Eight years after the first English edition by Basic Books, A.R. Luria’s The Mind of the Mnemonist was reissued by Chicago-based publisher Henry Regnery. Roger Harvey’s jacket design uses Harry Obese, the heaviest weight of Harry, alongside Univers. The layered text snippets in pink and red additionally feature Helvetica, Times New Roman, and Bookman – but those are likely repurposed from existing material.

A.R. Luria’s The Mind of the Mnemonist was first published in English by Basic Books in 1968. This is the cover of the first paperback edition, issued by Discus Books in September 1969.

The exciting and bewildering inner world of an ordinary man endowed with extraordinary mental powers
“Haunting … vividly and touchingly real.” — Scientitic American

The uncredited design uses tightly spaced Helvetica caps for the title and the author’s name. The smaller text including the blurb is in Helvetica, too. “Recall” is staged as a type size gradient in Egyptienne Bold Condensed. The text snippets used in the collage feature two more serif typefaces, including Palatino for the one on red background, but those probably weren’t actively chosen by the designer.

Original 2006 cover

From the Lemon Demon Wiki:

Dinosaurchestra is Lemon Demon’s fifth album, released on July 20, 2006. It was remastered by Angel Hair Audio LLC and then re-released by Needlejuice Records and Acrobat Unstable Records on January 1, 2022. It is the first to include a text commentary, a secret track, and a booklet. It is also the longest Lemon Demon album to date, with over two hours of music (including bonus tracks).

The front cover displays a diorama on what appears to be the inside of a door, comprised of household objects (a toothbrush, a deck of cards, a rose, a key, etc), a CD-R labeled “MUSIC?” and a piece of paper with a blue dinosaur character with heart pupil eyes (semi-officially named “Goodsie”) printed on it, while a piece of paper displays the band name in a light condensed and warped version of Novel Gothic, with the album title displayed in a similarly warped Times New Roman.

It is unknown what digitization of Novel Gothic was used for the “Lemon Demon” text. Perhaps Neil could have used one of the many poor digitizations back then of it? (Castcraft’s version comes to mind, it does have a bold weight which is very similar.)

[More info on Discogs]

Remastered 2022 album cover

Back insert on original 2006 release. The tracklisting is set in ITC Souvenir Light, while the “Dinosaurchestra” text on the bottom of the tracklist uses Harlow Solid. The text on the right spine also uses this font (albeit with the uppercase L and D replaced by a unknown font.)

Restored 2022 back insert. The copyright info in the lower left corner is set in Gill Sans.

Back panel of 2006 booklet and on 2022 re-release. All of the text is in custom handwriting.

Source: www.ebay.co.uk antondischi (edited). License: All Rights Reserved.

Front cover, Decca version

Paris for Lovers is an album by French accordionist Maurice Larcange (1929–2007), released in the Phase 4 Stereo series by London Records in the United States and by Decca Records in the United Kingdom. For the cover, New York-based studio Farmlett, Barsanti & Associates filled the big numeral 4 with a smorgasbord of local stereotypes; from the tricolore and a pastiche of Toulouse-Lautrec’s Jane Avril poster to a bottle of Dubonnet and the inevitable Eiffel Tower.

Judging from details like the short and narrow i and the v with ascending swash, the title typeface is Photo-Lettering’s Caruso Roxy (1962) – and not its close follower Holiday: in the Lettergraphics face, the i is taller and wider and there’s no alternate form for v, see this glyph set.

[More info on Discogs]

Source: www.ebay.co.uk Craig Moerer Records By Mail. License: All Rights Reserved.

Front cover, London Records version

Source: www.ebay.co.uk Craig Moerer Records By Mail. License: All Rights Reserved.

Back cover, London Records version

Source: www.todocoleccion.net pilarc-alvarez. License: All Rights Reserved.

Cassette version, 1973

The text on the balloon (“HAPPY BIRTHD”) might be in all-caps Franklin Gothic Wide.

