Front cover, with photography by Ross Kirton

From Wikipedia:

Supernature is the third studio album by English electronic music duo Goldfrapp, released on 17 August 2005 by Mute Records. The album received generally favourable reviews, with most critics complimenting its blend of pop and electronic music. It debuted at number two on the UK Albums Chart with first-week sales of 52,976 copies, and has been certified platinum by the British Phonographic Industry (BPI). Supernature has sold one million copies worldwide.

The design is credited to Mat Maitland at Big Active, with art direction by Alison Goldfrapp, Mat Maitland, and Gerard Saint.

Matra is used for the album title and track listing, while all other text is in ITC Avant Garde Gothic. The Goldfrapp logo appears to be custom drawn.

[More info at Discogs]

Back cover

Lyrics and credits

Postcard (front)

Postcard (back)

A fine Use of all-caps West Nouveau Didot for the cover of The Mean Machine, an album by jazz organist Jimmy McGriff (1936–2008) released on Groove Merchant in 1976. Printed in pale violet and yellow, the curly letters nicely echo the ornamentation on the musician’s garment.

[More info on Discogs]

ARC Raiders is a multiplayer PvPvE extraction shooter developed by Embark Studios and published by Nexon, released on October 30th of 2025.

The game takes place in the year 2180, decades after hostile machines known as “ARC” suddenly descended from space and began attacking humanity. Players assume the role of a Raider, one of the few brave citizens of Toledo—a subterranean city to venture topside and scavenge in order to survive and supply resources for the city. Along the way, they will encounter ARC machines and other Raiders alike.

Arc Raiders uses ITC Avant Garde Gothic Bold for its logo, with slightly tighter spacing and the second R nearly cut in half to make way for the color stripes. An unabashed sign that this game embraces retro-futurism like its life depended on it. In-game, Barlow Light, Regular and Bold is heavily used for body text. Urbanist and Prompt share the role as a heading typeface, although Urbanist is used more regularly. JetBrains Mono is used as extra decorative flavor and can be seen mainly in the HUD.

Dark version of the ARC Raiders logo, which can be further distilled to just the lines themselves. The green, yellow and red lines represent the player’s three skill trees. The blue line represents ARC, which is where its name comes from; the literal arc in its radar signature.

The lobby, with a nice view of Speranza behind

Viewing the Gunsmith, one of six other work stations where players can craft guns and items from resources that they have scavenged during raids

The three main skill trees, where players can upgrade their Raider'’s stats such as increased mobility and stronger resilience during combat

In-game HUD

Loadout screen

Trading with Tian Wen, where you can buy or sell equipment. There are other traders too, of course.

The Projects menu, which acts as additional high-stakes goals for players to grind materials, submit them and receive rewards

Reading the Codex, where information such as enemies, weapons and general lore that are found during gameplay are stored here

Poster designs for Daughters of the Forest. A story of entanglements: between humans and mushrooms; the visible and the invisible; generational knowledge and modern science. This sci-fi documentary invites us to reconsider the experiences of both human and non-human inhabitants of our world.

Source: www.antikavion.cz Antikvariát Avion. License: All Rights Reserved.

Zelená kuchyně (1988) by Jan Jeník, Václav Větvička, and Sergej Michajlovič Skornjakov, with illustrations by Edita Plicková

In the late 1980s and early 1990s, Czechoslovak publisher Lidové nakladatelství brought out a series of nature books in their Edice Planeta imprint. Zelená kuchyně (“Green kitchen”) is about vegetables and edible plants and Zelení ježci (“Green hedgehogs”) about cacti, while Zelený domov (“Green home”) deals with houseplants and Klenoty přírody (“Jewels of nature”) with minerals.

The cover designs are by Milan Albich (1925–2000), a painter, illustrator, and graphic artist from Krupina, Slovakia. He rendered the titles in ITC Serif Gothic. in all-lowercase letters from the Black weight, likely using the Letraset adaptation for dry transfer lettering. Unlike Mecanorma’s – or the official digitization, for that matter – this version includes the alternate glyphs, see for example the descending forms for z and k, the spurless r, and the tailed t.

Albich must have been fond of this typographic style: he also used it for a catalog of his own drawings and paintings in 1987.

Source: www.etsy.com craftytransfers (edited). License: All Rights Reserved.

A sheet of 48pt Serif Gothic Black, issued by Letraset in 1980 as LG3603 in their Letragraphica range. Note the alternates for aefkrstzEL and the pile of combining diacritics at the bottom.

Source: www.modrykonik.sk Modrý koník (edited). License: All Rights Reserved.

Zelení ježci (1989) by Stanislav Peleška and Valerij Dmitrijevič Lobko, with illustrations by Jiřina Kaplická and František Severa

Source: aukro.cz knihyantikeu (edited). License: All Rights Reserved.

