Pony Scouts is a series of ten books written by Catherine Hapka and illustrated by Anne Kennedy. It was published between 2009 and 2014 by HarperCollins in the Level 2 tier of the I Can Read! library.

Titles are set in Nick Shinn’s FF Fontesque Sans, with shadow effect, while the Pony Scouts logo uses Leticea Bumstead by Phoenix Woodrow. The “I Can Read!” series title is in Horley Old Style, integrated into a curved ribbon, with Gill Sans used for “reading with help”.

The logo

As part of its rebranding to Corinth Folklore and History Museum (Greek: Ιστορικό Λαογραφικό Μουσείο Κορίνθου), the old Folklore Museum of Corinth (Kórinthos) needed a new logo. In discussions with the people of the museum it was clear that there was a need for a logo that could function in digital media as well as in print and in the building signage. There was a need to incorporate the new historical element but also keep the folklore side which has been the museum's main theme until now.

The museum suggested a collection of images of objects and fabrics that could be used a starting point of the design. Although there were many intriguing objects among the images, what struck me as the best starting point were the patterns of the fabrics. After some initial attempts at creating a geometric logo from these patterns I focused on the rhombus shape that appeared in most of the patterns.

The need to marry foklore and history lead to a more “typographic” solution. The logo was made using 19th-century-style typefaces that relate to the early Greek state established in that period, a significant historical moment for the city.. The final shape came from combining the initials of the museum’s name ΙΛΜΚ to create the rhombus shape.

Examples of logo application

Logo variations

Header image used on Substack

The Freeman is a revival of the libertarian magazine also called The Freeman started in the 1950s by the Foundation for Economic Education (a libertarian think tank founded in 1946). The online revival of The Freeman was launched on June 9, 2025.

The typography brings together Ernst (Léon Hugues) with New Reason (Miles Newlyn) and the italic of Scotch Micro (Nick Shinn).

Article header

Article header

Article header

Article header

Front and back cover

This is a book of portrait photographs by Anna Maria Hadjistephanou of the actors of the film Σπασμενη Φλεβα (Spasmeni Fleva, English: “Broken Vein”) by director Yannis Economides.

Hadjistephanou took photographs of the actors before, during and after the shooting. Before the shooting the actors are posing in front of a mirror, during the shooting they are shot when they prepare to go on the set and the photo after is taken with the actors posing in their homes.

Project φλέβα. Παράλληλες φωτογραφικές διαδρομές (“Project Fleva. Parallel photographic routes”) presents all the photos and contains nine short texts by critics, photographers and some of the actors. An exhibition of the photographs will be held a week before the film premiers in cinemas.

The book is set on Richler with Gotham Narrow for titles and captions. It’s available from Βιβλιοπωλείο ΜΠΕΡΛΙΝ (Berlin Books).

Introduction page

Opening spread

Text spread

Spread with phtographs

Detail of the texts

Omnes is one of the brand typefaces for Oatsome. The German food startup offers smoothie bowls, crunchy toppings, nut spreads and other products for a healthy diet, all with 100% natural ingredients and no additives or added sugar.

Darden Studio’s selectively rounded sans is available in four widths: Narrow, Condensed, Semicondensed, and Standard. The Oatsome designers work with several of them, in various styles including the italic. Omnes Condensed and Narrow are being used for the product descriptions. These space-saving fonts also come in handy for placing all relevant consumer info like nutrition facts on the packaging designs.

Omnes is combined with Stick-A-Round by PintassilgoPrints. The unicase sans is used with some of its playful ligatures and nested letter pairs for the product names. The Oatsome logo features Shinntype’s Aptly in lowercase letters.

When Darden Studio introduced Omnes Widths, we designed promotional graphics with condiment packs. These demonstrated how dry information like lists of ingredients can still be presented in ways that are readable and appealing alike. We’re thrilled to see such an application in the wild!

