First edition (hardcover) by Bartholomew House, 1967, illustrated by Bill Wenzell. The illustrations on the front of jacket are by Roy E. LaGrone. Secondary typefaces include Craw Clarendon Condensed, Filmotype Harmony (or Photo-Lettering’s copy, Almadine Script), and Century Expanded Italic.

Coffee Tea or Me? was advertised as “the uninhibited memoirs of two airline stewardesses”, and credited to Trudy Baker and Rachel Jones. In fact, it was ghost-written by Donald Bain. The 1967 hardcover dust jacket features Caruso Roxy, set in all caps. The same typeface was also used for the paperback cover, now bigger and in mixed case, as well as for the three sequels published until 1975. In 1973, the book was made into a film.

Caruso Roxy is a typeface that we’ve come to associate with the swinging 60s.

Coffee Tea or Me? The uninhibited memoirs of two airline stewardesses. First Bantam edition (paperback), November 1968 with cover art by Bill Wenzel and small text in all-caps News Gothic.

The Coffee Tea or Me Girls’ ’Round the World Diary. First edition (hardcover) by Grosset & Dunlap, 1970. The multilingual toasts are stereotypically added in more or less fitting typefaces: Peignot (French), Post-Antiqua (Hebrew), Cloister Black (German), Centaur (Spanish), Akzidenz-Grotesk Extended (Scandinavian), Jessen-Schrift (Greek), Americana (English), Mandarin (Japanese), and Century Schoolbook (Italian).

Jacket and cover with spine lettering

The Coffee Tea or Me Girls’ ’Round the World Diary. Paperback edition by Bantam Books, April 1971, with small type in Alternate Gothic.

The Coffee Tea Or Me Girls: Lay it On The Line, Bantam Books, 1973. The fat years are over: the main typeface now is Caruso Roxy’s light weight. Secondary text is in italic caps from Caledonia.

The Coffee Tea Or Me Girls Get Away From It All, Bantam Books, 1975, with Helvetica used for the text in red.

Man of La Mancha is a 1965 musical adaptation of Don Quixote, with a book by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh. The libretto was published by Random House in 1966, featuring an illustratin by Al Hirschfeld and Caruso Roxy for the title. Its amorphous glyphs allowed the jacket designer to knead the words into place, squeezing the second M down to x-height so that the two lines fit snug together.

Detail from the inner flap of the book jacket, with credits in Bodoni

This book written by Maurice Darmon and published by the Bordeaux-based publisher 202 éditions is about the films made by Anne-Marie Miéville between 1976 et 2002. It is the first monograph devoted solely to her own work. As Jean-Luc Godard’s partner since the 1970s, her collaborative work with the filmmaker has been more widely distributed and recognized. Designer Paule Palacios-Dalens used Borges (by Loche, PampaType) for all main texts and titles, and Akzidenz-Grotesk (Berthold, 1898) for pagination and some subtitles. The cover titling is set in Punto (by Arne Freytag, Fontador).

Tom Ross is an Australian architectural and editorial photographer whose work has appeared in publications including Monocle, Dwell, Wallpaper, and Dezeen. His new visual system was designed to convey credibility, cinematic warmth, and quiet confidence while maintaining an authentic, human quality. This balance is thanks to the use of ABC Diatype by Dinamo, chosen for its precision, it is easy to use beautifully, and enjoyable when intentionally misused. Its balanced geometry introduces subtle tension when layout rules are intentionally bent, creating space for nuance and personality.

Tom’s identity is set exclusively in Diatype’s Medium weight, delivering clarity across print, digital, and motion applications, anchoring the identity, letting the images take centre stage without needing the type to take a backseat.

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

We developed the brand identity for TARB, a new hair care brand. Guided by the philosophy of “True And Raw Beauty,” this project explored how to translate nature’s pure, primal beauty into a refined and deliberate language.

With both the Korean and Japanese markets in mind, we sought an aesthetic closer to attitude than visual excess. The direction began with the texture of Eastern minimalism and the quiet discipline of Zen.

