La Flor is a family-owned spice maker from Hauppauge, New York. The use of ITC Bauhaus Heavy for the spice name gives these basic labels some punch. It contrasts well with the unobstrusive cursive logo which appears to be based on Filmotype Zircon.

Always Yours is the first Japanese best-of album by South Korean group Seventeen. The two-disc compilation brings together 27 tracks from the group’s first five years in Japan, sold in differently designed, collectible CD packages. The album debuted at No. 1 on the Oricon chart, selling 512,000 copies in its first week, and was named one of the three best-selling Asian albums.

Under the creative direction of Yumiko Kobayashi, graphic designer Taeko Isu pairs Grand Slang (Nikolas Type) with Helvetica (Max Miedinger) across the album’s various editions. Grand Slang takes the lead in the expansive all-caps title, its expressive proportions and sharp forms giving “ALWAYS YOURS” the presence of a wordmark. Helvetica handles the supporting information with deliberate restraint.

[More info on Discogs]

O Céu da Língua is a play that transforms the Portuguese language into living matter. Using words to talk about identity, history, politics and invention, the monologue is also a rehearsal, a manifesto and a game; where speech becomes body, rhythm and thought. The staging proposes visual listening: projections, moving typography and textual landscapes accompany the flow of language on stage. Starring Gregorio Duvivier and directed by Luciana Paes, O Céu da Língua has premiered in Portugal with sold-out sessions and toured 12 cities. In Brazil, it has already toured 33 cities, drawing nearly 300,000 spectators.

The publication visually reflects the structure of the performance. We drew inspiration from old Brazilian literacy workbooks to create a visual language that echoes the content of each act. Classic typographic blocks coexist with doodles, notes, erasures, drawings, and handwriting.

This project is shortlisted in the Editorial category at the 2026 Latin American Design Awards.

Interpretation and text by Gregorio Duvivier. Direction and dramaturgy by Luciana Paes. Direction assistance by Theodora Duvivier. The graphic design is by Maria Cau Levy and Ana David of Estúdio M-CAU. See more on m-cau.com.

MUSE is an annual photography exhibition running alongside Calgary’s Exposure Photography Festival. This year marked the first ever printed catalog of works to support the exhibition.

More than simply documenting the featured artworks, the book and the spreads inside formed the entire editorial theme of the exhibition, with the spreads printed verbatim in large-format, becoming the literal works on the wall.

Across the submitted works in this year’s exhibition, there was a clear theme of earnestness and the analogue, both in concept and in medium. To tie these submissions together and articulate their connections, we leaned into an icon of the analogue and the birthing tool of ideas: the humble pencil.

The optical size variations included with each weight of Die Grotesk gave the required flexibility for the mice-type colophon in the book all the way to the giant vinyl-cut lettering within the exhibition space.

Allis is a multidisciplinary branding studio with over a decade of expertise in crafting brands for notable placemakers, hoteliers, and new-to-world lifestyle companies. With offices in New York City, San Francisco, and Portland, Allis provides creative services to various industries, including premium health and wellness products, real estate, hospitality, and fashion.

Typography played a central role in defining the agency’s luxury positioning. Combining the sharp presence of Cardinal Fruit, the elegance of FH Alpha, and the timeless utility of Neue Haas Grotesk, the type system delivers a cohesive and sophisticated identity across digital platforms, presentations, stationery, and agency merchandise.

Cover of the original 1969 album, with “No 1” added in Helvetica

Starting in 1969 the BBC began releasing albums compiling sound effects from the BBC Sound Effects Library. A large number of albums would follow in this series, covering a range of themes and topics, with the last one being released in 1984.

For the first nine releases, a consistent design was used: A collage of images in a grid, tinted in a small number of colours to create a striking effect. For No. 1 to 6 and 8, the title was set in a two-color setting of Lettres Ornées. No. 7 and 9 instead use Stark Raving.

The first nine albums were later reissued with completely different cover designs. These new ones featured a different font for each release, which are covered individually below.