Banners from the Oatsome website, featuring Omnes Narrow Bold and Bold Italic for the large lines

Intro for the hazelnut-and-tonka smoothie bowl. Text in the speech bubble is in Omnes’s standard width.

Trial packs with teasers in Omnes Narrow

Stick-A-Round in combination with Omnes Narrow

Ingredient lists can have nice typography, too!

Jar labels for a hazelnut-cocoa spread

This graphic novel by French artists Fabien Grolleau and Jérémie Royer is a biography of Charles Darwin, focusing on his five-year voyage on board the HMS Beagle.

The German edition was translated by Anja Kootz and published by Knesebeck. The book uses FF Oneleigh on its cover.

The historic Pier 57 in New York’s Hudson River Park was redeveloped into a mixed-use community destination featuring a rooftop park, Google office space, and Market 57 food hall.

Handel Architects led the core design. Jamestown designed both logos in-house and worked with Airspace on the signage. Pier 57’s nameplate and mega-scale wayfinding aptly features Export, a blocky yet approachable font based on hand-carved prints found on a shipping box in NYC. Pier 57 dons a range of materials and finishes, from neon signs to glossy paint. Some of the wayfinding is also set in Bodoni Egyptian.

The accompanying food hall Market 57 is branded with the inviting and slightly quirky Auster. Like the rest Pier 57’s wayfinding and graphics in the market are set in Bodoni Egyptian, with smaller signs and text in the humanist-style Source Sans.

Large window decals set in Export

L’Abîme. Nantes dans la traite atlantique et l’esclavage colonial 1707–1830 / The Abyss. Nantes’s role in the slave trade and colonial slavery 1707–1830 is an exhibition that was shown at Château des Ducs de Bretagne from 16 October 2021 to 19 June 2022. Description by Musée d’histoire de Nantes (Nantes History Museum):

Still today, historians are unable to agree on the number of victims resulting from the transatlantic slave trade. With so many documents missing, it is impossible to arrive at an exact figure; and yet, the difference in final totals does not vary in terms of tens or hundreds or thousands – but in millions. How can a phenomenon so tragic and fundamental divide those who study it to such a degree? It would appear that the number – as staggering as it may be – does not explain the problem sufficiently.

Moreover, what would we ultimately know if we arrived at a definite number? Would we know how many men, women and children died during the wars and raids that led to their captivity? Would we have a better idea of how an entire city and its surrounding region could justify using the colonial system and slave trade as a means to accumulate unprecedented wealth? Would we be able to imagine the close ties between the transatlantic slave trade and the early Industrial Revolution? Would we understand, if only for an instant, how horrible it must have been to no longer be autonomous, to stop being considered human and be relegated to the status of a material good, to disappear without leaving any trace or memory?

The Musée d’histoire de Nantes offers an opportunity to hold its collections up to the light and reveal the invisible (but ever-present) traces of the men and women that were victims of the colonial system. Beyond the economic and commercial perspective commonly offered, this exhibition will reveal the complex reality of a city that was so deeply involved in the slave trade.

Simultaneously immersive, evocative and empathic, L’abîme presents the complex reality of these historical periods, while paying particular attention to the French territory. Visitors will discover the names of the men and women who lived in Nantes as captured slaves between 1692 and 1792, when they were registered in official documents.

The exhibition also echoes the great debates and issues of our time: migration, human trafficking networks, the development of new racisms, equal rights movements, and more.

Photos by David Gallard

Daniel Roeckl is a traveller. Below the Surface is collecting architecture and portrait shots he took in the last fifteen years visiting Armenia, China, Ethiopia, Myanmar, Russia, and other places. In every city he visits, he is turning his gaze rather to the “final stations” than the “high streets”. For this book, he composed his images into a personal sequence. In several sessions, Schwarz and Roeckl refined this rhythm and set the images into a pure layout.

