Anderssen & Voll-stipendet is an annual grant for young Norwegian designers in furniture and interior objects. The website is designed by Martin Asbjørnsen. The grant awards NOK 300,000 and is intended to support international activity in the Norwegian design field during the establishment phase of a practice.  

The website presents the initiative through sections on the grant, the committee, the background for the programme, eligible costs, the application and reporting. Rather than framing the support as a general prize, it positions it as practical backing for exhibitions, travel, production, communication and documentation tied to international work.  

The website uses Store Norske Jazz from Skriftkompani.

Front cover of the “Big Box” CD release for the Mac

A fediverse post showing the CD cover for The Incredible Machine 3 prompted me to write this up. The Incredible Machine, often abbreviated TIM, was a 1990s series of puzzle-solving computer games where players create a Rube Goldberg device. In fact, it seems to be responsible for creating the Rube Goldberg genre. The original TIM was published in 1993, and went on to spawn quite a few sequels, spin-offs, ports, and imitators.

TIM 3 is essentially a port of the DOS game TIM 2 to the GUI operating systems, principally Windows and Mac. The box art for TIM 3 uses Lithos and Modula Sans for the title, and Modular Sans for much of the secondary text. Two very iconic 1990s designs by two very iconic 1990s designers: Carol Twombly and Zuzana Licko respectively.

Artwork for the earlier versions relies on the obvious LTypi: ITC Machine. And since this is clearly a 1990s post, I had to show the interior of the manual for TIM 2 which features another landmark of the 1990s: Remedy.

Splashscreen for the original DOS version. Note the wordmark that’s based on modified ITC Machine.

The splashscreen for The Incredible Machine 2 is a much more straightforward LTypI.

Front cover of the manual for The Incredible Machine 2, using ITC Machine.

A right-hand page from the interior of the manual for The Incredible Machine 2, showing typical typography. Remedy is used throughout the manual for titles and subtitles.

Voice of Thunder is an album by Jamaican reggae deejay and produce Prince Far I (1945–1983), released by Trojan Records in 1981. The cover was designed by Bamber Forsyth, using a photo by Dave Hendley and Flash for the typography.

[More info on Discogs]

Words by Studio Trames, the designers of the project:

A major project for the studio: the exhibition catalog marking the 20th anniversary of the bookstore L’Échappée Belle. A limited-edition book designed and produced by the studio, featuring 35 works printed using risography. Each work was produced using contemporary risograph printing techniques, with a custom color palette created specifically for it. In total, 16 ink colors were used for the entire project, with up to 6 colors per image. The 35 works can be kept in the book or detached using the perforated lines on each page.

This book is set in Kaio Krilin (from Lift-Type). It was designed and produced to pay homage to the bookstore’s cultural history.

Stentor was issued by the East German Typoart in 1964, after designs by Heinz Schumann (1934–2020). It’s the second time the upright brush script comes up on Fonts In Use, and once again it’s for the shop sign of a butcher’s in East Berlin. This time the letterforms stay closer to the metal original, preserving its calligraphic nature. Shown red against yellow, they are accentuated by a white “shadow” effect.

Spotted by Maurits van den Toorn in May 1988, eighteen months before the Berlin Wall came down.

Stepping Softly on the Earth is a research-led exhibition featuring the work of twenty artists, most of them non-Western and Indigenous. Presented at the Northumbria University Gallery at Baltic, the exhibition invites visitors to reflect on human relationships with land and territory from decolonial and anti-colonial perspectives. It brings together artistic practices that understand the world as a pluriverse – a reality in which many worlds coexist and support one another, where all beings are interconnected and the separation between humans and nature dissolves.

The works address themes such as ancestral cosmovisions, spirituality, inter-species communication, embodied knowledge, oral traditions, autonomy, mapping and legal frameworks. The exhibition title revisits a passage cited by Indigenous activist, writer and thinker Ailton Krenak in his 2022 book Ancestral Future. Krenak refers to a speech attributed to Chief Seattle (c.1786–1866), in which he says that his people “step softly on the Earth” because they are deeply connected to it, and invites colonisers to teach their children to do the same.

The catalog adopts a graphic language structured around expressive typography and a restrained color palette, which together organize the visual identity of the publication. The central element of the design is an angular, fragmented typography, Backslanted, used for the cover and section titles. Its geometric forms approach drawing as much as writing, suggesting multiple visual traditions while moving away from a neutral or institutional Western typographic language.

The color palette is based mainly on two tones, an earthy red and an intense yellow, applied as gradients across page backgrounds and edges. These fields of color evoke natural elements such as earth, sunlight and atmosphere, and function as visual environments that move through the book, creating continuity between different sections. The materiality of the object also reinforces the project’s conceptual framework: the exposed sewn binding and the earthy-toned cover emphasize the physicality of the book, suggesting a tactile and crafted quality. The texts are set in Gal Gothic, a Brazilian sans-serif typeface with subtle stroke contrast.