Zelený domov (1990) by Galina Tavlinova and Jan Dienstbier, with illustrations by Zdeněk Berger

Source: www.knihyuvrany.cz Knihy U Vrány (edited). License: All Rights Reserved.

Klenoty přírody (1990) by Vladimír Bouška and Vitalij Ippolitovič Sobolevskij, illustrated by Adolf Absolon 

Nightflier by Christopher Fahy (1937–2024) is “a novel about the ultimate out of-body experience.”

Jonathan Petrie can leave his body and fly. Best of all. Nobody knows it—yet. Not his alcoholic, ailing mother, nor his uncaring father. Not the teacher who senses that he's changing, nor the girl who befriends him. And surely not the school kids who torment him mercilessly.

None of them knows the force he commands—that he can see without being seen, hear without being heard, and that even now, as the night winds howl, he's plotting his revenge on them all!

First published by Jove Books (as Nightflyer), this is the British paperback edition by Corgi Books. I don’t know who did the artwork. Inside, body text is set in 9½ pt Caledonia (not shown here). The book cover was set in the Black, Heavy, and Regular weights of ITC Serif Gothic, featuring the alternate round E in the title.

Trevor Dearing (1933–2023) was a Charismatic Anglican priest who wrote eighteen books, including this one about miraculous healing through faith. For the cover, designer Cynthia Sahlman build a wall of type from the Heavy and Regular weights of ITC Serif Gothic. The display typeface by Herb Lubalin and Tony Di Spigna is used in all caps, featuring the alternate uncialish E.

The Thorn Birds was written by Australian neuropathologist Colleen McCullough (1937–2015).

In the rugged Australian Outback, three generations of Clearys live through joy and sadness, bitter defeat and magnificent triumph, driven by their dreams, sustained by remarkable strength of character... and torn by dark passions, violence and a scandalous family legacy of forbidden love.

The Thorn Birds is a poignant love story, a powerful epic of struggle and sacrifice, a celebration of individuality and spirit. Most of all, it is the story of the Clearys’ only daughter, Meggie, who can never possess Ralph de Bricassart, the man she so desperately adores. Ralph will rise from parish priest to the inner circles of the Vatican… but his passion for Meggie will follow him all the days of his life.

First published in Great Britain in 1977 by MacDonald & Jane Publishers, this is a paperback version first published in 1978 by Futura Publications.

The book’s interior (not shown here) is set in Linotype’s Times Roman; I’d say in 9 or 9½ pt type size.

The front of the book is set in ITC Serif Gothic Bold for the red text. So is the author’s name in black. “The international bestseller” is added in all-caps Univers Condensed. The quotes on the back are set in Serif Gothic’s Regular weight, with the sources highlighted in red caps. The small print uses Futura.

This one goes out to John who’s looking for more in-use examples of Daisyland.

For ages 8–80
A good beginner’s book. easy enough for children, appealing enough for adults.
Clear Project Instructions · Knotting Diagrams · Full-Color Photos

On 23 pages, the DIY book presents patterns titled Neat Knots Wallhanging, Wings of String Butterfly, Fish Story, Twice as Nice Plant Hanger, Beaded Beauty Belt, Beach or Books Tote, Jump Ropes, Message Center, Mr. Happy, Ring Around a Towel, and Pretty Hang-up.

Kids Can Macramé was edited and art directed by Mickey Baskett, with photography by Jimmy George and illustrations by Jackie Stephens. Cathy Bonds, Rose Brinkley, Michelle Menough, Carol Millsaps, and Lynn Witbeck are listed as co-authors.

All of the typefaces were available from VGC for the Photo Typositor. Daisyland – an ornamented variant of Erwin by Murray Fuchs – and Jerry Matejka’s Soul were originals by the Florida-based phototype company.

Eve Harlow has authored a variety of books, including The Anchor Book of Crewelwork Embroidery Stitches and The Anchor Book of Freestyle Embroidery Stitches. Her books are highly regarded for their detailed instructions, explanatory diagrams, and trace-off
patterns, making them valuable resources for both experienced and new embroidery enthusiasts.

The book shown here is a guide to sewing, knitting, and fabric creativity, with 352 pages of projects and information to get anyone started. The specific edition was published in 1979 by Galley Press, with Cathay Books, Grosvenor St, London. It was previously published by Hennerwood Publications Ltd. in 1973.

The jacket typeface is ITC Serif Gothic’s Bold weight; the inner flap of the book additionally is set in the Regular weight. The spine has ITC Serif Gothic as well.

Visual identity for the exhibition Inezita Barroso: 100 anos de viola e pioneirismo for Sesc Mogi das Cruzes.