The chapters of the book follow twelve emotions: calmness, serenity, joy, easiness, cockiness, scepticism, confusion, depression, anger, courage, force and confidence. The publication is concluding a spiritual epilogue by the artists in English, German, and Russian.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translating the artworks, mindset and process into a book object.

Wallpaper poster on the anatomy of typefaces, by visual artist Arno Kathollnig. Arno combined a roman text face, Arlt by Alejandro Lo Celso (Pampa Type) with the handwritten-looking Duffy Script by Nick Shinn (ShinnType) and an outlined slab serif, Anubis by Dino dos Santos (DSType).

Presented in 2019 in the context of the Frieze Masters art fair, the Schools of London exhibition of painting and sculpture, organized by Waddington Custot gallery, dives into the impact of local art schools from the 1960s onward. The goal of the exhibition was to explore the influence of London art schools on the development of British art, focusing on the Royal College of Art, St Martin’s, the Slade, Chelsea College of Art, and Goldsmiths College, where the definitions of art were challenged by new experimental postures and a transgression of traditional classifications.

The booklet published on this occasion was designed by A Practice for Everyday Life. In order to emphasize the ephemeral aspect of this exhibition, the studio chose to stab-stitch it and to use newsprint for the interior pages, printed in black and white only. The fact that most of the imagery presented in the booklet consists of archival resources reinforces the documental dimension of the publication. The thicker stock of pink paper used for the cover looks like a cardboard sleeve in which someone would have stored their papers.

The typeface used throughout the publication is Kessler from Production Type, for the specific reason that this contemporary inscriptional serif directly echoes the stone-carved inscriptions found on most of the art schools buildings. The cover shows a typographic composition with different directions of reading, but in which the many O’s in the exhibition’s title are rotated so that they all exhibit the same stress angle. This intervention changes the cover into a kind of map, where the homogeneity of the five O’s symbolize the five different schools present in the exhibition. Kessler is paired with Figgins Sans by ShinnType. This grotesque with roots in 19th century London is used for captions, footnotes, and page numbers.

Still from the opening credits, with “Paramount Pictures presents” in Ad Lib

The titles and promotional materials for the 1995 cult-classic movie Clueless use Ad Lib (1961) and FF Fontesque (1994).

The movie logo is based on Ad Lib, with partly stretched letterforms arranged on a bouncing baseline, enclosed in an ellipse. FF Fontesque is featured for the secondary text on the movie poster as well as for the trailer.

The DVD cover for the 2005 re-issue titled the “Whatever!” Edition also uses Ad Lib for the lead actress’s name, and the sub-title. This cover adds rhinestones to the title to make it sparkly and the whole thing is on a ridiculous pink background. Classic!

Still from the opening credits, with the movie logo in Ad Lib

Theatrical release poster. The tagline “Sex, Clothes, Popularity. Is There A Problem Here?” is set in FF Fontesque. The credits are shown in a light weight of Futura Condensed, in stretched all caps.

Still from the trailer, with “Paramount Pictures presents” in FF Fontesque.

Still from the trailer

Still from the trailer, with “Alicia Silverstone” in FF Fontesque

Still from the trailer, with the movie logo in Ad Lib

DVD cover for the 2005 re-issue

Lottie and Twigg is a “unique photography experience based on the Sunshine Coast in Queensland that is truely inspired by childhood and all that comes with the magic that encircles these precious years.”

The typography pairs Bellefair (ShinnType) and Charpentier Sans (Ingo Zimmermann) with Surt (Blaze Type).

Label design and branding by agency Glossy.tv for two house wines of Vyncke-Daels, a wine merchant based in Roeselare, Belgium. For their 150th birthday, they wanted to redesign the white Chardonnay and the red Merlot, making it look more classical yet modern. The Plaisir Des Merles Merlot is a frisky, ruby-red wine; the Merle Blanc Chardonnay is smooth and juicy.

