loving silkscreen printed by hand with the arduous process of “rainbow rolling,” where two ink colors are mixed on the screen itself. As a result, each poster is pulled with its own unique gradient. No two are the same. Some have a perfectly smooth transition from fluorescent green to pink. Others are marbled, streaked, or binary. The large white “Matter Battle” text is printed with a clear puff ink so it has depth and texture, and casts small shadows in sharp light. The poster itself is the result of a matter battle. TpRawkost was used for the very first time on this poster.

Photography: Douglas Pearce

No two posters are the same.

Puff ink gives the poster depth and a nice, fuzzy texture.

Website