The Hamilton Hotel has been a local landmark since 1865. Daymark’s rebranding focuses on “recognisable restraint,” moving away from flashy marketing to a timeless, typographic-led style. The identity balances the hotel’s long history with a clean, modern feel across digital platforms and physical details like signage and debossed stationery. By pairing heritage-style serifs with modern layouts and high-quality materials, the new identity reflects the hotel’s journey from a historic colonial building to a premium contemporary destination.

From Wikipedia:

“Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, Different Class (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release.

“Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from Different Class after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim.

[More info on Discogs]

Typography-wise, the single follows the choices made for the album, with Chromium One for the band logo (also by The Designers Republic) and Windsor Extra Bold Condensed. The palette is completed by italic Poster Bodoni and Helvetica.

Pump Bold is a typeface I would normally never consider using. I created this logo in the early 1970s when I was first becoming a self-taught designer. It was done with Letraset rub-down lettering. I liked that the d’s and the p’s were the same letterform, and that the lines could interlock up and down in an interesting way.

The Berkeley Tribe is possibly the most famous “New Left” newspaper. Centered in Berkeley, California, it (like other publications) focused on revolutionary subject matter (Black/Women's Liberation, Gay rights, Antiwar Movements, etc.). Their headquarters were at multiple times bombed or shot, with the FBI surveilling their operation.

The masthead, like with many famous magazines, such as TIME, is a custom lettering.

Crediting designers for each issue can be tricky, as intimidation from attacks and police prompted staff to remove their names from the masthead. However, East Bay Media is noted to have served the tribe's publishing and at least some graphic design from 1971, the time of this issue here (it is possible other Berkeley area shops filled a similar role during the paper's run, too).

Early covers and hand lettering are credited to designer Gary Grimshaw, who possibly did not work on this particular specimen.

Shown here are the cover and a selection of eleven of the twenty-four pages, featuring most of the display fonts used in the editorial design at least once. Text is set in Univers and Century Schoolbook.

Headlines in Dom Casual (“The Unknown Defendant”) and Clarendon (“Justice We Don’t Expect From You”)

Publicity Gothic (“No Future Rev No Family”) and Clarendon

“Weather Sister Ripped Off At Flicks” is in Roberta.

Headlines in Antikva Margaret (“U.S. Bombs”) and Windsor Elongated (“Thoughts On Being Human”)

Grotesque No. 9 for “SIERRA” and “feedback”

Franklin Gothic for the “Pusherman” headline, De Vinne for “Human Culture Time-Line”

Cooper Black and Haas Inserat Grotesk for “War-Season’s Greetings from JAPAN” . The ad below features two weights of Blippo (equivalent to Burko and Harry) and City.

Profil for “OKINAWA”. The ad for Midnight Films uses Mistral.

More Inserat-Grotesk for “The Sacred Tree is Dead”. Times New Roman is used for the poem at the bottom right.

The “KILL ’EM” headline is set in Windsor. Smoke and Futura feature for the Free Store ad and Helvetica for the one by Sound City.

The “Masturbation” headline is in Jay Gothic. Fonts used in the ads include Flash (“Native Son”) and Commercial Script (“MANDRAKE’S).

Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a British musical film from 1969. Anthony Newley (1931–1999) co-wrote the script, served as director, played the lead role, and composed the score. From Adam White’s 2017 article for the Telegraph:

Famed at the time for its ludicrously unwieldy title, 1969’s Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a surrealist sex-drenched disaster that could only ever have been made in the more free-wheeling Sixties. Released to significant controversy for Universal Pictures and given an X rating, it was dubbed “an act of professional suicide” by the New York Times.

The cover of the soundtrack album by Kapp Records is an adaptation of the movie poster, with illustration is by Robert Tanenbaum. It uses typefaces that all were available from Californian phototype company Lettergraphics. Most of the text is set in various widths and weights of Microgramma – at Lettergraphics, Microgramma and Eurostyle [sic!] were distinguished solely by whether the font was all caps or had a lowercase, without differences in the design. The title is a potpourri of Sans Shaded, Bodidot Flair (a copy of Pistilli Roman, with swashes), a generic sans in italic caps and small caps, Windsor Contour, Torena Italic Flair, Holiday, Groovy, and Gras Serrés Italique.

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.

Fonts from the Flea Market #1447

Sleeve for a French single by German singer Mary Roos (b. 1949), released in 1971 by CBS Records. Zipper is used in all caps, and Pump Bold in all lowercase letters. Both typefaces were designed by Bob Newman and released in 1970 by Letraset.

