Surgir, jeux graphiques is a collective and participatory exhibition of the graphic design biennial Aperçu that took place in Boredeaux in May 2026. Éva Offredo is exhibiting TOUPIE UTOPIE, the result of her creative residency at Maison du Père Castor.

The Gikit typeface by Benoît Bodhuin accompanies the illustrations. There are a couple of secondary fonts in use. One of them is Chantier by Lucas Le Bihan.

Excerpts from the Great Masterpieces Vol. 4 is an album by the Wyncote Symphony Orchestra that was released in 1964 on Wyncote Records. The cover design features two typefaces by Filmotype. The title is set in Filmotype Ranger, mixing title case and all caps. The orchestra’s name is written in Filmotype York. The titles of the two compositions – Swan Lake and Shéhérazade – underneath the tangram-like structure are set in caps from Trade Gothic Condensed.

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Source: ernienotbert.blogspot.com Ernie (Not Bert). License: All Rights Reserved.

In October 1964, jazz pianist Ramsey Lewis (1934–2022) and his trio recorded their second album of Christmas music, More Sounds of Christmas (after Sound of Christmas in 1961). It was released by Argo Records, featuring a photographic cover by Don Bronstein. Shown here is a 1966 reissue by Cadet Records, with a different cover. Designed by Jerry Griffith, it depicts a tangram-like pattern made from four stylized rooftops with chimneys.

The title poses an existential type question: is this lettering based on a typeface? Or rather lettering based on lettering?

The calligraphic letterforms with strongly modulated strokes and traces of blackletter go back to Guy Oring and Paul Carlyle, who showed them in their lettering books published in the late 1930s. At some point between around 1958 and 1974, Filmotype adapted this unnamed alphabet for phototypesetting, under the name Yucca.

While Yucca stays close to the original, the manual interpretation on the album cover is more condensed and also omits the tendril-like flourishes with ball terminals. Carlyle & Oring’s design still shines through; from the characteristic construction of letters like M and R, to the extra-long descenders and the four-pointed star as i dot.

Source: typo.social Image: Letterform Archive. License: All Rights Reserved.

The unnamed alphabet with upper- and lowercase letters and numerals, plus two variations in a bold and a light condensed weight, shown by Paul Carlyle and Guy Oring in Learning to Letter, McGraw-Hill Book Company, New York, 1939

Source: www.ebay.com The Cove Room (edited). License: All Rights Reserved.

Detail

There are several digital interpretations of Carlyle & Oring’s alphabet (or of Yucca): Chaillot (Scriptorium, 1993) is fairly limited and has faux small caps in lieu of a lowercase. Magic Spell JF (Jason Walcott, 2007) and Kynges X NF (Nick’s Fonts, 2004) are more commendable options. The former takes more liberties. The latter stays closest to the source, but suffers from loose letterspacing.

The back cover is different in design, and carries over Columna (with Columna Solid) from the 1964 cover, complete with the two forms for the letter R. The liner notes by Louise D. Stone, jazz columnist for the Chicago Defender, the track list and credits are set in two weights of News Gothic.

Source: www.ebay.com The Cove Room (edited). License: All Rights Reserved.

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Under the title Projektor, the annual nationwide Tag der Architektur und Ingenieurbaukunst (“Day of Architecture and Civil Engineering”) offers a special program for young people in Hamburg. To appeal to this target group, a poster was designed for Hamburg’s urban space and the passenger television in the subway. The pattern, which is inspired by tangram, the Chinese puzzle game, is likely to be familiar to many six- to eighteen-year-olds and alludes to the theme of the event series. Symmetrical and strong-charactered, perhaps not easily readable letters are intended to appeal to and inspire children and young people as well as their parents who are interested in architecture.

The poster was animated to encourage interaction, which is also required in the various workshops offered. The animation can be seen by scanning the QR-code (with a smartphone with Instagram installed). Transparency causes the geometric shapes to blur with the background and enable playful effects.

Brutal Burrito is a fast food restaurant in Madrid that is looking to take the burrito concept one step further with its radical recipes and quality products, served up on 100% artisan tortillas.

The identity is based on two concepts.: The space – an interior design which refers to the minimalist brutalism of an art or a contemporary alternative space. And the place – Mexican streetlife references are found all across colors and materials.

For his Bachelor’s thesis Stefan Zimmermann developed a corporate design concept for the International Game Days Essen. The annual fair is the world’s largest trade event for board games. Target of the thesis was to design an identity concept with a distinctive hallmark, a uniform layout, and to create a concepts for Marketing campaigns. The appearance should fit to the topic ‘play’ and to the high standard of the fair.