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.

Source: www.ebay.com dailydimes. License: All Rights Reserved.

Архив Популярной Музыки (Arkhiv Populyarnoy Muzyki, English: Archive of Popular Music) was a series of twelve long-playing vinyl records issued by the Soviet state label Melodiya (Мелодия) in 1988–1989. Each volume compiled key tracks from a single prominent figure in British and American pop and rock music of the 1950s to 1970s and included extensive liner notes detailing the artist’s creative history, a rarity in the USSR at the time. This made the series a significant window into Western music culture for Soviet listeners, who otherwise had very limited access to such information.

The cover art and visual identity of the series were created by designer Andrey Gusev, whose work unified the releases and distinguished them from both original Western album artwork and earlier Soviet compilations like the three-LP Rock Archive line from 1987, which used the same music and text but different covers. The series occupied a complex space in Soviet practice: although it carried a higher retail price framed as a “foreign license” premium, the recordings were sourced from private collections and pre-1973 masters under a legal regime that did not require international royalties, leading some contemporary historians to describe the releases as bootleg-like products of their era. For a more detailed history of the series, see Artur Netsvetaev’s article for Soviet Rock.

For the bilingual typography, Gusev used ITC Lubalin Graph in all-lowercase letters. The series title and number are added in Helion.

[More info on Discogs]

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A collection culled and translated from Gramsci’s Quaderni del Carcere (Prison Notebooks; link in English), Cronache torinesi (Turin Chronicles), and La città futura (The Future City; link in Italian) printed in the German Democratic Republic.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

Look Around the Corner is an album by Quantic (Will Holland) and Alice Russell, recorded and produced by Holland in his studio in Cali, Colombia, and released in 2012 on Tru Thoughts. The title track “Look Around the Corner” was added to the daily rotation play list of BBC 6Music.

Album design by Ali Tollervey, with the logo credited to Alfred Hawkins. He based the lettering on a couple of typefaces: ITC Lubalin Graph with ligatures for “Quantic” and Futura Dot for “Alice Russell”, connected by an ampersand modeled after Pistilli Roman’s.

[More info on Discogs]

A late 1980s flyer for a showing of The Cabinet of Dr. Caligari (a 1920 silent film) at the Roxie Theater in San Francisco’s Mission District, complete with an added soundtrack composed by the Club Foot Orchestra.

Bouncy, all caps Wedge Gothic (a.k.a. Japanette) is used for the title of the film. It's accompanied with Squire Extra Bold (1987) with its alternate descending L. Scanner is used for the Roxie wordmark, and is likewise paired with ITC Lubalin Graph Bold Oblique. The latter three fonts were offered by Letraset, a popular dry transfer manufacturer (and, perhaps, Japanette might have also been carried by them.)

Colin Brignall’s Italia, a redrawing of ATF Jenson issued by Letraset in 1975, in use in its Book and Bold weights for a print ad for “Ford’s tough Ranger 4x4” from 1985.

The signature and claim (“Ford Ranger / America’s truck / Built Ford tough”) uses all-caps ITC Lubalin Graph.

Reelin’ and Rockin’ is an album by Chuck Berry (1926–2017) with a live recording from the early 1970s (Discogs suggests it’s from a performance at the Toronto Rock and Roll Revival in 1969), released in 1984 on the British budget label Topline Records. It is named after a song originally recorded in 1957 and released as the B-side of “Sweet Little Sixteen”.

Berry’s name is set in VGC’s revival of Octic Extended. The album title is handwritten. For the track list and Gordon Bennett’s liner notes, designer Yeldham Muchmore specified ITC Lubalin Graph.

[More info on Discogs]

UK print ad from Zzap!64 for the ports by Ocean, featuring the Gryzor logo, which based on Earth, and additional text set in ITC Benguiat Gothic. Character illustrations by Bob Wakelin.

From Wikipedia:

Contra is a run and gun video game developed and published by Konami, originally developed as a coin-operated arcade video game in 1986 and released on February 20, 1987. A home version was released for the Nintendo Entertainment System in 1988, along with ports for various home computer formats, including the MSX2. The arcade and computer versions were localized as Gryzor in Europe, and the NES version as Probotector in PAL regions.

Designer/s currently unknown. Character illustrations for Bill and Lance, featured on the covers/ads for Contra and Gryzor, are by Bob Wakelin. If they look somewhat familiar, here's the inspiration.

Both the Contra and Gryzor logos are based on Earth. The Contra logo appears to be custom lettering, rendered in a more condensed derivation with a brush style C, but it retains many of Earth's key characteristics. The logo for Gryzor, however, is more assuredly based on Earth, with the French Amstrad CPC cover displaying an exact typesetting on the back panel of its cover. The Z is hand lettered in a brush style. This cover also features ITC Lubalin Graph, used for the Amstrad specifications on the front panel.