The design for the first four albums is credited to Roy Curtis-Bramwell. No designers are credited for the remaining albums or the reissues.

[More info on Discogs]

Volume 7, the first to use Stark Raving for the title. “No 7” is added in Univers Bold Condensed.

A compilation of all nine original album covers

The reissue of No. 1 features Warlock Inline.

Up & Down for the reissue of No. 2

The typeface chosen for the reissue of No. 3 is unknown. Perhaps Alpha?

Italia for the reissue of No. 4

The reissue of No. 5 uses Mickey Tick.

We get to see Napoli Serial for the reissue of No. 6.

Syncopation was chosen for the reissue of No. 7.

The new cover for No. 8 has broken glass and the elusive Brutus.

Lastly, the reissued No. 9 uses Stymie.

Wikipedia:

Sound Affects is the fifth studio album by the English rock band the Jam. The album was released on 28 November 1980 by Polydor Records. It is the only Jam album to be co-produced by the band themselves, and contains the only album track co-written by the entire band, “Music for the Last Couple”.

The cover art is a pastiche of the artwork used on various Sound Effects records produced by the BBC during the 1970s.

Jam frontman Paul Weller has opined that Sound Affects is the Jam’s best album.

Despite being a tribute to the BBC Sound Effects records, the album title uses a surprisingly different font: Vineta, in italic caps with shadow. “JAM” and “NO. 80” appear to be added in Univers Bold Italic. “POW!” is in Stencil. The artist and title on the back useEurostile Bold Extended, accompanied by Helvetica.

The back cover of the album features an excerpt from Percy Bysshe Shelley’s poem The Masque of Anarchy.

Title card

From Wikipedia:

The Brood is a 1979 Canadian psychological body horror film written and directed by David Cronenberg, and starring Oliver Reed, Samantha Eggar, and Art Hindle. Its plot follows a man and his mentally ill ex-wife, who has been sequestered by a psychiatrist known for his controversial therapy techniques. A series of brutal unsolved murders serves as the backdrop for the central narrative.

The movie logo features modified caps from Revue (Letraset, 1969): Compared to Colin Brignall’s original design, H and R lost the descending bits. In B, R and D, the open top left corner was closed and rounded off. E got the same treatment and was further calmed down by arms of equal length with vertically cut terminals.

US One Sheet (27″×41″) poster. The tagline “They’re waiting… for you” uses all-caps Antique Olive Compact. David Cronenberg’s name appears to be set in a heavy weight of Fiedler Gothic.

British Quad (30″×40″) poster. The designers of this version apparently weren’t supplied with the original logo and had a go at Revue’s letterforms themselves. The original protruding bits in B, R and D were made longer. E follows suit and keeps its angled terminals.

This British Double Crown (20″×29.75″) poster puts the focus on Cindy Hinds in her role as Candice (here Candy). The movie logo is paired with two weights of ITC Avant Garde Gothic.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

New York City Mayor Zohran Mamdani, NYC Tourism + Conventions and Team Wonder launched new initiatives to help New Yorkers and visitors explore the five boroughs during the 2026 FIFA World Cup, including a “NYC Neighborhood Passport”. The NYC World Cup campaign was designed by Arsh Raziuddin, working closely on the brand guidelines with Aneesh Bhoopathy who designed Zohran Mamdani’s campaign branding and is now a senior designer in the Mayor’s Office. It is inspired by sports memorabilia, city signage, a sticker collection, and the five boroughs. “There’s an energy that we wanted to capture and I think it’s matching New York as of right now in a way that feels really nice,” Raziuddin said, “One or two typefaces max was important for me.”

The campaign typography headlines use Dunbar Tall Ultra from CJ Type, along with Dunbar Tall Medium, Bold and Extra Bold used for supporting information. The script used for each of the five boroughs is a modified and redrawn version of Excelsior Script.

As the campaign rolls out to templated items such as transit instructions, bus lane notices, watch party posters, and queuing instructions the editable text used appears to be in Neue Helvetica.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: www.instagram.com vxdollface. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Source: images.squarespace-cdn.com Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Photo: CJ Dunn. CJ Dunn. License: All Rights Reserved.