We stripped away unnecessary ornamentation and built the packaging with restrained colors and generous negative space. The logo, too, takes its cues from natural forms rather than artificial expression.

To ensure beauty in its raw state is conveyed without exaggeration, we carried the brand’s core values consistently across its visual language and overall spatial experience.

The logo is custom drawn. Nordvest is the brand’s primary typeface, used for headings. On the packaging designs, it’s paired with Arno Italic. The website additionally uses ABC Diatype (English), Sandoll GothicNeo (Korean), and PingFang (Japanese).

Armin Hofmann designed this 127×90 cm poster for a 1961 exhibition at Gewerbemuseum Basel entitled Basel und die Stadtstrassen der Zukunft (“Basel and the urban roads of the future”).

This poster beautifully demonstrates Hofmann’s ability to create effective and powerful images with the simplest elements. Here, Hofmann restricts himself to one typeface and four triangular shapes in one shade of red, yet produces a poster that is at once functional, relevant, and visually striking. The alignment and sizing of the type leads the reader’s eye in a logical order and at a pleasant pace. The negative space around the shapes is dynamic, almost creating an illusion of movement. Despite its abstract nature, the negative space is evocative of the poster’s subject matter (urban roads). Through its contrasting point sizes, alignment, and its relationship to the four shapes, the typography creates a sense of perspective or depth – without ever resorting to overlapping elements. Rather than simply being smaller, text at smaller point sizes appears to be further away.

The powerful effect of the typography is demonstrated further by comparing the poster to the accompanying exhibition booklet that Hofmann also designed, see the website of the Museum für Gestaltung Zürich. The shapes and their placement in the frame are the same. The booklet’s title is positioned in a similar place as the poster’s headline. The composition thus remains satisfyingly dynamic (now with the flow of the negative space predominant). However, due to the small size of the cover (20.8×14.8 cm), there is no supplementary text and only one point size is used. Without contrasting typographic sizes, the poster’s incredible sense of depth is lost.

Cover of the mono release, with the number (LM-2896) at the bottom, in Akzidenz-Grotesk

Julian Bream (1933–2020) was an English classical guitarist and lutenist. In the fall of 1965 he recorded an album with his interpretation of the Lute Suites that Johann Sebastian Bach composed in the first half of the 18th century. It was released by RCA Red Seal in 1966.

The uncredited cover designer selected a typeface from the late 19th century. With the exuberance of decorative tendrils, it may still be described as baroque. It’s Nymphic, designed by Herman Ihlenburg and first cast in 1889 by MacKellar, Smiths & Jordan. Or rather, it’s Xenotype 3799, a phototype revival of Nymphic made at Photo-Lettering in the first half of the 1960s. The spacing is decidedly of its time: tight-not-touching – much tighter than what was possible with metal type in previous decades.

[More info on Discogs]

For the stereo release, the number (LSC-2896) was moved to the top, pushing the typographic composition down. “Stereo” is added in all-caps Venus Extended.

A sample of 18 point Nymphic as it was presented in Inland Printer, volume 7, issue 2, from November 1889, here with its lowercase characters and the alternate oversized display caps, or initials. The four arrow-spoked asterisk used on the album cover can be found back as well.

Familial Lexicon explores words that exist only within a family – private expressions that outsiders don’t understand. These intimate terms form a micro-language, showing how language grows through shared experience, closeness, and everyday life.

The cover is made from aluminium with an embossing effect.

Designed by Enzygal at Kunstuniversität Linz, making early use of DGM Saffron. Arabic and Armenian text are added in ABC Diatype.

Live! At Caesar’s Palace is the debut album by the Checkmates Ltd. It was released on Capitol Records in 1967. The cover shows the band name in purple Smoke, featuring a custom drawn castellated T that alludes to a rook piece.

Wikipedia has the following information about the band:

The Checkmates, Ltd. were an American R&B group from Fort Wayne, Indiana. The group, discovered by Nancy Wilson, was named such because the group included both black and white members, and their various skin tones evoked a chessboard; their one major hit was 1969’s “Black Pearl”, produced by Phil Spector.