This box set with twelve 7″ records containing a total of fifty party playtime songs was released on Playhour, a sublabel of Pickwick Records, and advertised in 1970. The collage on the cover is by Frank Daniel. The three main display typefaces are all from the catalog of Photo-Lettering: “50” uses numerals from West Barnum, “Party Playtime” is in caps from Caruso Roxy, and the Playhour logo on the back, the inner sleeve and the labels features Gonzales Jeanette.

[More info on Discogs]

I began collaborating with Sean Mason on the design of his sophomore album in October 2024. He reached out to explain his plan for a complete rebrand of his visual identity. Sean is a visionary Grammy-nominated jazz pianist, composer and bandleader, and a recipient of a Bessie Award and Bistro Award.

The challenge was to translate the pianist’s spiritual and creative rebirth into a singular visual identity; to visually represent the joy, but also the difficulties, of that process.

The primary inspiration was the Ivy aesthetic, championed by Miles Davis in the 1950s and 60s. Sean attended Juilliard and moved to NYC in 2018. He then came back to his roots, his hometown of Charlotte, North Carolina. His music is deeply rooted in the cultural heritage of the South. Thus, it felt fitting that the album packaging hinted at the colors of the American flag. Sean’s musical style is very reverential, often paying homage to old school jazz, hard bop and gospel music. I wanted the visual aesthetic to mirror his respect for the jazz tradition. Therefore, in all the promotional materials and the album packaging, I incorporated typographic references ranging from the early 20th century to the 1970s.

[More info on Discogs]

Front and back cover

Inner gatefold

Inner sleeve

These sheets include logos of publications that reviewed A Breath of Fresh Air, some of which use additional fonts like Gill Sans, Clarendon, and Frutiger that are not part of the album design.

This personal poster project is available for sale from Dreamhouse International. The imagery consists of a collage of vintage magazine clippings blended into a single composition. The text uses Cherry TM, referencing the iconic Pacha nightclub logo.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

Album cover featuring Hypnos

Three Sisters is the second studio album by the Berlin-based band Goblyns. It was recorded at Junxt Berlin, mastered at Songololo Studios and released in June 2025 by Crazysane Records.

The artwork and design was made by Julia Schimautz at DTAN Studio.

Additional information and images about the design process can be found on this Instagram post made by the artist (including a Risograph printed poster of a taller version of the album cover's illustration, with more objects).

Hypnos by Jean Alessandrini is used for the band's name. It is accompanied by a version of Quadra 57 (probably Spade from Canada Type) for the titles of album and tracks on the back of the record, as well as the dates on the tour poster.

Another visual was made by Julia Schimautz for the single cover for an earlier digital release of the album’s title track in April 2025 (with the participation of Day Day Contemporary screen printing studio for exposing a screen used for the design). More information about this image can be found on this Instagram post.

Shotgun was used for both the band name and song title on the single cover.

Vinyl record showing the backside using Hypnos as well as Spade for the album & tracks titles.

Tour poster featuring Hypnos and Spade

Single cover, featuring Shotgun

1983 album by Sly & Robbie and the Taxi Gang, released on their own Taxi Records.

The open letterforms casting a perspective shadow are from Alpha Sunrise, the dimensional style of Hiroshi Yamashita’s typeface family. “Taxi Gang” is in Letraset’s Revue. “Taxi Connection” appears to be Advertisers Gothic – also available from Letraset – with a custom C made from an O. The names of the Taxi Gang members on the side of the car are set in Franklin Gothic Extra Condensed.

In memory of Robbie (1953–2021) and Sly (1952–2026).

[More info on Discogs]

The art magazine Kunstbulletin describes the exhibition as follows:

Female artists continue to be much less present in the exhibition scene than their male colleagues. This is particularly true of museum collections. For this reason, Museum Ostwall im Dortmunder U is now taking a look at its holdings and its gaps, showing works by 30 female artists from two periods of the 20th century. The special exhibition Tell these people who I am – Women artists in Expressionism and Fluxus is inspired by the focal points of the museum’s own collection and can be seen from 25 October 2024 until 23 March 2025.