The show about Inezita Barroso (1925–2015) and “100 Years of Viola and Pioneering” is presented by Sesc Mogi das Cruzes to mark the artist’s centennial and bring together fifteen activities in her honor. The concept is anchored in enraizamento (“rootedness”), inspired by a statement Inezita made to Revista Brasil: “Something without roots flies away; the wind takes it and it disappears.” In her performances, Inezita was often seen wearing floral dresses, full skirts, and scarves, elements associated with traditional attire from Brazil’s countryside. The visual identity draws on this symbolic dimension by placing vernacular rural prints and folk embroidery at the center of the graphic system. The full booklet is available for download.

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.

Source: www.45cat.com dr.zoze /45cat (edited). License: All Rights Reserved.

“Ne Gledaj Me Tako I Ne Ljubi Me Više” single, Jugoton, December 1975, with the title set in caps from Futura Light

From Wikipedia:

Bijelo Dugme (transl. White Button) is a Bosnian (formerly Yugoslav) rock band, formed in Sarajevo, SR Bosnia and Herzegovina in 1974. Bijelo Dugme is widely considered to have been the most popular and the best-selling band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most prominent acts of the Yugoslav rock scene and Yugoslav popular music in general.

Shown here are some of the bands album art and a concert poster, designed by Sarajevo designer Dragan S. Stefanović. The band logo, now an icon of the Yugoslav rock scene, is set in ITC Fat Face, in two tightly spaced lines, with the j pushing down the g.

The group disbanded in 1989, though it did see two revivals in 2005 and 2024. Also from Wikipedia:

Bijelo Dugme’s work remains popular in all former Yugoslav republics, the band often being considered one of the symbols of Yugoslav culture and their work being a frequent motif in various forms of Yugo-nostalgia.

Source: ru.pinterest.com Azra Duskan | Pinterest. License: All Rights Reserved.

Poster for a concert in Sarajevo on February 2, 1976, with small text in Bulletin Typewriter. The text in the upper left corner reads “Događaj meseca”, meaning “event of the month”.

Source: www.ebay.com 2you4ever. License: All Rights Reserved.

“Milovan” / “Goodbye Amerika” single by Željko Bebek with Bijelo Dugme, 1976. The diacritic was made from a tilde, and the first k was cropped.

Source: www.ebay.com zinkfilms (edited). License: All Rights Reserved.

“Džambo” / “Vatra” single by Ipe Ivandić with Bijelo Dugme, 1976. Note the mirrored g in the band name. The sans on these two sleeves is Horatio.

Source: www.45cat.com Js_and_Bs / 45cat (edited). License: All Rights Reserved.

The single sleeve for “Bitanga i Princeza” from March 1979 features ITC Fat Face for the title as well – with upside-down i’s. “Sa novog albuma” is added in Futura Black.

Source: sr.wikipedia.org License: All Rights Reserved.

Four album covers for Bijelo Dugme (1984), Pljuni i zapjevaj moja Jugoslavijo (1986), Ćiribiribela (1988), and Eto! Baš Hoću! (1976)

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

Cover for compilation album Ima neka tajna veza released in 1994 under the label of PGP-RTS. The title is set in Franklin Gothic.

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

Box set with ten remastered albums on CD, City Records, 2004

Source: www.ebay.com recordsale berlin. License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1974–1975) on HiFi Centar, with ITC Stone Sans for the title.

Source: www.ebay.com Da’Hub Australia (edited). License: All Rights Reserved.

1996 reissue of the compilation Singl Ploče (1976–1980), also on HiFi Centar. In these applications, the logo lost the dot on the j.

Issue no. 2 from July 1981. The white text at the bottom is an unidentified typeface similar to Futura Extra Bold Condensed. I wonder if it’s related to Heraldus. [edit: identified by Bryson as Tempo Black Condensed]

Motter Tektura is the logo typeface for Your Computer. The Australian monthly home computing magazine “for business and pleasure” ran from May/June 1981 to May/June 1997. From 1977 to 1984, Othmar Motter’s typeface was also used for the logo of the Apple Computer Inc., likewise in all-lowercase letters.

Initially edited by Les Bell and published by the White House Publishing Group under licence from Motorword Pty Ltd., Your Computer was typeset by Hughes Phototype, Mosman. and printed by The Lithgo Centre, Waterloo. Barry Brady served as the magazine’s first art director. In 1982, he was superseded by Michelle Mabbott. Rolf Hagenmaier filled this role in 1993.

By 1994, the logo had been redrawn (almost) beyond recognition.

You can browse many digitized issues in the Internet Archive.

Motter Tektura was also used as headline typeface on interior pages. Here’s the table of contents from no. 5, November 1981.

June 1982, with ITC Korinna in a starburst for the “Big Birthday Issue”. The logo got a contour.

October 1982, ft. Dynamo Shadow for “16 Bits – A Revolution?”

