From Wikipedia:

Grim & Evil is an American animated television series created by Maxwell Atoms for Cartoon Network. It consists of two segments which were eventually spun off into their own series, The Grim Adventures of Billy & Mandy and Evil Con Carne.

The end credits for season 1A are set in FF Pop, while the end credits for seasons 1B and 2 are set in Psychatronic. Neville Brody’s FF Pop was also used as the font for the end credits to the pilot episode of Evil Con Carne, while Psychatronic, a font produced by Brad O. Nelson of Brain Eaters Font Co., was used for the end credits for The Grim Adventures of Billy & Mandy, as well as the repackaged first season of Evil Con Carne, and the fourth season of Dexter’s Laboratory.

An advertising card design shown in the Printers International Specimen Exchange, Vol. XIV, 1893. Printed letterpress with extensive usage of bent brass rules. Though not typical of the genre, it should be considered work in the artistic printing movement category.

“Tipo-Litografiche” is in Bijou (1883), “Milano” and “Telefono N. 143” in caps from Unique Celtic (1889), and the address in Chaucer (1883). The thin typeface chosen for the company name itself is yet unidentified.

Giovanni Ricordi founded his internationally known music publishing company in Milan, Italy, in 1808. He was hired by Teatro alla Scala in 1814, and in 1825 purchased the entire La Scala library. In 1839, he published Verdi's first opera. The company in 1893 was headed by Giovanni's grandson Giulio. Ricordi remains very much in business today.

This composition, to me, could be mistaken for a modern, contemporary design.

This Perfect Day is the third novel by Ira Levin (1929–2007), following the Edgar Award winning A Kiss Before Dying (1953), the international bestseller Rosemary’s Baby (1967), and – as mentioned on the cover – the thriller novel The Boys from Brazil (1976). First published by Random House in 1970 with a jacket design by Paul Bacon, this is Dell’s 1979 paperback edition of this classic science fiction novel about a technocratic dystopia. Cover artist unknown.

Author’s name and title are in Amelia, the latter with an extra serif added to the left of the T as well as a descending f. The futuristic display face by Stan Davis was previously used for Alvin Toffler’s Future Shock – which gets name-checked in the blurb. Smaller text appears to be set in Helvetica Rounded which was released the year before, in 1978.

[More info on ISFDB]

The Maison des Métallos is a public cultural center in Paris located in the 11th district. The institution is dedicated to the performing arts, hosting performances, theater, dance and other events and gatherings.

The creative studio Feelings designed a new visual identity for this historical venue using Modale Antique as the main typeface. It is complemented by LL Mono in its bold version for the programs.

Here’s the very first issue of the Plakat broadside series from Openings Press in Gloucestershire, England. Openings “aim[ed] to produce a series that is a complete integration of graphics and texts, ie. not an illustrated poem or a captioned drawing." This one’s got one of Dom Sylvester Houédard’s typestracts—concrete poems created on his Olivetti Lettera 22 typewriter, here accompanied by two weights of Monotype Grotesque, all set without caps. It’s the most striking example of graphic work by a Benedictine monk that we’ve ever seen.

The RUNDgang 2025 campaign poster in 70×100 cm

Each February, the Hochschule der Bildenden Künste Saar (University of Art and Design Saar – HBKsaar) presents its annual exhibition, Rundgang, showcasing student work from the past year. For the 2025 edition, the visual identity was developed by Studio 63, the student-run design studio at HBKsaar. The FW 24/25 class included students Jinyu Wang, Lena Görgen, Marietta Stucky, Matti Henn, Klara Köhl, Saleh Alsaid, and Sandro Spaniol, under the guidance of instructor Manuel Wesely. Studio 63 was responsible for the entire visual concept – from identity and graphic design to posters and signage.

The team reinterpreted Rundgang as RUNdgang, emphasizing movement and urgency. Drawing inspiration from Lucius Burckhardt’s theories of “strollology,” they flipped the idea of a casual walk-through into something more dynamic – as in “we don’t just walk, we RUN.” The theme plays with multiple associations of “running” and disrupts expectations for an art school exhibition. Conveniently, the concurrent PeteR UNd Luise Hager Prize could be integrated seamlessly into the typographic concept.

The exhibition posters translate the RUN motif into recursive spirals based on the golden ratio, extending infinitely – a visual metaphor for relentless forward motion.