[More info on Discogs]

Byte magazine, issue #4, December 1975

Bill Godbout was something of a pioneer in the early microcomputer movement of the 1970s, and his firm Bill Godbout Electronics was a commercial vehicle selling discount and surplus electronics and microcomputer components. Bill Godbout Electronics was a regular advertiser in the early issues of the seminal BYTE magazine. Issue #4 is the first Christmas issue and features a 2-pager from Bill Godbout Electronics that mixes a large number of fonts in a style typical of both this era and this advertiser.

“Bill Godbout Electronics” is in Wexford. I think the “CAVE grafix” is lettering, but the first word may be based on Koloss (see further below). “Wish you a joyous holiday season” and so in is in Davida. “If you are into toyful tinkering” and so on is in outlined Cooper Black.

“Son-of-a Cheap Clock” is in Tonight, and above it “We have a successor to our very popular ‘Cheap Clock Kit’!” is in Script (for the IBM Selectric; see also the body fonts, glossed below). The price, $14.50, is in Umbra. Both Script and Umbra are used on the following page.

Windsor is used for “they also make great gifts” (on the curve) and the following text. “Electronic Projects for Musicians” is Reklameschrift Herold. Below the decorative band, “EROM board special offer” is in Helvetica, outlined and with a South shadow.

“4K x 8 pre-programmed for 8080” is in an outline style of a somewhat Microgramma-like font that I couldn’t identify that is also used on the second page.

On the second page, “Bigger & Better” is in Skin & Bones (using two alternates for G, but not for E). “Pace 16 bit chip set” is in Koloss. “1 Pace 16 bit CPU” and other text on and under the curve is the previously mentioned and unidentified outline Microgramma-lookalike.

“Pace Data Packet” is Advertisers Gothic (using the A without a top flag). “4K x 8 RAM kit” is in Umbra. “EROM board kit” is in Rock Opera. The “8K x 8” and so on again is in Wexford. “There’s more ... We have” is in Monogram.

The body text (and some secondary and subtitle text) is typewritten in a variety of fonts, and I did a much better job of identifying those, all available on the IBM Selectric:

On the first page the text for the clock, starting “BIGGER DIGITS” is in Artisan. “By Craig Anderton” (the author of “Electronic Projects for Musicians”) is in Orator (probably, in any case Orator is used on the next page).

The text for the Craig Anderton blurb is Adjutant, I think. Delegate and Adjutant are very similar with only slight differences in weight and thick/thin contrast, but they have different pitches: Adjutant is 12 characters per inch, and is tighter than Delegate at 10. The text block at the bottom of the first page, starting “By special arrangement”, is in Bookface Academic.

On the second page, below “Pace 16 bit”, the text starting “This chip set gets you into PACE” is in Manifold. The word “PACE” itself is in another font (the Selectric had a feature where you could switch type-balls and still retain the cursor position), possibly Pica. Manifold is again used for the bottom paragraph starting “READOUTS, LEDS, TRANSISTORS”. Below “Pace Data Packet”, “Since we started advertising” is Orator. Below “4K x 8 RAM”, “Note the lower price” looks like Prestige Elite.

Below “EROM BOARD”, the text starting “Now you can stuff up to 8K” initially had me stumped, but I think I have tracked it down. The small caps in place of little letters, made me think of Orator, which it isn’t; the o is distinctly squaroid and reminded me of the output of the IBM lineprinters, such as the 1403. It turns out that the IBM Selectric has a typeball called AN3/360 which the 1972 brochure specifically says matches the AN3 style available on IBM’s lineprinters.

At the bottom of the second page, to the right of the wordmark, the payment and terms text starting “YOU MAY PLACE MASTERCHARGE® OR BANKAMERICARD® ORDERS” is in Script.

An outstanding use of all-caps Pump Bold in the signage for this community leisure centre, which has recently made the news in the UK, having secured additional funding after escalating costs threatened its closure.

The building was officially opened on September 18, 1987, by HRH Princess Margaret. I would hazard a guess this is when the signage dates from.

From BBC News:

A community leisure centre at “serious risk of closure” has secured a £50,000 emergency funding boost to get it through to the new year.

Dalton Leisure Centre in Dalton-in-Furness, Cumbria, opened in the 1980s, with manager Shaun Fisher saying the centre was doing “really well” and was like a “second home” to some people.

Despite that, repair work and rising energy costs have meant the centre has struggled through November and now wants to raise a further £50,000 to secure its long-term future.

A spokesperson for Westmorland and Furness Council, which funded the grant, said “the council recognises the valuable role that the leisure centre plays in the local community”.

The website of the charity-run (not council owned) centre sadly doesn’t feature any further use of Pump.