May 1983

June 1983

September 1983

“Learning With Your Computer” special issue, 1986, with a shaded logo version and ITC Avant Garde Gothic

February 1993. The claim below the logo now reads “Making your micro work”.

In March 1996 TassinariVetta took over the art direction of Casabella, the historic architectural review founded in 1928. From that moment on the magazine has become part of the everyday life of the studio, where it is designed month after month.

Aiming to go beyond the traditional concept of ‘typographic architecture’ – which sees graphic arts subject to the universal compositional rules expressed in architecture – and to offer a new perspective on the world of letters, the 2024-25 cover design sets editorial objectives ahead of graphic ones.

Taking advantage of the constraints inherent in monthly publication in sectoralization and serialization, and enhancing repetitive elements—the masthead, headlines, but above all the sequential number—the project brings editorial content to the cover through the choice of the font used to compose the number, its graphic interpretation, and the explanatory note published on the inside pages, which is an integral part of the project itself.

Faithful to the magazine tradition, issue after issue, the choice of lettering or typeface moves through the 20th century between avant-garde and modernism, with forays into adjacent spaces suggested by unlikely discards or ambiguous analogies, while exploring the development of the industrial means underlying mechanical writing.

With philological respect—using fonts available under license, photographic reproductions of original specimens, or vector redrawing, as appropriate—and with the calibrated use of a color palette consistent with the magazine visual history, the graphic interpretation ultimately aims to bring the historical artifact into the present, contextualizing it in a contemporary and accessible language.

no. 976 – Lettering for the Tomba Veritti (Udine, Italy), Carlo Scarpa, 1951

no. 975 – Univers, Adrian Frutiger, Deberny & Peignot, 1957

no. 974 – Prisma, Rudolf Koch, Klingspor, 1930

no. 973 – LL Le Corbusier, Nico Schweizer (da Le Corbusier), Lineto, 1999

no. 971-972 – Memphis, Rudolf Wolf, Stempel AG, 1929

no. 970 – Ingenieur, Wim Crouwel, 1964, The Foundry Types, 2012

no. 969 – bayer-type, Hebert Bayer, Berthold, 1931

no. 968 – Mexico 68, Lance Wyman, 1966–68

no. 967 – Our Bodoni, Massimo Vignelli, Tom Carnase, WTC (World Typeface Center), 1989

no. 965-966 – Futura Black / Paul Renner / Bauer, 1929

no. 963 – Fat Face, Herb Lubalin, Tom Carnase, ITC International Typeface Corporation, 1970

no. 962 – Kabel, Rudolf Koch, Klingspor, 1927

no. 961 – Stop, Aldo Novarese, Nebiolo, 1970

no 959-960 – New Alphabet, Wim Crouwel, 1967

no. 958 – Frankfurter, Bob Newman, Letraset, 1970

no. 957 – Universal, Herbert Bayer, 1925

no. 956 – Oakland, Zuzana Licko, Emigre, 1985

no. 955 – Aldina (Aldino), Nebiolo, redesign Adalberto Libera, 1938

no. 954 – Kombinationsschrift, Josef Albers, 1926–28

no. 953 – Bifur, A.M. Cassandre, Deberny & Peignot, 1929

AirGo Radio is a podcast and media hub in Chicago reshaping the culture of the city and beyond. At a key moment for growth, they needed a future-facing brand with echoes of the history inspiring them.

AirGo’s wordmark references “on-air” and video recording iconography with a simple red dot, which expands to form the basis for the visual identity. The simple contrast of circle and angle expands to the broader system, inspired by mid-century media such as Avant Garde magazine and PBS Television. ITC Avant Garde Gothic was a practical choice as well—when handed off to the client for use, it’s sturdy enough to live unchanged, but its alternates can easily add visual interest to a pull quote or other text.

First English edition of Japanese author Haruki Murakami’s 1980 novel Pinball, 1973, translated by Alfred Birnbaum and published by Kodansha, with cover art by Maki Sasaki. The prominent use of Peignot and Serif Gothic reinforce a 1970s feel.

The blue horizontal area is the obi strip (belly band) as issued with the earliest printings of this book, which was distributed only in Japan, as a pocket-sized paperback with jacket. The Japanese title (“1973年のピンボール”) uses Gona. The other Japanese fonts are unidentified. “Let’s read in English” seems to be oblique Univers, and “Kodansha English Library” is in Italia.

After being inspired by the film Marty Supreme, I decided to add a few items of my own creation to the world this movie created. These would have been celebrity endorsed and promotional items existing after Marty’s rise to fame.

This is the front cover for Ballantine Books’ 1978 edition of Brain Wave, a science fiction novel written by Poul Anderson. The artwork seen here is attributed to Michael Herring, and has been used for several other editions of this book.

The main typeface used here is the hypnotic Allen Riptide, paired here with ITC Avant Garde Gothic and its condensed counterpart.

[More info on ISFDB]