The identity is complemented by invitation cards, several flyers, a billboard poster, and a signage system (designed by Lena Görgen).

Typographically, the design references the aesthetic of receipts and endless printers, evoking a continuous, unstoppable process. This reflects both the exhibition’s theme of movement and the ongoing nature of creative work. The typeface used is Merchant Copy.

With RUNdgang, Studio 63 offers a fresh take on the exhibition identity, shifting the focus toward speed, repetition, and the persistent momentum of artistic practice.

The billboard, freshly prepared for the occasion. Saleh Alsaid and Matti Henn discussing application fine-tuning.

Details of different poster sections. The poster is split into a collection of DIN sizes, ranging vom A1 to ~A11.

Marietta Stucky went CRAZY and designed and sewed these banners.

Behind the scenes of the banner production

Saleh Alsaid’s motion design of the RUN motif

The series of symbol language maps has been extended by one important update at the beginning of 2025. This extension was requested by the Palace of Typographic Masonry for the exhibition at Museum Angewandte Kunst, Frankfurt. What started with an overview of attempts to universal languages with The Annex of Universal Languages has been refined with a folded poster that maps out twenty attempts to communicate with images rather than scripts. Many of the creators of these systems belief in the universality of images that might bind people rather then divide them. A pasigraphy (from Greek πᾶσι pasi “to all”, “universal and γράφω grapho “to write”) is a writing system that should be able to communicate without much learning effort. The universal ideographic and pictographic symbols are supposed to be understood naturally by people with different cultural backgrounds.

For the first time I brought in a co-artist who provided the illustrations for the map. The multifaceted artist Quenton Miller approached me to help him with his own image-based language system, when I was starting my research for this new extension. Together we created the “Spiral of Babel”, a reconjuring of the failed Tower of Babel, that ended with the division of people through their languages. Quenton created a fitting illustration for each system, sometimes by portraying their creator, other times by mixing their existing iconography or even by connecting both attempts. The spiral peeks in One Universal Language symbolised by a globe with a heart on top, reminding of the globus cruciger, also known as stavroforos sphaira.

Some of the fonts featured on here like Blissymbolics have been featured before. But others like Earth Language and Sitelen Pona are new additions to Fonts in Use.

The full list of contents:
01 — SAFO by Andre Eckart, 1943–1956
02 — Picot by Karl J.A. Janson, 1938–1958
03 — Semantography of Blissymbolics by Charles K Bliss, 1954
04 — LoCoS by Yukio Ota
05 — Language of Space, a UI by Ph.D. John W. Weilgart, 1964
06 — Écriture universelle by Jean Effel, 1968
07 — AAC (Augmented & Alternative Communication), Widgit, PCS and ARASAAC
08 — Symbol Language by Pati Hill, 1977–1978
09 — Worldsign by David Orcutt, 1984
10 — The Elephants Memory by Timothée Ingen-Housz, 1993
11 — Pictoperanto by Jochen Gros, 1993
12 — Zlango – Pic Talk by Yoav Lorch, 2004
13 — Metacom by Annette Kitzinger, 2004
14 — Sitelen Pona by Sonja Lang, 2013
15 — IKON by Cesco Reale, 2015 (2009?)
16 — NOBEL Universal Graphic Language by Milan Randić, 1984–2009
17 — Earth Language by Yoshiko McFarland, 1992
18 — TUQTULI f.k.a. Icon Spell by Juli Gudehus, 2020

The poster can be ordered directly from The Palace of Typographic Masonry or from Bold Monday, the foundry that published the typeface Logical.

The Spiral of Babel, sorting the icons of different language-systems by completeness and potential. The higher on the winding path, the better. This has been done without empirical data but rather by gut-feeling of the two creators.

The layout of the front page, with 18 icons arranged on five lines in a circular shape, is fitting the other three posters of the series. The layout and colours of the first map have been inspired by Adrian Frutiger’s Symbole Zeichen – Wanderung, a map-shaped publication that points to the non-linear nature of its content and invites the reader to wander.

The text page of the map introduces 20 languages wherefrom three have to share one of the 18 panels available. The AAC (Augmentative and Alternative Communication) languages compiled in section 07 are building on top of each other and share many similarities.

