Cielo is a natural wine bar in Berlin’s Friedrichshain quarter. The friendly typographic approach and essential color palette convey its Mediterranean soul and Italian cuisine.

The concept is inspired by the sky, ever-changing like the menu and the selection of natural wines. The interior “Blu Corner,” illuminated by a neon cloud, is in dialogue with the brutalist exterior signage, blending tradition and contemporaneity. Dishes celebrate sharing in an open and inclusive space, far from conventions: “We all live under the same sky.”

Ivano Pirolo, a chef originally from Avellino, Campania, graduated from the hospitality institute in his hometown before continuing his training with a Master’s in contemporary cuisine in Girona. After various professional experiences across Italy, Spain, Switzerland, and Germany, he developed the desire to open his own restaurant.

In recent years, he refined his technique and culinary vision while working at the restaurant Les Solistes by Pierre Gagnaire in Berlin, and later continued his journey at Celler de Can Roca in Girona. Returning to his adopted city, Berlin, he joined the kitchens of Facil and subsequently Kink. It is here that the idea of opening his first restaurant, Cielo, took shape.

For this project, he turned to Attico36 with the aim of developing a minimal and contemporary visual identity, while still evoking the authentic flavors of Irpinia, combined with the creativity and elegance of Italian and Mediterranean gastronomic tradition.

Kaligari proved to be the ideal choice: the client wished for a reference to the scripts of old restaurant, winery, and delicatessen signs from Campania. Kaligari succeeds in reinterpreting that kind of imagery in a modern and contemporary way.

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.

The Chuck Wagon Gang’s album Rejoice was released in May 1969 on Harmony Records. It is a gospel/sacred music album, as evidenced by the inclusion of the track “I’m Rejoicing”. On the cover, Baby Fat is used for the title while the band name above and the song list below are set in Lining Gothic. Cover photography by Ira Friedlander, who may have worked on the typography as well.

[More info at Discogs]

The Chuck Wagon Gang’s album Hallelujah, released in 1971, is a vinyl LP compilation issued by Harmony Records, a sublabel of Columbia. The album features gospel and folk music, a signature style for the long-running family group. All are set in Stymie Bold Italic with the cover photography taken by John Berg.

[More info on Discogs]

From Wikipedia:

Mind Garage was an American psychedelic rock and roll band from Morgantown, West Virginia, and a progenitor of Christian rock music. Their “Electric Liturgy” performed in 1968 was the first documented Christian rock worship service, and their 1969 eponymous debut RCA album was one of the earliest Christian rock albums released.

The band’s name is set using Calendar.

[More info on Discogs]

From Wikipedia:

The Return (Russian: Возвращение, romanized: Vozvrashcheniye) is a 2003 Russian coming-of-age drama film directed by Andrey Zvyagintsev and released internationally in 2004.

It tells the story of two Russian boys whose father suddenly returns home after a 12-year absence. He takes the boys on a holiday to a remote island on a lake that turns into a test of survivability of almost mythic proportions. It won the Golden Lion at the Venice Film Festival (as well as the award for the best first film) and was nominated for the Golden Globe for Best Foreign Language Film. The film was also selected as the Russian entry for the Best Foreign Language Film at the 76th Academy Awards, but it didn't make the final shortlist. It received widespread critical acclaim.

The Russian movie poster uses Minion in roman caps and in italic lowercase letters. The letterforms of the title are filled with the image of the sky above the sea. Note the treatment of the descending bit in the letter Щ (Shcha). The nominations at the Venice Film Festival are added in a bold condensed style of Myriad.

This poster design uses the Watch Outline font (filled in in this case) to pair with the retro Vaporwave design. The neon colors and new age atmosphere of the design evokes the strange psychedelia of vaporwave and cyberpunk designs.

The poster is available from Lost Art Vintage Athletics.

The artwork for “All Night” (January 2019) depicts a sunset sky over some palm trees, with stars above it.

Ikson is an independent music producer from Sweden. Since around 2018, the artwork for his releases show photographs of nature. The titles are set in Voga by Charles Daoud. Shown here are three singles released between 2019 and 2021.

The cover for “Hope” (April 2021) depicts the blue sky over some mountains, with some sunrays embracing the title.

The cover art for “Questions” (February 2021) depicts the sunset or morning sky over some mountains, with a river stream below.

Gaya in use by design studio DR.ME for the 11th edition of the Macki Music Festival in Carrières sur Seine, France. On their website, they describe their great festival as follows (translated from the French by the contributor):

The Macki Music Festival returns to the banks of the Seine on June 29 and 30! For this eleventh edition (already!), the friends from La Mamie’s and Cracki Records remain faithful to their guiding principle, namely to offer two days of free, totally independent partying, with a focus on musical discovery. So, after last year's secret kitchen stage, where pizzas flew next to the turntables, and the new 360° DJ stage, which gave us the thrill of the sunset, what does the next edition have in store for us? Find out at the end of June!