UK print ad for Ocean's Gryzor ports also features text set in ITC Benguiat Gothic and ITC Avant Garde Gothic.

The logo seen on the Japanese flyer for the 1988 arcade sequel, Super Contra, also features Earth. It is used for the word "Super," with the S being hand lettered in a brush style.

For the 1990 European release of the PAL version on the NES, the Probotector logo is based on a horizontally squeezed Report, with a chrome gradient fill.

Full view of the cover for the French release of Gryzor for the Amstrad CPC (disk version), developed by Ocean. Character illustrations by Bob Wakelin. Logo typeset in Earth on back panel.

Flyer/side panel decal for Konami's arcade version of Contra. The game's logo, aside from the C, is loosely based on Earth.

Front cover of the NES version, developed by Konami and released in the US in 1988. Character illustrations by Bob Wakelin.

Flyer for the 1988 Japanese release of the arcade sequel, Super Contra. Earth is used for the word “Super”. The S is hand lettered in a brush style. Type used for Japanese text currently unidentified [edit: there is @typeentity:235485@ and Gona, see comments].

Front panel of the box for the 1990 European release on the NES, titled Probotector. This logo is based on Report a.k.a. Charger.

Inside of unfolded invitation, 10″×14″

For The Paris Review’s 2019 Spring Revel benefit invitation design, Topos Graphics conveyed a broad range of book design with 18 carefully-selected bookish typefaces. Topos provided this explanation by email:

We designed a book shelf environment for text elements to be placed, composing texts as if they were individual titles. Different volumes of content got different character treatments. This functioned to compartmentalize the invitation’s hierarchy of info, but it also allowed us to approach each individual element anew. Like a personal library, the result takes on a character of its own. Tinged with old- and new-era sensibilities, we felt the selections—and the suite's ​ color palette—connected to The Paris Review’s 1960s advent and a contemporary moment—both in literature and typography. Book collections, like font collections, showcase a rich diversity of history, form and taste.

The invitation unfolded to a 10″×14″ posterette, with the front and back sides designed as a kind of A-Side, B-Side of a wooden bookshelf. The shelf cubbies gave us spaces—a semblance of a grid—to place information within. And that grid functioned through the event’s other collateral, like its printed program.

The annual event’s title “REVEL” is spelled out of book spines and a clever crop of Schmalfette Grotesk’s R. Strategic moves in hierarchy, with color, scale, and type orientation, create an engagingly graphic reading of a large amount of text. The books are energetically stacked, with the bookshelf bolstering as a grid to group and separate information.

Additional typefaces reflect different eras and aesthetics of book design: elegantly readable Garamond Premier, Paperback, and Study; mid-century classics like ITC Franklin Gothic and Lydian; genre-novel signifiers Ballast, Bookmania, and Cortado; stoic and structural ITC Lubalin Graph, Swiss 721, and Sentinel; contemporary and inventive Minérale and Canela.

Larger book spines use display typefaces to prioritize the most pertinent information, like the event location and speakers. Smaller type used uniformly suggests the repeated design systems of book series—Study for the board of directors and Schmalfette Grotesk for list of hosts.

The opposite side of the unfolded invitation provides a peek at the book blocks from behind the shelves and a quiet background for a mailing label. All information is repeated from the graphic side, set more traditionally in Garamond Premier. The attention to hierarchy persists, and ruled lines parallel the organizational function of the bookshelf.

Front of folded invitation. The Paris Review’s logo is segmented on book edges.

Outside of the invitation, unfolded

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork

Close crop of the vector artwork. Garamond Premier is used in various of its optical sizes.

Close up of Minérale, Schmalfette Grotesk, Paperback Italic, and a little bit of Chrysaora

Close up of the writer hosts section using Schmalfette Grotesk

Title card

Bref (in English: “in short”, stylized Bref. with a period) is a French TV series of 82 episodes created by Kyan Khojandhi and Bruno Muschio broadcast on Canal+ in 2011 and 2012.

The episodes are short and brief. The editing is quite fast and the jerky intertitles are minimal and clean, featuring the very readable ITC Lubalin Graph. Some intertitles are animated as if typed, evoking a typewriter feel.

Thumbnail of an episode

DVD box with the complete series

End titles

End titles

End titles

The luxurious Mexican art magazine Artes de México devoted its 66th issue to the historical figure of China Poblana and its interior was entirely composed with Rayuela (Alejandro Lo Celso, PampaType). The main text was set in Rayuela Gris, the titles in Rayuela Chocolate, the drop caps in Rayuela Luz. Art directed by Carolina Martínez Treviño.

