Experimental typographic poster with every piece of information I could find on Ponte City Apartments.

The challenge was to create an A0 poster packed with information about only one topic using mainly typography. I dove into the world of Africa’s tallest residential building – a massive cylindrical structure from 1975 in Johannesburg, full of mystery and historical significance, that I wanted to convey through type.

Designed with a dual purpose, the poster works both as a physical reference, letting you read everything about the building – from its social and cultural significance to its role as a symbol of resilience – and as an immersive experience, placing you at the center of the “hole.” Divided into 30 topics under a single type weight, the text forms the shape of the façade as if seen from the inside, with context and key information at the center, maximizing the large format and creating a sense of depth.

By carefully working with the text partitions, I developed a deliberate sense of false symmetry. The left, center, and right sections follow different alignments, creating subtle quirks that keep the composition dynamic, while the jagged edges of the text echo the building’s raw concrete texture and sense of decay. This approach reinforces the structure’s character, turning the dense typographic layout into an extension of the architecture itself, where precision and irregularity coexist to reflect both its monumental presence and its worn, lived-in history.

785 sentences, 13,994 words, 86,694 characters, 841×1,189 mm

Project developed in the typography module of the Master in Visual Design at Elisava.

The self-titled debut album from April 1978 was designed by Zoran Busic with art by Rene Zamic.

Record collector, DJ and musicologist Klaus Hiltscher on Saga’s debut album:

In Germany the most sold Saga LP. I like this one because you hear also some rock guitars. In later LPs was the keyboards very dominant! “Humble Stance” is a very significant song for Saga, like “Satisfaction” for the Stones. To me it was the last LP which I really heard. In that year we opened our record shop ROCK ON, from then on I mostly heard Punk/Metal or New Wave like Gary Numan.

The cover established Solemnis as the typeface closely associated with the Canadian band’s early years. For the follow-up, Images at Twilight, the festive uncial by Günter Gerhard Lange was also used for the album title.

The track list on the back is set in Friz Quadrata, mostly in all caps.

The cover for Images at Twilight from May 1979 was again designed by Busic, this time with art by Tony Roberts.

Tracklist and credits on the back are set in Trump-Mediäval Italic.

Silent Knight was released in November 1980. Busic collaborated with Roberts another time. Solemnis made way for Parsons.

The first-edition jacket for The New Journalism depicts a stylized floating skyscraper. Behind each of its twenty-one windows, there’s the silhouette of a New Journalism author hammering away at their typewriter. The fantastic airship is moved by a gigantic pencil, obviously at some speed, as the motion lines indicate. Dozens of open books flutter around the flying building in strict formation like a well-organized swarm of butterflies.

The typography brings together the shaded caps of Marble Heart for the title (with “Journalism” highlighted by the yellow pencil body), Franklin Gothic Extra Condensed for the names of the anthology editors, and all-caps Windsor Elongated for the names of the featured authors. “By Tom Wolfe” probably is lettering.

I’d love to learn who designed this! Gloria Adelson is credited for the book’s interior, but I don’t think this extends to the dust jacket.

The back lists the twenty-three texts included in the anthology in two weights of Helvetica. Two authors, Hunter S. Thompson and Wolfe himself are featured twice.

This is the fourth studio album by Japanese singer-songwriter Toshiki Kadomatsu. The artwork photo was taken on Midtown Manhattan. After 5 Clash is one of his highly sought-after albums by city-pop enthusiasts. Due to its popularity, some resellers offer it at a high price. The album title on the front cover is set in the only variant of VGC’s Emphasis which is an italic typeface.

The back cover with track names and personnel credits is set in Kaufmann Bold. The text at the lower portion uses a demibold weight of Helvetica, while the price “¥2,800” is in a bold weight of Univers resembling Univers 75. Lastly, the Japanese serif/mincho typeface is mostly likely set in a medium weight of Ishii Mincho called Ishii Chū Minchō (石井中明朝).

[More info on Discogs]

Both scanned only by MartyMcflies, physical copy owner is undisclosed.

Specimen from The World-Famous Photo Typositor Alphabet Library in 1973. (pg. 76)

Artwork for “Being Boiled” (with “Circus of Death” on the B-side). The 7″ single was the debut release by The Human League. It came out in June 1978 on Fast Product.

The typefaces used in this design were typical of the time. Also noteworthy are the graphics, which came from Letraset Illustration sheets.

[More info on Discogs]

Modern New York, written and illustrated by Lukas Novotny, designed by Lilly Marques, and published by Rizzoli Books, is a gorgeous book of architectural illustrations of NYC landmarks, plus a decade-by-decade history of the city over the last 100 years.

The Royal Scam is the fifth album from American rock band Steely Dan, released on ABC Records in 1976.

The artist and album title are set in all-caps Koloss, with an added shadow effect. On the back cover, the track listing and credits appear in all-caps Optima.

From Wikipedia:

The album's cover features an image of a man in a suit sleeping on a bus stop bench in Boston and dreaming of skyscrapers with monstrous animal heads at the top. [Larry] Zox originally created the painting of the skyscraper/beast hybrids for an unreleased Van Morrison album, and designer Ed Caraeff suggested superimposing a photograph of a sleeping vagrant taken by Charlie Ganse to make the cover for The Royal Scam. In the liner notes for the 1999 remastered reissue of the album, Fagen and Becker called it has “the most hideous album cover of the seventies, bar none (excepting perhaps Can’t Buy a Thrill).”

Tom Nikosey is credited with the typographic design.