It’s unclear whether the logo is custom drawn or based on a typeface.

Macki Music Festival is organized by Verveine Production and Cracki Records, with web development by Yann Bougaret.

Poster design for Choral Reef (now half day), Bronze Wolf, WLDFLWR, and Frankie Valet in Grand Rapids, Michigan on August 3rd, 2019. IvyMode is used in a figure-8 knot for the artists’ names. Neue Helvetica is plainly used to present the important details of the event.

Papageno for Peter Pan: the oblique caps with the soft contours are from the only published typeface design by Richard Weber. The Bauer foundry in Frankfurt/Main, Germany, advertised their 1958 release as “eine fröhliche Schrift” (“a cheerful typeface”).

Tale Spinners for Children was the American name for a series of vinyl records with stories and novels adapted for young audiences. Originating in the United Kingdom as Atlas Tales-Spinners, these records were introduced to the U.S. under the United Artists Records label. From the back cover:

THE TALE-SPINNERS FOR CHILDREN introduces an exciting new concept on records for young people. Every album in the series combines three major ingredients: classic stories for all young people; a fine theatrical company plus a famous actor or actress playing the title role, and the music of the Hollywood Studio Orchestra providing the finest background possible. Through the magic of TALE-SPINNERS, young listeners are exposed to the finest literature, and a form of classical music pre-sented in a most attractive setting.

The Peter Pan record was issued in 1967, with cover art by Frank Gauna. The casual sans-serif caps are fairly similar to Catalina, a 1957 release by Headliners, but with a different R and N.

[More info on Discogs]

Cloud-Specific is a monograph by Tomás Saraceno, edited by Jane E. Neidhardt, designed by cyan, and published by the Mildred Lane Kemper Art Museum in 2014. The book contains photos, diagrams, and articles.

Tomás Saraceno is a contemporary artist from Argentinia. Many of his works are in line with the concepts of “link” and “connection” that surround us. He has often used the sky and space as a place to reflect. Cloud-Specific was also an exhibition shown by the Mildred Lane Kemper Art Museum from September 9, 2011 to January 9, 2012. In it, you can find polygonal metal structures that connect to each other and blend together. For the artist the sky is a place of spatial conditions.

The book cover takes up the idea of the sky as an infinite space with particular spatial conditions. The typeface takes shape on the first page in a particular way. Neue Helvetica Ultra Light is delicately set against a white background. This allows the cover to initiate a minimal representation of space and sky.

The stretched hyphen between Cloud and Specific can also be interpreted as a reference to the artist’s work and his way of linking things together.

Description by Saraceno:

The sky constitutes not only an imaginary realm beyond national and political borders, but also metaphorically an infinite space of unlimited freedom beyond the laws of gravity. Cloud Specific, published on the occasion of the exhibition at Mildred Lane Kemper Art Museum, expands ongoing explorations of an Air-Port City, a project that employs advanced technologies such as bubblelike cells fueled by solar energy to propose new living structures.

Inside the book, headlines in Neue Helvetica Ultra Light are combined with text set in Times New Roman with non-ligning numerals. See more images on cyan’s portfolio website, including the middle part with a visual essay featuring collages and quotes from Peter Sloterdijk’s Sphären: Schäume, printed on lightweight paper.

These two posters were done for two West Coast concerts by Hans-Joachim Roedelius, best known for his work with Cluster and Harmonia in the 1970s who, for those who follow these things, were both a huge influence on Brian Eno and, by extension, Bowie during his “Berlin period”.

The first poster was for the concert in town. The second was for a delightful home concert on Galiano Island in the Southern Gulf Island chain between Vancouver and Vancouver Island.

For the SFU gig I used a doubled, inverted photo I'd taken while flying over Washington State. The second is taken from the shore near Montague Harbour, not far from where the concert took place on Galiano. I wanted the type to “stem” from the tree’s profile.

I'm not sure why I chose Freight … but it seemed right. Minor use of Gotham on the first.

The Théâtre de la Porte St Martin is a theater in the center of Paris. The theater shows half private plays, half subsidized creations, and is dedicated to an eclectic program. This goes with the theater’s long history and multiple changes: initially an opera, it was built in 1781 under the order of Marie-Antoinette, and was ready in a mere two months. Very soon a center of the cultural life in Paris, the building unfortunately burnt down nearly a century later during the events of the Commune. After its reconstruction in 1873, the opera became a theater and saw all the evolutions and new creations ranging from musicals of the 1960s to contemporary performances by great names of theater and cinema.