This album with interpretations of romantic music by Vilnius-born violinst Jascha Heifetz (1901–1987) was released by RCA Red Seal in 1971. It features the light weight of Caruso Roxy, in all caps and with white dots on the I’s.

“The violinist of the century” is set in a wide style from the Sacramento series, in contoured caps. The names of the tracks are in some Helvetica-like substance with a non-standard a. Since the other two fonts are Photo-Lettering exclusives, it stands to reason that their phototype adaptation included such an alternate.

The illustration is by Al Hirschfeld (1903–2003) who is known for hiding the name of his daughter, Nina, in most of the drawings he produced after her birth. Zoom in to spot it.

[More info on Discogs]

Every year, Biergarten Brewery & Kitchen celebrates the Karnataka Food Festival by incorporating ingredients rooted in Kannada food culture. For 2024, a trip to Mysore led us to Rajamudi, a red rice once favoured by royalty, which became the inspiration for crafting a special Mysore Lager for the festival. The visual language draws from Mysore’s royal heritage, blending the vibrancy of palace interiors, vintage Kannada film posters, and old postal stamps into a lively colour palette that echoes both royal splendour and the state flag.

Expressing this cultural blend, we used Bungee, the brand’s primary display typeface, and anchored this in local context with Anek Kannada, for its semi-rounded, contemporary interpretation of the Kannada script. The softness and rhythmic curves of Anek Kannada offer a striking balance to Bungee’s rigid, modular forms, creating a dynamic typographic interplay across headlines, labels, and motion assets. P22 Underground is used as the supporting typeface, providing clean, legible structure for body copy and functional text.

The videography extends this typographic and visual sensibility into motion. Inspired by 1980s Sandalwood cinema, it features bold, stacked type treatments set against scenes from Mysore’s royalty.

From Wikipedia:

Pilgrimage is the second studio album by the rock band Wishbone Ash. The album focuses more on folk and acoustic music as opposed to the blues rock sound that dominated the first album. The album also contains the instrumental jazz workout “Vas Dis” as well as moodier, slower instrumentals such as “Alone” and “Lullaby”.

Cover design by Hipgnosis, using Benguiat Caslon (or one of the copies that were available from phototypesetting studios in London, like Lettergraphics’ Arriola Caslon).

Shown here is the first original German issue with fold-out cover. At this time, MCA releases were distributed through Telefunken Decca.

[More info on Discogs]

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.

Kugel und Niere is a podcast production company that operates from Munich, Germany, since 2017.

Studio Veh led the 2025 (re)branding of the company, with a highly typographic approach. From the case study:

With words being the brand’s most important asset, Studio Veh delivered a typographic solution: a flexible type system using a wide typeface that not only emphasises the larger-than-life stories, but also the impact of the podcasts’ conversations.

For the logo and titles, Veh went with Druk Wide. Then, contrasting in weight as well as structure and width, we have NaN Rage Beau Condensed Thin (mostly). NaN Rage Beau is used for secondary titles and contrast, when needed. On Kugel und Niere’s website, Neue Haas Unica is used for all body copy and sub-headings too, while NaN Rage is curiously absent.

Marcovaldo is the main typeface used for Re Pomodoro by Margherita S.p.a.

From design agency The 6th:

Re Pomodoro is a fresh pizza brand sold in supermarkets but made with artisan process and selected top-quality ingredients. Every pizza is hand-stretched and hand-topped (“stesa e farcita a mano” in italian) so we designed a logo stressing this uniqueness: the final “o” becomes a pizza throwned up by the pizza-maker hands.

The logo Re Pomodoro too seems to come out from a wood-fired oven and the top quality ingredients are designed recreating ancient hand-made labels.

The QR code on the label sends back to a landing page explaining everything about the product: production, ingredients, cooking tips, etc. So everyone can enjoy at home the authentic pizza taste just like in a pizzeria!

Additional fonts include CA Negroni, Boogie School Sans, Spagheti Script, and Cervo.

From Wikipedia:

Tigers are Better-Looking is a collection of short stories written by Dominican author Jean Rhys, published in 1968 by André Deutsch and reissued by Penguin ten years later.

Shown here is is the cover of a paperback edition published as Popular Library 03107 in 1976, with cover art by Ann Meisel. The title typeface is Wexford Bold, designed by Richard A. Schlatter and released as a VGC original in 1973. Wexford came with alternates (for M and W), but the descending t isn’t one of them: it’s the font’s default form.

Witt is a bold rounded sans that emerged in the early 1970s. Just like Porker, it’s featured on Fonts In Use for the first time today.