The exhibition will be accessible in two parts. “...a natural inner must” – Eight Female
Expressionists celebrates the concept of the Gesamtkunstwerk and revels in the wide range of materials and elements the artists of this era worked with, thereby expanding the concept of art. Fluxus and Feminism examines the era of emerging feminism and global interconnection, in which women were still massively restricted in their opportunities for artistic realisation.

The design was created by Sichtvermerk (Stefan Claudius, Viola Dessin⁠), using Minérale (Thomas Huot-Marchand, 205TF) and Ufficio Sans​​​​​​ (Giulia Boggio)⁠.

Brnjsmin returns with his long-awaited second album on Verydeeprecords, blending leftfield electronic(a) with bass-driven ambient and not not jazz. A tripping brain dance with a wink for fans of dreamy synths and early Four Tet.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combined line drawings by the artist himself with found images, typographic elements and glossy 3D graphics, creating a unique visual world reflecting the playful approach of the music.

The text is mostly set in Samara Keller’s Tempos Mono. In addition, some glyphs from ABC Maxi Round and LL Fiat77 can be found and the back cover features some customized bits and pieces from CirrusCumulus and GT Alpina.

[More info on Discogs]

River Garza (b.1994) is a visual artist from Los Angeles, California, “whose work draws on traditional Indigenous aesthetics, Southern California Indigenous maritime culture, skateboarding, Graffiti, Mexican culture, and Low Rider culture.”

On March 27th 2024, he gave a talk as part of the Paul Brach Visiting Artist lecture series at Calarts. The poster uses Rage Italic and Dealerplate California, referencing the Golden State’s iconic license plate typography.

Large in use by Simon Conus in animated posters for La jetée, by the French artist Asinine. The animation relies on mixed-media techniques, with footage from a concert by the artist. The text displayed is the track listing of the EP.

The publication Der Prozess ist der Parcours – Wie Antworten über Fragen staunen oder wie Spiele Wissen infrage stellen (“The process is the course”) is a publication and documentation of my Master project made at Burg Giebichenstein Kunsthochschule Halle. It captures the process of the exhibition and the multimedia and participatory exploration of curiosity. It is about the potential, the downsides and the promotion of curiosity. It is an attempt to spatially represent this driving force, allowing for mishaps that enable moments of critical self-reflection and knowledge production, and methods that stimulate curiosity. In particular, it focuses on playing, questioning, establishing connections and moments of irritation.

The softcover publication has 128 pages and measures 125×185 mm. It comes with a silver scratch-off sticker and changing papers.

Typeset in EB Trainer Grotesk Regular by Antoine Elsensohn of Électro-bibliothèque,
Adelphe by Eugénie Bidaut of Bye Bye Binary, and HAL Timezone Mono by HAL Typefaces. Concept and design by Alexandra Vögtle.

This children’s publication was created as part of the Primo! project by the Krupa Art Foundation. It’s an activity book inspired by works from the KAF collection, encouraging children to explore what collecting means and how diverse it can be. Printed using the Riso technique at the Effemera print studio in Wrocław – each copy is unique!

Published by Krupa Art Foundation in a limited edition of 400 numbered copies, this 14.8×20.8 cm book was conceptualised and written by Magdalena Kreis and designed by Paweł Mildner.

Flyer for a punk gig with Parnepar and Drim, October 5, 2025, at Le Winger Bar in Toulouse, France.

City Atlas is a book that immediately recalls the travel-guide format: narrow, oblong, with rounded corners that fit easily in the hand. Much like Architectural Roots (Dell Upton, 1986), which inspired its conception, the book uses the atlas form to reflect on architectures shaped by migration. But City Atlas is not a conventional atlas. Instead, it collects stories, spaces, and signs of migrant work.