The album title is in pink and red caps from Helvetica Black.

[More info on Discogs]

Cover for the 1972 album Euro Jazz by the Václav Zahradník Big Band, released on the Czechoslovakian label Supraphon. Designers Josef Zich and Miloslav Žáček used Juke-Box for a somewhat abstract but striking title treatment, paired with Akzidenz-Grotesk for the artist credits and featured musicians.

[More info on Discogs]

This bilingual monograph on French ceramicist Georges Jouve (1910–1964) comes with texts written by Karine Lacquemant. It was laid out in LL Brown by Lineto.

The book measures 24×31 cm, spanning across 288 pages, and was published by Éditions Norma in 2025.

Yuval Haker is an Emmy-nominated director whose work spans narrative, commercial, and experimental film. His expressive visual worlds required a portfolio that could frame diverse projects without overwhelming them.

Esinly&Co designed a clean, minimalist interface that lets the work speak for itself. ABC Gravityy headlines the site, with its playful stylistic alternates selected to complement the tone and energy of Yuval's films.

Custom footer animations—small vignettes about the creative process—were drawn by Yuval specifically for the site, creating moments of surprise and delight with every page refresh.

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

Te Papa Waka Rererangi o Whakatū – Nelson Airport

Gamay is the new brand typeface by Nelson Airport, New Zealand.

One of the first applications is Te Wiki o te Reo Māori, or Māori Language Week. 2025 marks the fiftieth anniversary of this initiative. Nelson Airport celebrates this milestone with a series of posts on social media platforms.

The campaign introduces visitors to topical words and phrases in Māori. The kupu o te rā (word of the day) is set in Gamay’s Expanded Light weight, while the English translation below uses the Regular Medium. The font family by Darden Studio offers a total of 108 styles across six widths and nine weights, and is also available in variable format.

Inside the airport building, travellers can engage in four wero (challenges) to spark kōrero (conversation) while waiting for their flight. We love this challenge to learn the language of New Zealand’s indigenous population, and are thrilled to see Gamay used for Māori.

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

Waka rererangi – Airplane

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

Pahi – Bus

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

Wehenga – Departures

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

The column inside the airport was produced by Cutting Edge Signs & Graphics.

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

He kawhe koa? – Can I have a coffee please?

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

Pāhihi — Passenger

Source: www.instagram.com Nelson Airport. License: All Rights Reserved.

Kia pai te haere – Safe journey

While the title on the front cover is lettering, the blackletter seen on the back and the flap is Deutsche Schrift, used in two weights with both forms for the letter s (see “Ausſtellungshallen”) and the mandatory ligatures for ch, ck, tz. Note that the S in “S-Bahnhof” was added from a bold roman that approximates the logo glyph. Berthold’s Halbfette Lateinisch is a likely source.

A folder advertising Third Class fares on the Berlin S-Bahn to visit the exhibition grounds and Funkturm adjacent to the city's S-Bahn station at Witzleben. The diagram is interesting in that the system’s stations include the Third Class (3. Klasse) fare to Witzleben from the station of origin.

The folder is not dated but there are some clues and others with sharper eyes and better knowledge than me may offer more information! But the station Deutschlandhalle was named as such from Eichkamp in May 1936, and the Nord-Süd links through the city centre are not shown here; the S-Bahn station at Unter den Linden, shown here, opened in 1936 as the provisional terminus (following the catastrophic collapse of the railway excavations in the locality in 1935) and it was 1939 before the S-Bahn through to Potsdamer Platz was opened.

The folder gives other information including the advice that you can travel to the exhibition grounds by S-Bahn (suburban train, that the exhibition halls at the radio tower (Funkturm) are quick and easy to reach from Witzleben S-Bahn station and that you should purchase your return ticket when you travel to the exhibition grounds.