Pierre Jeanneau has served as the theater’s graphic designer for several years now: his expressive posters with the logo in Druk and typographic compositions as a recurrent theme regularly enliven the corridors of the Paris underground. For the 2021–2022 season, Pierre Jeanneau in collaboration with Clémentine Mahé worked on a more stable identity which plays with the architectural environment of the theater (the Porte St Martin is an arch in the 10th arrondissement). The typographic arch opens into a dream view of the top of trees – as the saying goes, a theater is not only a building, but a way to escape to other worlds.

What unifies the season’s identity is the use of Cardinal Photo from Production Type. The gigantic numbers and the name of the theater that we see on programs and on the posters enhance the specificities of the type design: Cardinal was made to be set in big sizes. The tight spacing and the specific contrast of the typeface immediately catch the eye. Once again, through a simple typographic proposition associated to an evocative image, the designers were able to reinvent the theater and enchant the spectators.

Cover art for the album record Meditaciones by Peruvian singer Evah, fetauring Love by VJ-Type for the title. Some of the letterforms were embellished with diamonds (O) and extra serifs in unusual places (D, C).

Poster design for the gig of Grateful Dead cover band Skull & Roses at Stone Church Music Club in Newmarket, NH on April 3, 2021.

For the poster of the documentary Ecce Ojo directed by Iñès Compan, Bureau 205 used the typefaces Heliuum (Damien Gautier) and Cosimo (Matthieu Cortat). Both are distributed by 205TF.

The ON AIR website presents

a collaborative project that works as an online-offline content hub on air, on atmosphere, on environment, on breathing.

Because everything takes form ON AIR we have decided to
map it through an airchive
to talk about it in air columns
inhale it through air time
blow it into airquakes

ON AIR is an open space in which to return several times, following individual reading paths —that are visual, mythological, historical-philosophical, technological, as well as poetical — with the hope of influencing the perception of our context and reconfiguring our environment.

ON AIR is a project by Juan Pablo Macías & Alessandra Poggianti for Carico Massimo with the support of Centro Per l’Arte Contemporanea Luigi Pecci / Regione Toscana / Comune di Livorno

All typography is set in Commissioner (variable) by Kostas Bartsokas.

Album art for Crumbling, featuring wavy, outlined, slightly-compressed AG Superblack Gothic.

Crumbling is the second album by independent Korean musician Mid-Air Thief (공중도둑). Released in 2018, it won Best Dance & Electronic album at the 2019 Korean Music Awards and gained a minor cult following outside of Korea through online forums such as Rate Your Music. From the webpage for its 2019 physical release by Topshelf Records:

Although sung almost entirely in Korean, Mid-Air Thief's cult-acclaimed album Crumbling exhibits a distinct universality, merging disparate sounds and styles into a cohesive, electronic-infused folk amalgam that tactfully blurs the lines between organic and synthetic. Listeners are led through enrapturing passages of swirling melodies underscored with eloquent plucks, strums, and bursts of bubbly glitches. Individual phrases drift into one another as if in a dream, cohered by guest vocalist Summer Soul's entrancing hooks and vocal soundscapes. Crumbling is a compelling accomplishment of both composition and production, bending as it does to its unique contours of consonance and dissonance, always resolving to a place of calm and beauty.

The album’s front cover, designed by the musician's cousin, features a grainy photo of a man fishing in the distance under a slate-blue sky. Outlined, wavy, and just a bit squished, AG Typography Institute's Superblack Gothic spells out the name of the artist and the title of the album in Hangul. Its back cover features the song titles set in the same typeface, with personnel and a short thank-you message in DX경필명조 Bold. On media related to the Topshelf vinyl release, English text is set in the label’s signature typeface, Base Mono Wide from Emigre.

[More info on Discogs]

Back cover of Crumbling, using warped AG Superblack Gothic (track listing) and DX Gyeongpil Myeongjo (other text).

Inspired by the designs and worlds of the well-known cover artist Storm Thorgesson and the never released video game of Kanye West, the artwork for the single cover of “Unendlich” from German rap artists Payy & Fard joins the history books as an innovative and modern rap cover.

The title of the song uses the Gothic-looking typeface Weiß-Initialen which refers to letter styles from medieval times, when people were philosophizing about infinity and afterlife. In the song, the artists raise the question again and pays tribute to people they lost.

“Nothing is forever, nothing stays the same – Who knows the ending and what comes after?”

The logo for Payy was made by mixing Grand Slang with some details of ITC Benguiat, and a custom YY ligature. The 3D design of the hour glass and animation was created by French artists Louis Crevier. The art direction and graphical composition is by Julian Schröpel alias Simbayu.