The names of the wines are set in AW Conqueror Carved and Carved One, with grape and year in Didot. Additional information uses stretched all-caps Beaufort.

About We are Fox Photography:

We’re artists. We’re storytellers. We’re also married. Over the course of fourteen years and two continents, we’ve built a life and business together. Today, we’re based in Toronto. As co-lead photographers at every wedding, we complement each other to curate a photography experience like no other. Part of that comes from being married.

While Wulkan (TDF) is nicely deployed as the heading typeface, with Bellefair (ShinnType) for subheadings and a light version of Ashbury (Hoftype) for text. Surt (Blaze Type) is used in all caps for the navigation.

Editorial design by Ana Mirats Studio for Paper magazine, Vol. IV by Massimo Dutti – a clothing and manufacturing company which is part of the Inditex Group. The publication compiles editorial projects for the autum/winter and spring/summer collection.

The Barcelona-based studio chose Grand Slang for punchy and expressive headlines, paired with Scotch Modern for more subtle and classic sublines. Roobert and ABC Favorit Mono are used for longer texts and smaller bits of information.

Gabriel Benderski’s Social Posters event will feature the use of posters as a communicative tool. In it, the emerging Uruguayan graphic designer analyzes how design allows the audience to have a conversation about complex and divisive issues such as peace, tolerance of minorities, or gender equality.

The flyer for the show at the University of Toronto uses Scotch Modern by Nick Shinn which was kindly provided for the design of the invitation.

“League of Legends is a popular multiplayer online battle arena game. … League of Legends was generally well received upon its release in 2009, and has since grown in popularity, with an active and expansive fanbase. By July 2012, League of Legends was the most played PC game in North America and Europe in terms of the number of hours played.” — Wikipedia

The game’s logo is made with Friz Quadrata, and up until 2015 (when this intro video was released) the typeface was used within the game as well, along with Gill Sans. At some point the game and web designers swapped Friz for Beaufort, a similar inscriptional typeface which was selected as a replacement perhaps because it has a wider range of weights and fewer idiosyncratic and/or distracting features. The accompanying sans is the seldom-seen Spiegel Sans, Lucas de Groot’s humanistic take on American industrial gothics like News Gothic. Both Beaufort and Spiegel are also used throughout the various League of Legends websites, while Colfax joins them for League of Legends Championship Series, a competitive league in which professional players battle in front of audiences.

In-game graphics using Beaufort and Spiegel.

Nick Shinn’s Beaufort was modified by Monotype, expanding the character set and making stylistic adjustments such as the flat-topped ‘3’.

Gill Sans lingers in some of the info panels within the game, while all other type is Beaufort or Spiegel.

Beaufort with CSS gradient effects for the headline.

Colfax for the team names, scores, standings and schedule of the LoL Championship Series.

Meloman is a magazine published by the Moscow Philharmonic. This is Issue No. 2, summer 2018. On the cover: composer Alexander Wustin by Anisia Kuzmina. Layout and art direction by Kirill Gluschenko. 192 pages, 168×240 mm, in Russian.

The magazine logo uses Scotch Modern. Body copy is set with Kazimir Text and Girott is used in many forms and sizes ranging from section openers and drop caps to quotes etcetera.

Illustration by Elena Chetverik

Ike Zimmerman’s Some People Are Decent, all set in ITC Bernase Roman.

Fictional book covers designed by Teddy Blanks (CHIPS) for Listen Up Philip, a movie that refers to the late Philip Roth, who repeatedly published with pseudonyms during his career. See also this post about the movie poster and David Haglund’s feature for Slate, and make sure to head over to the CHIPS website to watch some movie excerpts (with a lot more book covers) in their case story.

Listen Up Philip is a dark comedy about a young writer named Philip (Jason Schwartzman), his photographer girlfriend Ashley (Elisabeth Moss) and Ike Zimmerman (Jonathan Pryce), the respected older author who becomes his mentor. CHIPS worked closely with director Alex Ross Perry to design believable (and subtly satirical) book covers not only for Philip’s relatively recent releases, but for Zimmerman’s entire back catalog.