The folder is printed on stout card and, after some discussion with more knowledgable Berliners, it is likely to be original. It shows no ‘reprint’ data and the folds are well worn suggesting some age. The folder also shows both versions of the S-Bahn symbol or logotype; that of the S in a circle and that of the S in a tombstone shape – the latter being the original design by Fritz Rosen in 1930 that was changed to the circle in c.1936. There is also the Adler or eagle symbol used by the Deutsche Reichsbahn.

The station names aren’t typeset, but written by hand, in an inclined Blockschrift (cf. DIN 16). The fare info underneath the S-Bahn “tombstone” appears to be set in Berthold Block and Akzidenz-Grotesk.

The large black heading is written in a simplified textura. Interestingly, the letterforms don’t really follow the model drawn by Friedling in May 1935 for the Deutsche Reichsbahn-Gesellschaft, nor are they particularly close to any of the typefaces of this genre. The F with vertical, descending stem resembles the one in Element, but other details are off.

Motherland Productions DMB is a media company in Greece and Cyprus, specializing in full service production across photography, motion, exhibitions and events.

All is Social emerges as a new agency, positioning itself around the idea of energizing brands for a digital-first era. Its visual identity, designed by Casamira, distills that ambition into a singular graphic gesture: a continuous circular form.

This unbroken loop becomes a metaphor for the openness and collective spirit that define contemporary online communities. It underscores the agency’s aim to cultivate these networks while suggesting a broader sense of global connection – a reminder that digital interaction flows effortlessly across borders.

Casamira’s approach places movement at the center of the identity. In static applications, the symbol never appears in the same position twice, a deliberate choice that mirrors the pace and volatility of social media. The result is an identity that frames the agency as responsive to an environment defined by constant change, where adaptability is essential for brands to remain alive and relevant.

The cover photo of the Golden Gate Bridge is by Joe Norton.

A classic Columbia Records LP cover for Tony Bennett’s 1962 album I Left My Heart in San Francisco, featuring Normande Italic.

The design uses the high-contrast fat face for all text on the front cover, from the city name to the song titles, echoing 19th‑century display types.

The images show different pressings and crops of the sleeve, all retaining the same typographic hierarchy.

[More info on Discogs]

Title and artist’s name are shown in three lines of alternating colors. The colors are echoed in the slashes that separate the song names. Note also the sign painters’ quotes.

The back cover of this US pressing pairs Univers Italic for the bigger lines with Akzidenz-Grotesk a.k.a. Standard for the liner notes and track listing.

The back cover of the British release uses Gill Sans Italic and Monotype Grotesque. It was printed and made by the E.J. Day Group, London.

Martha Stewart celebrates her landmark 100th book with an intimate collection of 100 treasured recipes, along with stunning photos from her personal archives and the stories behind them. A must for anyone who has ever been inspired by the one and only Martha.

Published by Clarkson Potter, the book was designed by Susan Roxborough, Stephanie Huntwork and James Maikowski. The project uses Romie Regular and Italic (designed by Margot Lévêque) as the headline and text typeface. The accompanying sans appears to be Commercial Type’s Graphik, used with its alternate schoolbook a.

Cover art of the Mono Mind album Mind Control

Mono Mind – yet another side project of Per Gessle – have released one album and seven singles. They all feature designs that follow almost a cookie-cutter template, with coarsely halftoned images of the band characters on random backgrounds in bright colours. The band's name has always been set in David Kerkhoff’s Dirrrty, with the release title in Bureau Grot Medium Compressed. The sole exception to this is the album which has its title set in Akzidenz-Grotesk Extended. From the third single onwards, the single titles have been mechanically skewed 15° to create a faux italic.

[More info on Discogs]

Cover art of the first Mono Mind single “Sugar Rush”, featuring a different design to all the singles that followed

Cover art of all the versions of the Mono Mind single “Save Me a Place”, featuring a slightly evolved design from the first single

Cover art of both versions of the Mono Mind single “I Found My Soul at Marvingate”, featuring a design template that would be followed by all their subsequent single releases

Cover art of all versions of the Mono Mind single “LaLaLove”

Cover art of the Mono Mind singles “Down by the Riverside”, “Fighting for the Future”, and “All Over Your Body”