Detail

Ragtime

From Paul Dini & Chip Kidd’s Batman Animated (1998):

These imaginatively rendered title cards were a high point of each Batman episode. While some (like “Harley’s Holiday” and “Time out of Joint”) were character portraits, most often the cards depicted an emotional impression of the given episode’s theme. According to Eric Radomski, who designed many of the cards, “Going with the overall retro-forties feel we were giving the show, we wanted to treat the episodes as mini-movies. The title cards allowed us to create great drama in a very subtle fashion. It was a process of trying to capture what the overall episode was, and not just show a scene or moment from it.”

Most of the title cards of Batman: The Animated Series’ first season (which first aired in 1992–1993) use fonts that were available from Letraset.

See also the post on the series’ logos.

Engravers Old English

Pendry Script

Rundfunk

Commercial Script and Compacta Italic

Pendry Script

Cable (Kabel) Light

Univers 49

Brody

Univers 49

Peignot Medium

Alpin Gothic

Plaza

Pendry Script and Compacta

Windsor Bold Outline

Compacta

Plaza

Peignot Medium

Brush Script

Microgramma Medium Extended

Mistral

Compacta Bold Outline

Univers 49

Goudy Handtooled

Mistral

ITC Benguiat

Brody

Univers 49

Plaza and Univers 49

Mistral

Laser

Univers 49

Stencil Bold

Univers 49

Univers 49

Papyrus

Berling Bold

Mistral

Mistral

Ragtime

Berling Bold

LCD Outline

Cloister Bold

Shatter

Helvetica Extra Light and Medium

Goudy Extra Bold

Freestyle Script and Flash

Plaza Inline

City Medium

Murray Hill Bold

Plaza and Univers 49

Ragtime

Tarragon

Compacta Outline

Titus Medium

Augustea Open

Cortez

“À Table!” is a two-color screen-printed poster inspired by cookbook photography from the 1970s and 1980s. These images often depict unlikely and visually unappealing dishes, presented with complete seriousness. What makes them compelling is that they were never meant to be ironic. The poster brings together a selection of real recipes found in these cookbooks.

Printed in black and orange using screen printing at Atelier Bambinoin Lyon, France. Paolo (the guy I made the posters with) printed two T-shirts with it. The typefaces in use are Bookman Bold Italic Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono and Zipper. Bon appétit !

Fete des Bruyeres
2ème Dimanche d’Aout
Sur ce Site
Musique et Danse de Bretagne et d’Ailleurs

On our way from the parking to the cliffs of Beuzec-Cap-Sizun, Bretagne, we passed workers dismantling a stage from a festival that ended the previous day plus a sign explaining what we had just missed. Fête de Bruyères (“Heather festival”) is a local folk festival with dance and music held every second Sunday in August. The billboard shows a man in folk costume playing bagpipe and women in traditional clothing riding a horse carriage, with the côte sauvage (“wild coast”) as a backdrop. The airbrushed image is partly covered with vinyl lettering, using a different font for each line. It is signed by local sign firm Le Bars Publicité in the bottom left corner, but not dated.

Ferns, heather, rocks and sea: the côte sauvage.

This Christmas compilation featuring ten songs by five of their artists was released by budget label Holiday Records in 1981. With the exception of Eckmann, all display typefaces (printed in red) were available from Letraset, with several of them being originals by the British dry transfer pioneer. Annlie (1966), here used in italic with the alternate swash cap, was conceived by Fred Lambert. Revue (1968) and Octopuss (1970) are both designs by Colin Brignall. University Roman by Mike Daines was added in 1972, and Maurice Schlesinger’s Cut-In Bold by 1973.

The secret star of this album cover is Crafton Gothic, though: the narrow sans used for the titles in green was shown by Photo-Lettering already in 1960, in four weights, without designer credits. The label in their 1971 catalog indicates that Crafton Gothic originated elsewhere, but it doesn’t say where.

[More info on Discogs]

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

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

CD version, front cover

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

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

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

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

For the release party of music artist Goldielocks—following her breakthrough year and standout success at UMK—we designed a poster built around her primary typeface, Windsor Roman, with Windsor BT’s Light Condensed for the smaller texts. As the event took place close to Halloween, the concept introduced a subtle, atmospheric Halloween influence layered onto the official promotional and press imagery for her debut album, Two of a Kind. The album marks Goldielocks’ emergence as one of Finland’s most promising new international pop artists.

Graphic design, typeface visualization, and album visuals were created by Jirka Väätäinen, with photography by lumiilo. The typeface for the album titles and tracklist is Podium Sharp, which name suits the stage-craving aura and danceable mood on this album and cover.