[More info at Discogs]

The back cover

New-York 1997 is the French title of Escape from New York, the 1981 science fiction action film co-written, co-scored and directed by John Carpenter, starring Kurt Russell, Lee Van Cleef, Ernest Borgnine, Donald Pleasence, Isaac Hayes, Season Hubley, Adrienne Barbeau, and Harry Dean Stanton.

The French poster was designed by René Ferracci, using Critt Graham’s True Critt (Headliners, 1970). While the director’s name and the original title use True Critt Love, “New-York 1997” is rendered by hand: the bolder True Blue True Critt was redrawn with rounded corners in E and W and enhanced with a halo of noise.

Italian movie poster

From IMDb user Michael Elliott:

Entertaining non-sense from director Ruggero Deodato is an Italian rip-off of the American film The Concorde Airport ’79 but this here is actually much, much better. The wild plot deals with a crazy businessman (Joseph Cotten) who plans to take down every Concorde plane that he can so that it keeps him in business.

As noted above, this movie pirates on a movie from the same year, with a similar name: The Concorde... Airport ’79, the last episode in the Airport sequel (Airport, Airport 1975, Airport ’77). To add more variation/confusion, the movie was released under various similar names in different countries: Opéracion Concorde, SOS Concorde, S.O.S. Concorde, Das Concorde Inferno, Concorde Affair etc.

[More info on IMDb]

Cover art of the 1997 UK release for PC. The game's title is set in Powerhouse with additional text set in Clarendon.

Cover art designed by The Designers Republic for the 1997 action-adventure video game Grand Theft Auto, developed by DMA Design (later known as Rockstar North) and published by BMG Interactive in the United Kingdom and Europe and by ASC Games in North America. The game is the first entry in the popular Grand Theft Auto series.

For the cover art of the UK release for PC, the game's title is set in Powerhouse. Additional text from the cover is set in Clarendon.

For the cover art of the European release (France, Germany and Italy) for PC, the game's title is abbreviated to GTA and based on Compacta, with additional text set in Clarendon.

For the cover art of the March, 1998, North American release for PC, the game’s title is based on Compacta, which is also used for some additional text. Other fonts featured are FF Confidential, FF Trixie, Futura and Helvetica.

Covert art of the 1997 European release (France, Germany and Italy) for PC. The game's title is abbreviated to GTA and based on Compacta, with additional text set in Clarendon.

Front cover of the 1998 North American release for PC. The game's title is based on Compacta. Other fonts featured are FF Confidential, Futura and Helvetica.

Back cover of the 1998 North American release for PC. The game's title is based on Compacta, which is also used for some additional text. Other fonts featured are FF Confidential, FF Trixie, Futura and Helvetica.

The posters for the Spider-Man trilogy directed by Sam Raimi use a customized Mata. Shown here are various posters made for the first installment in the superhero series from 2002, starring Tobey Maguire, alongside Kirsten Dunst, Willem Dafoe, and James Franco; produced by Columbia Pictures, Marvel Enterprises, and Laura Ziskin Productions; and distributed by Sony Pictures. The poster designs are credited to Vox and Associates as well as Creative Domain, with photography by Peter Tangen.

The letterforms of Greg Samata’s 1993 design were modified to varying degrees. In addition to the obliquing and the chrome effect that is common to all text, R and Y got shorter spurs (see “FOR” and “MAY”), and the 1 (in “JUNE 14”) a shorter nose. The Spider-Man logo was further customized, with spurs on the top of P and N. The same customized Mata was later reused by Sony for the PlayStation 3 logo.

One Sheet poster (27″×40″)

One Sheet poster (27″×40″)

Willem Dafoe as Norman Osborn, a.k.a. the Green Goblin

Poster for ACORN, Living Rent and London Renters’ Union to encourage people to join these organisations. Headlines use Marvin Visions, smaller text is set with Futura.

Autonomous Design Group is an independent collective of designers, artists and creatives opposed to capitalism and authoritarianism. We maintain that the aesthetic is of vital importance in the terrain of political struggle. We aim to offer artistic support to a wide range of groups and movements and encourage everyone to contact us for designs. All our designs are open-source and editable.

​We use a combination of collage, creative graphical elements, strong typography and colour palettes to depart from the usual red and black style of the left – an aesthetic which we believe comes across as dated and out of touch.

Shown here is a selection of posters around the theme of housing rights. Find more housing posters on our website.

Rent Strike Weekender, with a collage based on 1950s Air France posters and using Commune Nuit Debout.

Social Housing, with a collage based on 1950s Air France posters, with text set in Helvetica Condensed.

“Homes for people not profit”, set in all caps Gibson.

Poster for Los Angeles Tenants Union, headlines set in Amboy Black.

Poster for Sacramento Tenants’ Union. Collage from 1950s Air France posters. Gill Sans on top, stretch Gill Kayo for the bottom lines.

Poster for London Renters’ Union during the Coronavirus pandemic.

Branding in use on the Spanish sleeve of the debut single by Belgian soft rock band Lester & Denwood, “America (What Have You Done?)” with B-side “Song For Joane”, released in 1973 by Atlantic Records.

Fictional designs for an exhibition (see the full project at Behance). For longer than we can remember, humanity is trying to reach the sky. Skyscrapers are the most complex architectural objects. Design of the buildings is the main engineering problem, but it has found many solutions in the modern world. The purpose of the exhibition is to show people the achievements of architects in this difficult job and tell about how humanity has passed long way to the sky.

The metaphor of the brand is the height inherent in all skyscrapers. It is reflected in the "floors", supplemented by growing letters. FF DIN was used in the identity because of "industrial" design of the font.

The top of the tallest building in the Western Hemisphere, the One World Trade Center. Amazing 360° views of New York on the 100th floor. Source: https://oneworldobservatory.com