The Jacques de La Comble Natural History Museum in Autun, founded in 1964 thanks to the Autun Society of Natural History (SHNA), houses 800,000 specimens, including 300-million-year old fossils, dinosaur footprints, and minerals like autunite. It is part of the Museums and Heritage Directorate, which also manages the Rolin Museum.

In 2023, the museum aimed to revitalize its communication by modernizing its logo. The spiral, as a universal and timeless symbol, becomes the identifiable element of the museum. Its design, a symbol of natural sciences, reflects evolution of humankind, the water cycle and the seasons, as well as science and mathematics – the golden ratio, Fibonacci sequence – and the imprint of fossils and traces of time, heritage and testimony.

Commercial Type’s Caslon Doric is used throughout.

When set in smaller sizes, the logo uses a lighter spiral

The museum reception hall

This is soft-core mid-century erotica, originally published in 1961 under the title Las Vegas Lust, was updated for the 1970s. It's been speculated that Dean Hudson was none other than the novelist Evan Hunter a.k.a., Ed McBain.

Neil Bold used together with Univers 67 for Der Sachunterricht der Grundschule – Theorie+Praxis, Teil 1 (“Primary School Subject Lessons – Theory+Practice, Part 1”), published by Michael Prögel Verlag, Ansbach, in 1975.

The things we do, the stories we tell: Visual identity for Rundgang Armgartstraße 2024, HAW Hamburg, the annual exhibition showcasing student works and projects from the fields of fashion design, textile design, costume design, design theory, and art courses.

A seemingly endless list of words represents all the actions that flow into the creative process of students at Campus Armgartstraße. The visuals stem from a close reading of texts from Meander, Spiral, Explode: Design and Pattern in Narrative by Jane Alison proposing different, non-linear narratives.

Typeset in Split Flap (in Regular, Compressed and Extended) by Lorenz Fackler of Joint Venture (Hamburg, Germany) for headlines and Gerstner-Programm FSL (in Regular and Medium) by Forgotten Shapes (Leipzig, Germany) for running text

Design by Katharine Watzlawick and Finn Reduhn.

Title and main menu of Sega Swirl; screenshot from the Windows 95 version

Sega Swirl is a puzzle video game released in 1999 for Windows, in 2000 for Sega Dreamcast, and in 2001 for PalmOS (according to Moby Games); an Adobe Shockwave version was available back when you could play Shockwave games on the web.

On the Windows version, the appropriately swirly (and curly) Curlz is used for menus, and in-game text; advertising for all versions often uses Curlz. Curlz was made available only a few years earlier, in 1995.

The PalmOS version does not use Curlz, nor any other custom font. Probably a deliberate choice in order to fit the game onto some quite limited PalmOS models.

The game was released as both a teaser and a demonstration of the Dreamcast’s online play; the Windows version was freely downloadable, and the Dreamcast version appeared as a cover-disc and in various promo discs. The Dreamcast had a built-in modem and Sega Swirlz supported online competitive play, including with players of the PC version.

Gameplay screenshot (before i have made a move). Somewhat generic Windows 95 fonts for the button text and the running score.

Options screen. Note the Swirl motif replacing the O (the Swirl motif is not present in the font file).

Scoreboard

Promo art for PalmOS version

Dreamcast title screen (probably)

Dave Litman’s book jacket for An Honest Living features custom lettering (cut out with an X-Acto knife and loosely based on FF DIN Condensed Bold, the designer explained by email) and lightly-distressed Cortado, with Adobe Garamond for supporting text.

The noir crime novel features a missing antiquarian bookseller in mid-2000s Brooklyn. From the official description:

Set against the backdrop of New York at the tail end of the analog era and immersed in the worlds of literature and bookselling, An Honest Living is a gripping story of artistic ambition, obsession, and the small crimes we commit against one another every day.

Graphic design of the book O Teatro Negro e Atitude no Tempo, o Tempo no Teatro Negro e Atitude (Portuguese for: “Black Theatre & Attitude in Time, Time in Black Theatre & Attitude”), written by Evandro Nunes and published by Javali.

The graphic elements used in the book start a dialogue with the concept of spiraling time developed by Leda Maria Martins. While the blocked citations highlight the importance of past works for the construction of later narratives, the page numbering and chapter names on an exaggerated scale emphasize the temporal dimension of the publication. ABC Ginto Normal Medium is used throughout.