Source: www.southrecordshop.com South Records. License: All Rights Reserved.

Front cover.

Epic in use for Dread in a Babylon by U-Roy. Released by Virgin Records in 1975, this album was a success in England, and laid the foundation for the international popularity of the Jamaican artist born as Ewart Beckford. Hailed as “The Originator”, U-Roy “was the prime innovator of toasting over versions of popular songs, remixed by dub music pioneers such as King Tubby. This vocal style was a major influence on early rap (Disco / Electro / Break Beat) and the later American hip-hop movement.” [Discogs] The “Godfather of Rap” died this week in Kingston at the age of 78.

[More info on Discogs]

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Detail.

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Front cover of TR International’s release, Jamaica, 1975.

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Back cover of TR International’s release, Jamaica, 1975.

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Back cover of a 2017 repressing by Get On Down.

“Holidays” (No. 329) ft. Aesthetic. Having been issued by the Dickinson Type Foundery in 1882, the Victorian face with the ornate caps is the oldest one in the mix. In 1980, it was available from Photo-Lettering, Facsimile Fonts, VGC, and others.

Covers for various clip books of line art issued in 1980 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey.

The booklets from this volume exemplify the dominance of ITC for display typography in the United States in this period. There are nine different typefaces from the library of the International Typeface Corporation, including less common ones such as ITC Uptight Neon (1970) and ITC Quorum (1977).

Letraset (the company that would acquire ITC in 1986) was also influential: There are two originals by the British manufacturer of dry transfer lettering sheets, Compacta (1963) and Cathedral (1978). Many other faces were available from Letraset (as well as from various phototype providers), too, among them revivals like Harrington, Tintoretto, Dynamo, and Peignot, or adaptations of designs that originated in phototype like Tonight, Yagi Double, Checkmate.

Exclusive designs by Photo-Lettering are less frequent than in the late 1960s and 1970s. They are still represented by Benguiat Caslon and Hasler Circus. Filmotype faces – which used to be omnipresent on Volk booklets in the 1950s and 1960s – have largely disappeared, with the exception of Filmotype Quiet (1954), a stencil design that by 1980 had been copied by PLINC, VGC, and others.

All covers feature the logo designed by Herb Lubalin and introduced in 1976, here with the subline in caps from Kabel Black.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Wedding” (No. 328) ft. partly overlapping caps from Harrington. The typeface was first issued by John Haddon & Co. in 1899.

“Graphic Arts” (No. 331) ft. Benguiat Caslon. Because nothing says Graphic Arts like overlapping swash caps.

“Birthday” (No. 332) ft. skewed caps (a contra-rotalic?) from Compacta on candles. Illustration by Tom Sawyer.

“Religion” (No. 334) ft. Cathedral for a cover on a cover.

“Winter” (No. 335) ft. the snow-capped letters of Igloo.

“Show Biz” (No. 336) ft. stacked glyphs from Tonight.

“Occupations” (No. 338) ft. Yagi Double.

“Communications” (No. 340) ft. ITC Benguiat Bold Condensed Italic (1979) and the comeback of the landscape format which would become the standard in subsequent years. The Volk logo is now shown in reverse on a black triangle. “Clip Book of Line Art” is set in ITC Avant Garde Gothic.

“Fitness” (No. 748) with caps from ITC Uptight Neon, set on a curve.

“Marine” (No. 749) ft. Filmotype Quiet. Illustration by Tom Sawyer.

“Summer” (No. 750) ft. ITC Bauhaus Outline with the alternate M, filled with sunbeams.

“Tourism” (No. 751) ft. ITC Bauhaus.

“Couples” (No. 752) ft. tightly spaced caps from Benguiat Caslon, here just with a single swash O and no overlaps. Primary Illustration by Tom Sawyer.

“Executives” (No. 754) ft. Peignot and a border full of handshakes.

“Family” (No. 755) ft. Times New Roman.

“Autumn” (No. 756) ft. ITC Serif Gothic.

“Homemaker” (No. 757) ft. Circus.

“Education” (No. 758) ft. Atrax with middle dot (·), apostrophe (’), and mid-word linebreaks.

“Christmas” (No. 760) ft. Tintoretto, a typeface that was not made to be used in all caps, as the letter I shows: The J-like form works OK in initial form, but sticks out like a sore thumb in the middle of a word.

“Energy” (No. 762) ft. stacked caps from Dynamo.

“Transportation” (No. 763) ft. caps from Wedge Bold by Lettergraphics [edit: it appears to have originated at VGC, see comments], which is Egyptienne Bold Condensed Bold Condensed customized with triangles cut from the letterforms.

“Insurance” (No. 764) ft. Compacta Bold Italic in lowercase, with an omitted i dot.