The style of each book conforms to design trends and tropes of the era it was supposed to have been published, using typefaces that would have been widely available at the time. The covers feature prominently in several key scenes.

–– CHIPS

Airbrushed lettering and Futura on Ike Zimmerman’s Audit. Blanks: “Audit is a direct rip-off of the first edition cover of Martin Amis’s Money, which I love.”

Madness & Women, set in Pistilli Roman (or Didoni or Eloquent?)

Tightly spaced caps from Letraset’s Compacta Light are used for The Cinch — A Very Easy Novel and The Shrug — A Very Passive Novel (below).

Blanks: “The Cinch and The Shrug are both attempts at Raymond Chandler-esque detective novels featuring the same private eye character. I loved the idea that Zimmerman, for all his literary clout, harbored a secret desire to write popular genre fiction, but couldn’t quite cut it because he was too pretentious or whatever. I also loved the idea that they would have the same exact cover, as if the publisher had decided to market them like a Sue Grafton series.”

Ike Zimmerman’s A Hero’s Home, featuring Futura caps with the Os substituted by orbs. Probably inspired by this cover for First Flights to the Moon (1970)?

Necessity Never Rest, in 1970s classic ITC Korinna, with period-typical tight letter- and linespacing.

Details from Madness & Women and Hoffman’s Ghost, Color Wheel Books hardcover edition, in Bauer Bodoni Black Condensed.

Ike Zimmerman for CWB Paperbacks, referencing Penguin Modern Classics? Text set in New Century Schoolbook.

Ashley Kane reading another, newer edition of Madness & Women, with a cover in a yet unidentified typeface.

The jacket for Ample Profanity uses all-caps Helvetica Bold.

Blanks: “I, Zimmerman apes the cover of Roth’s autobiography, The Facts, which is designed by Milton Glaser, though I didn’t get the font quite right.” It uses (compressed) ITC Cheltenham.

Blanks: “A Woman’s Point of View is from 1988, which is right around the time everyone was switching to digital type, and for whatever reason, there’s a style of cover from around then that is self-consciously “classic”—small type centered on the page, an evocative vintage illustration, muddy, muted colors.”

Too Much Everything, in a light italic cut from Archer.

Blanks: “Bad Eating is Zimmerman’s most recent novel, from 2008, and I was going for a bright colors, big sans-serif type [Interstate Bold], extremely cropped photo, Chip Kidd-ish kind of thing, or almost a slight nod to a Jonathan Franzen cover.”

Philip Lewis Friedman’s Join The Street Parade, in outlined Gill Sans caps.

This cover for Obidant is set in caps from Knockout (probably the No. 47 weight). Blanks: “… the cover for Philip’s new book, Obidant, with its giant type in the clouds, was absolutely meant as a reference to Infinite Jest.”

Philip Lewis Friedman’s Obidant, a novel published with six different covers that look more like non-fiction. From top left to bottom right: Bembo, a bold condensed Bodoni, Futura Maxi, Caslon 224 (with its compressed f), ITC Franklin Gothic ExtraCompressed, and Bodoni Egyptian.

From the end titles: When the Chips Are Down. Collected stories by Ike Zimmerman, in Palisade Graphic (or Fast Freddy NF?).The title was chosen in reference to Blanks’ design studio CHIPS. Credits in Cabernet.

From the end titles: Josh Fawn’s The Exploding Head Trick, 1990s. Cover in Cholla Sans.

From the end titles: Yvette Dussart, The First Anarchist, set in Poetica.

From the end titles: Philip Lewis Friedman, Join The Street Parade. The font is Blender.

A Daughter’s Point of View by Melanie Zimmerman. Cover in Bembo.

Ashley Kane’s photo book Liberty. Cover set in Univers Bold.