Blockchain Chicken Farm: And Other Stories of Tech in China’s Countryside, by Xiaowei Wang

In April 2020, Farrar, Straus, and Girroux Originals collaborated with Logic magazine (FSGO / LOGIC) to bring four books that “are brief but provocative forays into the tech industry’s many worlds, inciting fresh conversations focused on nuanced and accessible explorations of the emerging tools reorganizing and redefining life today.” [FSGO]

Each cover in this “series” features Aperçu by Colophon Foundry, the typeface used by Logic magazine for their overall branding. The only exception is Blockchain Chicken Farm, which uses Aperçu Mono. The monospaced typeface shows off some lowercase gems like the swooping tail of the L, the wide branch of the R, the high F bar, and the geometric counter of the G.

Logic magazine published its first book Tech Against Trump in 2017. The Making of the Tech Worker Movement followed in 2020, published as a 48-page zine. Both cover designs were created by in-house designers Xiaowei Wang and Celine Nguyen, featuring Aperçu as the typeface. Chris Allen designed the four book covers for the FSGO / LOGIC editions, with art direction by Rodrigo Corral.

Subprime Attention Crisis: Advertising and the Time Bomb at the Heart of the Internet, by Tim Hwang

What Tech Calls Thinking: An Inquiry into the Intellectual Bedrock of Silicon Valley, by Adrian Daub

Voices from the Valley: Tech Workers Talk About What They Do–and How They Do It, edited by Ben Tarnoff and Moira Weigel

Tech Against Trump

The Making of the Tech Worker Movement, by Ben Tarnoff

Cover of the New Mexico Speed Study from 1976, prepared by the New Mexico State Highway Department, Planning and Programming Division, in cooperation with the U.S. Department of Transportation, Federal Highway Administration.

The origin of the unicase typeface with the unconventional weight distribution is unclear. A version for dry transfer lettering is shown in a 1974 catalog by Formatt as Program. Dan X. Solo included a film version named Tuxedo in his Art Deco Display Alphabets, published by Dover Books in 1982. I don’t know whether Tuxedo preceded Program, or who designed it. Both Formatt and Solotype are known for adopting designs from other sources, often under new names. The font comes with one to three alternates for most alphabetic characters – note the different forms for E in this use. In 2010, Dick Pape made a freebie digitization based on the Solo showing, named DXS Tuxedo. Kryton by Ben Balvanz appears to be based on (the same source as) Tuxedo, too.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library. A digitization of the full study is available from Hathi Trust.

You Belong There is the first full-length solo album from singer-songwriter and multi-instrumentalist Daniel Rossen (of Grizzly Bear and Department of Eagles), released on Warp Records.

The album was designed by Justin Sloane, with photography by Amelia Bauer. The back and single covers feature a custom design dubbed You Belong There, drawn by Sloane as an amalgamation of forms found in the lettering of Louis Jou. Captions were typeset in Greenstone, designed by Connor Davenport and available from Sharp Type. The type used for the text set on a spiral and on the record labels is Notre Ami, another unreleased design by Sloane. This ongoing exploration is inspired by the cover lettering of the book Notre ami Louis Jou (1929).

[More info on Discogs]

Back cover

Track list

Sleeve

Single record cover

Tour dates set in Greenstone

Limited CD edition

Limited CD edition

Limited CD edition

The association for the re-alignment of magnetic dust (RAM) presents its first volume with Earth Moon Earth And Other Round Trips—a collaboration between experimental electronic pop/leftfield musicians Orlando and Tom Furse. Each contributed a side on the concept of round trips.

The cassette tape is limited to 25 copies. All text on the cassette layout is set in the medium weight of Neue Helvetica (1983), except for the release code on the spine (RAM 001), which is set in the bold weight of Myriad SemiCondensed (1992).

[More info on Discogs]

“The spiral of egoism” – letterpress printed from hand-cut linoleum. From the series “The absurdity of the moment”, a visual diary of letterpress printed posters about the 2020/2021 Covid-19 pandemic.

2021 typographic calendar booklet created for clients and friends, printed in an edition of 200 copies.

The position of months moves as you flip the pages, creating an analogy to the passage of time. On the cover, January and December occupy the same position as on the inside. The graphic element of a spiral creates a connection between both.

All typography uses Mabry Mono by Benjamin Critton and Colophon Foundry