“Senior Citizens” (No. 765) ft. all-caps ITC Souvenir with initial and terminal swash forms.

“Crowds” (No. 766) ft. ITC Bauhaus.

“Human Relations” (No. 767), again with oblique Compacta in all lowercase and no i dot.

“Money” (No. 769) ft. Molé Foliate. Primary Illustration by Tom Sawyer.

“Circus-Fair” (No. 770) ft. Hasler Circus.

“Spring & Summer Sports” (No. 771) ft. ITC Lubalin Graph and its sans-serif sibling ITC Avant Garde Gothic.

“Drop-Ins” (No. G111) ft. Pabst Extra Bold Condensed. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“The Gals” (No. G112) ft. ITC Newtext and a rare photographic cover.

“The Guys” (No. G114) with tightly spaced City caps.

“Contests” (No. G116) ft. ITC Quorum.

“Printed Forms” (No. G117) ft. overlapping caps with swash initials from ITC Bookman Outline. “We’re moving” is in an unidentified (homemade?) variation on the Electric Circus theme, see also Electus.

“Gimmicks” (No. G119) ft. a fairy tale castle à la Neuschwanstein and caps from Checkmate.

Cover for a limited edition 7″ flexi disc with guided meditations by Nathaniel Russell, designed by Clay Hickson and published through Hickson’s own “The Smudge”.

The typography pairs two typefaces from the first half of the 1970s: the ubiquitous ITC Lubalin Graph (based on ITC Avant Garde Gothic), and the equally weird and obscure Lucky.

This live double album is the first vinyl release of Sun Ra Arkestra’s concert in Kalisz, Poland, which took place on 7 December 1986 as part of the 13th edition of the International Jazz Piano festival. It was released by Lanquidity Records under special license from Sun Ra LLC.

Cover designer Jacek Walesiak of UVMW used Ouroboros for the title and the track listing. The liner notes are set in Nocturne Serif. The Lanquidity logo uses ITC Lubalin Graph.

Back cover with liner notes by Rafał Księżyk.

Granta Paperbacks, October 2012.

“A strange, allusive, tender memoir about growing up in middle-class Kenya.” — Chimamanda Ngozi Adichie

Binyavanga Wainaina’s book debut was published by Granta Books in 2011. The cover for the hardback edition (shown below) features modular letterforms, with the individual modules printed in two shades of blue, imperfectly aligned. It’s either lettering or a typeface I don’t recognize. The paperback cover from 2012 (shown above) picks up the modular theme. This time it’s definitely a typeface: LL Cobra was designed by Cornel Windlin and issued by Lineto in 1996. Here it is used exclusively in uppercase. The decorative pattern separating the title from the author’s name is composed from elements of the typeface, too, further emphasizing its modular nature. The typeface used for the blurb is ITC Lubalin Graph.

Wainaina is probably best know for for his satirical essay “How to Write About Africa”. The Kenyan author and gay rights activist passed away in May 2019 at age 48.

Hardback edition by Granta Books, Nov. 2011. The small type is ITC Avant Garde Gothic.

Lovesighs – An Entertainment was No-Man's first mini-album, released in 1992 on the One Little Indian label.

Steven Wilson and Tim Bowness, known as music duo No-Man have two primary logos that roughly correspond with their style shift from dancey art pop to moody art rock. From their beginnings at the end of the 1980s to the mid-1990s, the art pop period was dominated by their use of ITC Lubalin Graph Extra Light for their logo and titling text, always prominently displayed. Century Schoolbook was used as a complementary typeface.

Loveblows & Lovecries – A Confession is the band’s debut album, One Little Indian Records, 1993.

“Sweetheart Raw”, single record, 1993.

Painting Paradise EP, 1993.

“Only Baby”, single record, 1993.

Typographie: Schrift und Graphik mit Letraset was an exhibition that ran in Darmstadt, München, and Zürich in 1978–79. This 8×8-inch 72-page catalog was designed by Christof Gassner and features his own work along with dozens of other designers who used Letraset.

Design: Christof Gassner

Design: Helmut Langer

Design: Christof Gassner. Promotional material for Deutsche Letraset. The last image was used for the cover of LetraTime.

Design: Friedrich Friedl

Design: Christof Gassner. German translation of a quote by Henri Michaux: “Qui s’est abaissé devant une fourmi, n’a plus à s’abaisser devant un lion.” – “Those who have bowed to an ant do not have to bow down before a lion.”

Design: Christof Gassner. German titles of various plays by Shakespeare: A Midsummer Night’s Dream, Much Ado About _, King Lear, Richard III. For more, see Schauspiel im ZDF.

Design: Christof Gassner. Various film titles: Le Quai des brumes (Port of Shadows), The Third Man, Daddy Long Legs, Scarface