Witt is shown in a 1973 catalog by Typeshop in eight numbered styles; No. 1 is solid, 2 is outlined, 3 is open with a thick-thin outline, 4 is solid with a thick-thin outline, 5 has a thin outline, 6 additionally sports an open SW shade, 7 is solid with an open SW shade, and 8 is outlined with a solid SW shade. The catalog doesn’t include design credits, but the typeface family very likely was designed by Hamburg-based designer Klaus Witt. This assumption is based on the typeface name and the fact that Witt used the fonts in several of his covers designs.

Peter Covent was one of several aliases used by German jazz and entertainment musician Carlos Diernhammer (1931–2000). This album of his was released by Philips Records in 1971.

[More info on Discogs]

Gadget and its striped sibling, Gadget Lined, used together on the cover of a 1973 album by British night club pianist Nick Nicholas. The year before, Gadget was used for a very different album – Black Sabbath’s Vol 4.

[More info on Discogs]

Intrigue in use for a series of posters made for the promotion of In Gefahr und größter Not bringt der Mittelweg den Tod (English: In Danger and Deep Distress, the Middleway Spells Certain Death). The 1974 West German drama film was directed by Alexander Kluge and Edgar Reitz and features Dagmar Bödderich, Alfred Edel, and Jutta Winkelmann.

The posters were included in a retrospective of works by the “Sickerts” – Margrit and Peter Sickert – that was shown during the 65th Berlinale in 2015. In her review for Kunst+Film, Swantje Seberg points out that the sesquipedalian title dominates all three posters. She criticizes that, in general, many of the posters are quite text-heavy, and claims that in the 1970s, when such “lead deserts” were the order of the day, movie posters were “obviously intended to inform rather than visually seduce, at least in the case of ‘sophisticated’ films.”

For my part, I find the exclusively typographic poster shown above quite … intriguing (pardon the pun). The Logau quote in the unapologetic letterforms has a strong impact, which is further enhanced by the loud colors in combination with the underinked type. Type as image, if you will.

Fonts from the Flea Market 1419

Five days late for Belgian National Day, but here’s Indépendant in use for the debut single by English glam rock band Hello. The typeface was originally released in 1930 to commemorate the centennial of Belgian independence from the Kingdom of the Netherlands. On the sleeve made for German and Italian markets, the Art Deco banger features in big yellow letters with a red contour.

[More info on Discogs]

La montaña sagrada (English: The Holy Mountain) is a 1973 Mexican surreal film written, directed and produced by Alejandro Jodorowsky. The avant-garde filmmaker also played the main role.

In Germany, the film was named Montana Sacra – Der heilige Berg. Distributor Constantin-Film commissioned Peter Sickert and Dieter Noss with the poster design. For the title, they used Intrigue, outlined and with a shadow effect.

Intrigue is an octogonal sans with similarities to ITC Machine. It was shown by Lettergraphics in the late 1960s, thus predating the ITC release which came in 1970. In 2013, Pink Broccoli made Contraption. This digital interpretation of Intrigue expands the design into two widths with five weights in upright and oblique styles, plus one Inline style. Contraption Black comes closest to the original style.

Via Beardsley’s request on fontid.co. Kudos to Kevin for tracking down Contraption.

Intrigue as shown in Lettergraphics’ Letter-Fan from 1969

Detail

This alternative poster also shows some of Intrigue’s lowercase, among other things.

Two mini posters for Montana Sacra. The one with the blurbs features a bichromatic setting in orange and purple.

Lobby cards with the movie logo

Huxley Vertical is used for the credits at the bottom of this poster for Attack of the 50 Foot Woman. The woman is question is played by Allison Hayes and appears in this poster as much taller than 50 foot, I reckon. It’s a curious choice to use a 1930s Art Deco style font in a 1958 movie that continues the decade’s sci-fi trope of particularly large (or sometimes small) people.

“ATTACK OF THE 50FT WOMAN” appears to be in Alternate Gothic No. 1. The word “starring” (left of the credits) may be in News Gothic Extra Condensed. The art for the poster is by Reynold Brown (1917–1991). No typographer is credited.

Wikipedia now attests to the movie’s cult status.

Detail from the credits

Scream and Scream Again is a 1970 British science-fiction horror film, distributed in the US by American International Pictures. The story is based on The Disorientated Man, a 1966 novel written by W. Howard Baker and Stephen Frances under the pseudonym Peter Saxon.

When the movie was about to hit American theaters, Paperback Library released a movie tie-in paperback. The title is set in big red letters from Papirtis Intrigue. This typeface drawn by Charles Papirtis for Photo-Lettering is based on caps from an extrabold sans similar to Futura Extra Bold, filled with a radial pattern. Like Davison Kaleidoscope, it was one of several effect typefaces that may have led to PLINC’s Psychemat technique.

[More info on ISFDB]

Papirtis Intrigue as shown in Photo-Lettering’s One Line Manual of Styles, 1971