All-caps Flash for the poster signed by D. Wust-Calame, printing: Imprimerie du «Journal de Genève»

Drawing is a common practice in the field of botany to visually describe a plant. Allowing interpretation, even cheating, a drawer dare said, scientific illustration has didactical advantages over photography. From 1960, when Charles Baehni was director of the institution, and during more than 30 years, the Botanical Garden of Geneva in Switzerland employed a dedicated team of women for the task. Their names appear vertically, often along the stem of each illustrated plant: Line Guibentif, Saskia Pernin-Wikström, Suzanne Van Hove, Danielle Wüst-Calame.

Housed by the lake, on the first floor of the historical building called La Console, the “atelier de dessin et décoration” comprised a complementary team dedicated to decoration (advertising or graphic design nowadays).

The series of posters entitled “Tulipes” announces most likely outdoor “exhibitions” of the tulip flower in bold colours with various typefaces leading to a striking effect. Showcased below, these posters symbolise the porosity of practices, the warmth as well as importance of drawing by hand, from that era.

To conclude, when I was conducting my research for proper dates and names, working in this very institution as an in-house typographer, I spotted this remark in one article by Line Guibentif from 1984: “Made with simplicity and economy of means botanical illustration should be as easy to read as clearly typeset text.” (translated from French by the author).

Acknowledgments: Samuel Anderegg, Pierre Boillat, Patrick Bungener, Martin Callmander, Sylvie Dunant, Mona Mahmoudian, Raoul Palese, Nathalie Rasolofo, Rodolphe Spichiger, Gisèle Visinand

Letraset’s Desdemona for a poster signed “SaskiaW”. Note that the 9 is an upside-down 6.

All-lowercase Baskerville Old Face

All-lowercase Monotype Grotesque and Helvetica for a poster signed “Line G.”, printing: Imprimerie du Journal de Genève

Hand-rendered (?) Cooper Black with non-standard forms for U (inspired by ITC Souvenir?) and P. “Rocailles” is shown in an unidentified wide slab serif. Volta fett with a trimmed R leg and unbracketed serifs would come close [see also the comments]. This poster is signed “SaskiaW” and was printed by imprimeries populaires. Smaller text is in Helvetica.

Zipper and Helvetica for a poster signed “SaskiaW”, printing: Imprimerie du «Journal de Genève»

Artistik for a poster signed “D. Wust-Calame”, printing: Imprimerie du Journal de Genève

More Helvetica, including stacked glyphs for the months for a poster signed “D. Calame”, printing: Blanc-Wittwer SA (not part of the Tulipes series, provided here as a bonus for the eyes)

Photo studio and designer to be determined

Class Photo Bordermania

Two display typefaces, Algerian and Ravie, both in use for an official class photo of a freshman section in the school year 2009–2010 in provincial Philippines.

Filipino graphic designers and layout artists never shy away from combining two typefaces, oftentimes working with available resources at hand–in this case, typefaces that come bundled with Microsoft Windows. You know what they say: the more the manyer.

Heartbeat (November 1981) utilises contoured Helvetica and Eurostile Extended for the album title and artist names respectively.

Chris & Cosey, sometimes known as Carter Tutti, are a musical duo formed in 1981, consisting of couple Chris Carter and Cosey Fanni Tutti, both previously members of industrial music pioneers Throbbing Gristle. Shown here are the covers of their first four albums, released between 1981 and 1985 on Rough Trade.

[More info on Discogs]

Trance (May 1982), featuring Caslon Antique for the title and artist name, and Melior for the name of their side project at the time, Creative Technology Institute (CTI)

Songs of Love & Lust (January 1984) features Phyllis, alongside University Roman.

Techno Primitive (stylized as Technø Primitive, 1985) keeps things simple; using only Antique Olive in two weights, Black and Nord.

Brûlant is a new Parisian brasserie occupying a converted fire station in the 10th arrondissement. The design leans into the venue's history with an immersive monochromatic red scheme that creates dramatic impact through layered tones. A custom wordmark made by Arthur Alazard [based on Cortese Black, see the comments] features knife-sharp serifs and a refined circumflex accent, paired with Writer's lighter weights for the menu typography, with support from Switzer. The result is a cohesive system that balances raw intensity with sophisticated restraint, perfectly capturing the experience of dining in this transformed industrial space.

From the Melsonian Arts Council:

Benighted Betrothal is an old-school adventure for 3rd-level parties of wandering adventurers, compatible with the Basic and Expert editions of D&D, and any modern simulacra such as Old-School Essentials, Basic Fantasy RPG, and Labyrinth Lord. […] Written by Sándor Gebei, illustrated by L.F.OSR, Odysseus Jones, & coloured by Peter Onyschuk

The game was crowdfunded via Kickstarter in December 2023.

While the title is in Lithops, the author’s name is set rotated in MVB Sirenne Italic.

The book interior combines headlines in Windsor with a yet unidentified text typeface.