License: All Rights Reserved.

License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Team Wonder, Already Home, World Cup 26. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Source: i.insider.com Sydney Bradley/BI. License: All Rights Reserved.

Source: images.ctfassets.net Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Arsh Raziuddin & New York City Hall: World Cup Campaign. License: All Rights Reserved.

Louie Louie is a cannabis infused seltzer by Basin Street Beverages from New Orleans. For the launch of their promotional campaign on Instagram, the brand used Carey Regular, an all-caps typeface designed to honor local sign painter Lester Carey (1953–2017).

The graphic additionally features a number of other letter styles, some of which seem to be lettering, or lettering derived from a typeface. “The Drink You Never Know That You Always Wanted” is HT Trattoria with a custom A, for example. “Available” probably is in BN Hamburg Hand, and the other sans that appears in caps of different widths might have started out as BN Axel Grotesk (Futura Passata is similar, too). “It’s juicy and purple!” is in Hess Gothic Round NF.

The Chubukos was an alias used by the LA-based studio group Afrique for the release of two singles. For this particular single, the B-side is a rerelease of an Afrique song of the same name, while the A-side is a novelty funk number that expands on the sound and feel of Afrique’s cover of Manu Dibango’s “Soul Makossa” by taking inspiration from David Seville’s chipmunk-voiced “Witch Doctor”.

The cover art for the German release of this single provides examples of two rarer typefaces: Yum-Yum is used for the artist's name, while Stagg Shaded is used for the song titles.

[More info on Discogs]

Bien:( is the first extended play record by Spanish singer-songwriter and rapper C. Tangana. From Wikipedia:

Written by Tangana and co-produced with Alizzz and some other usual collaborators, the EP was released on May 14, 2020 through Sony Music. Mainly composed during the COVID-19 pandemic national lockdown in Spain, the extended play shows Tangana's evolution to a more emo and melodic rap field.

The cover includes an original photograph by Javier Ruiz. The graphic identity was developed by Paula Vila and Víctor Clemente, founders of the agency Realmente Bravo.

[More info on Discogs]

Peace and Love is an early album by Dadawah, released in 1974 on Wild Flower, a subsidiary of Federal Records ran by Paul Khouri and Richard Khouri. The Jamaican reggae singer and Nyabinghi specialist was born in 1943 as Michael George Henry and is best known under the name Ras Michael.

[More info on Discogs]

Es Ala is an interdisciplinary architectural practice based in Guadalajara, Mexico, founded by Armida Fernandez and Luis Flores.

The firm, in its own words, seeks to “honor culture and tradition while still questioning the significance of programs, methodologies, and materialities. Architecture must be able to fade away established boundaries and conventional hierarchies, allowing the freedom to generate new forms of behavior.”

Driven by Es Ala’s perspective on architecture, we aim to build an image that reflects these attributes.

We redesigned their logo to create an ethereal composition with bodies that have no positions or barriers.

For editorial compositions, we played with airy and flexible layouts, where the protagonist is represented through the use of blank spaces, which enrich and highlight the elements placed on them.

Es Ala's work stands out for its appreciation and valorization of regional materials and their use in new contexts. The color palette aims to represent this appreciation, using earthy colors that vanish with time.

Mockups of the website. The live website uses Inter.

La Petite Boisson is a young, committed natural apple cider brand rooted in the heart of the Norman bocage, in Castillon-en-Auge, Pays d’Auge, France. Built on principles of organic farming, hand harvesting, and additive-free apple processing, the brand launched its first product – Le Titi, a cider named in homage to the Parisian working-class spirit – as a small-batch release distributed exclusively to select restaurants that share the same dedication to quality. This debut was followed by a 100% organic apple juice line, Jus de Pomme LPB, which extended the brand’s commitment to nature-conscious, artisanal production. Most recently, La Petite Boisson introduced Vesper, a new 100% organic cider whose visual identity carries a deeply personal touch – centered around Vesper, the owner’s dog, now an affectionate and defining symbol of the brand. Each product line is cultivated through traditional pre-orchard methods that actively promote biodiversity, where trees, grass, and animals coexist within a living ecosystem.