The project began between 2015 and 2019 in Saarbrücken, where Prof. Amalia Barboza, teaching at Saarland University (since 2019, she teaches at Kunstuniversität Linz, Austria), observed how the city could be read through its restaurants, shops, and other businesses built and run by migrants. The resulting book combines ethnographic observation with a visual archive and reflections on the ways people design their working environments, from the choice of a name to the decoration of an interior, often shaped by memories of home.

While its subject matter is serious—the visibility of migrant labor in a climate of political tension—the book also carries a sense of curiosity and openness. The photographs and short texts encourage the reader to linger on details: the signage of a shop, the decoration of an interior, the choice of a business name. These fragments, when seen together, form a panorama of urban life shaped by migration. Like a true atlas, it asks its readers to move across borders and cultures.

For the cover and appendix, large-scale lettering uses New Alphabet by Wim Crouwel (The Foundry). It is a constructed alphabet for stories of constructed spaces.

The main part of the book is set in Pantasia by Wei Huang (Counter Forms).

OPS Past Perfect by OPS Type is used for essay headlines and pagination, while the essay body copy itself is set in Times, providing a classical and neutral grounding.

All reconstructed shop logos use Suisse Int’l by Swiss Typefaces. This provides a unifying framework, standardizing disparate designs into a coherent visual register.

The book design guides the reader gradually. A short introduction eases the entry, followed by a recurring graphic motif: the shape of a boarding pass, signaling the themes of travel and migration. Text sections are interwoven with photographic sections, establishing a rhythm between narration and image.

The photographic work, all produced by Prof. Amalia Barboza, explores the same foil collages in three ways. First, they appear as framed images. Then the same foils are projected using an overhead projector, creating ephemeral, layered visuals. Finally, the foils are collaged onto window glass, merging printed architecture with the actual cityscape.

The layout is bilingual: all German text is printed in black, while all English text appears in Pantone 287 dark blue, giving the two languages distinct visual identities.
The essays follow a classical book-typography style, in contrast to the main section of 35 shop portraits, which are set in monospaced Pantasia. Within this grid, quotations are treated specially: they appear 1.5 times larger and shifted on the baseline, breaking the rigidity of the mono system while maintaining the grid. To avoid collisions of ascenders and descenders, additional baseline shifts are applied—these sections are “unicased.”

City Atlas was produced by Quatroprint in Brno, Czech Republic. The book is printed in two-color UV offset and comprises 228 pages on slightly transparent, thin paper (Munken Polar Rough 90 g), giving the volume a delicate, tactile quality. The binding is a Swiss-style sewn structure with blue thread and an open spine, allowing the book to lie flat.
The cover is made from cardboard with a partial UV glossy coating, designed to evoke the texture of passport cloth, reinforcing the themes of travel and migration. The corners are rounded.

The book invites readers to engage with cities as layered spaces of culture, labor, and imagination, offering a rich experience that extends far beyond its pages.

This graphzine aims to explore the iconography and representation of light through various artistic means. It presents a wide range of light sources, whether natural or artificial, from the flickering flame of a candle to the brilliant flashes of lightning. Using graphic techniques such as grids, layering through collage, or adding shapes to photographs, we discover that light can be diffuse, dazzling, blinding, undulating, or sparkling. This book is presented as a journal of observations, offering a reflection on how light shapes our daily lives and occupies our space.

The luminous aspect is also highlighted in the shaping of the edition. Some research has been screen-printed with fluorescent ink, adding real touches of light to the reading. The slightly iridescent and wavy paper cover reflects light and changes the readability of the title depending on our lighting environment. Finally, the Coptic binding and the large number of quires allow the edition, once unfolded, to create a radiant effect.

The portfolio of Fiona Hansen Sigrid, student at the Institut Français de la Mode (IFM), captures the creative process of pattern making, volume and garment construction by using design and images.

Featuring Tess Lochman, with art direction by Clothilde Bouan, photography by Jean-Marie Binet, and lighting assistance by Loc Boyle.