The visual identity across all three product lines was conceived by French creative studio Le Piret à Venir, whose bold and distinctive design approach mirrors the brand's character at every stage. As the logotype and primary visual typeface, La Petite Boisson employs Base Neue, a typeface crafted by Power Type. Supporting typefaces include Editorial New and Helvetica or similar. Together, the brand identity, typography, and product philosophy cohesively articulate a single clear proposition: “Be Brighter, Drink Cider.”

The Vesper label uses Base Neue Super Condensed.

The cover uses Talon for the title and Helvetica for the subtitle and author name.

The Biology of Horror: Gothic Literature and Film is an academic book that analyzes how anxieties about biology and being organic figure in the history of the genres, using both early (e.g. The Castle of Otranto, published 1764) and then-modern (e.g. Seven, 1995) examples.

Half-title page

Title page featuring Talon for the title and Dante for the subtitle and author name. The publisher’s name is in Gill Sans Bold.

Contents

First published in 1975 by the Lawrence Hall of Science and the University of California, Berkeley, this packaging makes use of several alternate characters of ITC Serif Gothic with ITC Bauhaus and Helvetica for secondary text. The graphic design is credited to Rebecca Martinez inside of the packaging.

Harbour Square Basin, just west of the Jack Layton Ferry Terminal near Bay and Lakeshore, until October 2026.

Global Convenience is a temporary art installation on the Toronto waterfront, in one of the 16 host cities for FIFA World Cup 2026.

“Convenience stores, local markets, rum shops, bodegas, these are familiar places no matter where you’re from. So when people are visiting Toronto for the World Cup, we want them to feel that familiarity,” said Rashad Maharaj, the producer of the project. Nevertheless, this out-of-context representation of a store has layers of irony: an urban feature in a natural setting on Lake Ontario, advertising convenience for all but without any easy access, an open sign but actually closed, newly placed but with retro characteristics (exemplified by the use of the very 1970s typeface Zipper).

Despite the global, universal theme of the corner store, this version contains many localized details, such as the Ontario Lottery and Gaming Corporation symbol in the window. The jug with the text “open seven days a week” was once used by the brand Becker’s, which was Ontario's first chain of convenience stores, founded in 1957. It uniquely sold milk in returnable gallon jugs (instead of a daily delivery) and it was open seven days a week for fourteen hours per day, an innovation at a time when Sunday shopping was then highly regulated. Grocery stores in Ontario were closed by law on Sundays and holidays under the Lord's Day Act (1906) until 1987.

While the art installation is viewable up close by kayakers, you still can’t buy anything there. It is perhaps a metaphor for the relative difficulty of accessing tickets to a World Cup match – anyone can view the games on TV from afar, but to get there in person will require means not available to all. Toronto is hosting six matches of the World Cup at an estimated cost of C$380 million to the city, provincial, and federal governments.

For context: a Becker’s storefront.

Piper Oz the Hound is Art Lown’s only studio album, released in November of 1976 via United Music World. He tragically passed away only a few months later at the age of 27.

The front cover uses Eightball for the album and artist name. The back cover does the same, but uses Helvetica for all other text.

Art Lown also illustrated the pipe-playing hound Piper Oz shown on the back cover. He studied commercial art at Virginia Commonwealth University.

[More info on Discogs]

From Wikipedia:

“Formentera” is a song by Spanish singer Aitana in collaboration with Argentine rapper Nicki Nicole, released through Universal Music Spain on Dec 3, 2021. The song was later included on the tracklist of her third studio album, Alpha (2023).

The design created by Paula Vila and Víctor Clemente, founders of the agency Realmente Bravo, evokes a boarding pass. In the song, the concept of a flight to the Spanish island of Formentera is used as a metaphor for love, given that it has no airport and flights are nonexistent.

[More info on Discogs]