The visual identity for 070 Shake’s sophomore album You Can’t Kill Me from 2022 was developed as a cross-media campaign including album artwork, logotype, photography, packaging, merchandise, tour posters, and promotional copy. Eddie Mandell designed the project in collaboration with 070 Shake and The C.O.R.E.

The typographic system pairs Futura (Paul Renner) with Tempos Mono (Samara Keller) for supporting and informational text and Anton (Vernon Adams) as the main title font. The blackletter face is Anglican Text (Dieter Steffmann).

The album cover features a Nicola Samorì painting, which is used alongside the typography. The cover was listed at #15 in Our Culture’s “50 Best Album Covers of 2022”.

[More info on Discogs]

Since 2003, the HFBK Hamburg has been publishing a printed magazine, initially as a newsletter focusing mainly on university topics, and since 2009 under the name Lerchenfeld, which has since grown into an impressive magazine. Lerchenfeld reports on current trends in art, exhibitions, events, and projects related to the HFBK. Essays, interviews, and other texts present positions on issues in art, culture, and science.

The magazine’s design changes every year and is created by the respective graphic design class. The images shown here are from nos. 73 to 76, all published in 2025.

The digital versions are available for download.

Brnjsmin returns with his long-awaited second album on Verydeeprecords, blending leftfield electronic(a) with bass-driven ambient and not not jazz. A tripping brain dance with a wink for fans of dreamy synths and early Four Tet.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combined line drawings by the artist himself with found images, typographic elements and glossy 3D graphics, creating a unique visual world reflecting the playful approach of the music.

The text is mostly set in Samara Keller’s Tempos Mono. In addition, some glyphs from ABC Maxi Round and LL Fiat77 can be found and the back cover features some customized bits and pieces from CirrusCumulus and GT Alpina.

[More info on Discogs]

Mighty Oaks are an indie/folk rock trio made up of Ian Hooper (US), Claudio Donzelli (Italy) and Craig Saunders (UK). They formed in 2010 and are based in Berlin. The visual identity of their fifth studio album, High Times, was designed by German graphic designer Fabian Maier-Bode. In developing the design, Maier-Bode used three typefaces in particular: Baustraße (by Fantasia Type) stretched to characterize the band’s name, Nautica (by Giuseppe Salerno) for the titles in the album, and Tempos Mono (by Samara Keller) for the rest of the lyrics.

[More info on Discogs]

Aqueous Mortar Pestle Grinding / Mortar & Pestle is a two-in-one editorial design. The left page refers to the tool itself, including its cultural significance and symbols, such as the Moon Rabbit. The right page focuses on a scientific research paper I found (Nasseb Singh, Vijai K. Rai, Anil Kumar; published by Elsevier Masson, 2017) titled Aqueous Mortar Pestle Grinding – An efficient, attractive, and viable technique for the regioselective synthesis of β-amino alcohols. I thought it would have been interesting to play with schemes and graphs to reinforce the concept of grinding.

Made in the Editorial Design course held by Armand Mevis at ISIA Urbino in 2023/2024; printed in June 2024.

The magazine Ruhm & Ego founded by Hamburg-based designers Sophia Weider and Lucas Hesse proves that fame and ego are the last things you need to get things done. The publication champions the side projects and personal passions of artists from various creative fields, showing that enthusiasm, dedication, and a true love of one’s craft are crucial to any creative process.

Aiming to inspire other creatives, the magazine encourages readers to venture into new areas, regardless of their lack of industry experience. The first issue of Ruhm & Ego was published in 2020, followed by a second issue in 2022, which is shown here.

Ruhm & Ego has a strong typographical presence. The use of two different styles of fonts creates a playful and modernist design.

The designers Sophia Weider and Lucas Hesse used Tempos Mono (Samara Keller) and TWK Lausanne​​​​​​​ (Weltkern) typefaces in the magazine.

Feminist Exposure — Feminist practices of the exhibition and archive by Federica Martini and Julia Taramarcaz

A rich anthology featuring four essays published in French, three previously unpublished contributions and a reference bibliography. With contributions from Nicole Schweizer, Rebecca VanDiver, Amelia Jones, Cecilia Canziani, Julia Taramarcaz, Federica Martini, and Olivia Alexandra Fahmy

Three typefaces in use: Bandit by Silvan Lanz, AllCaps; Tempos Mono by Samara Keller; Mule by Samira Schneuwly.

Samara Keller’s Tempos Mono is being used by Alliage for the British singer-songwriter Ben Howard and his fourth studio album Collections from the Whiteout.

Art direction: Micha Barban Dangerfield and Roddy Bow
Photography: Roddy Bow
Label: Island Records

CD back cover

Vinyl record

The hhintersection website is an art mediation project, focusing on topics of diversity and encouraging experimentation in the educational institution and beyond. It is a platform where artists and creative producers can share ideas and be visible online.

The project began within the University of Fine Arts (HfBK), Hamburg with a desire to draw the outside world into the institution and allow the work and actions within the university to make moves towards the exterior.

Navigating through the website you’ll find reading material, documentation of previous events as well as information about upcoming things, and projects we’re interested in and want to share and support. hhintersection’s focus is on promoting content representing femme and queer artists and producers aiming to make this material and information available to all.

The website features numerous contemporary typefaces created by independent designers. Colors change with every load, or with the click of the button on the right. Web design and coding by Yulia Wagner. Typefaces in use throughout the website include:

Zorn by Laura Csocsán
Till Normal by Pauline Le Pape
David by Émilie Rigaud
Neustadt by Samara Keller
Nostra Stream by Lucas Descroix
CNVS by Daniel Martins
Grobe Serif and Soft Floral by Emma Othmer

Logo on the website is using Zorn typeface.

Older version of the website using various typefaces on the homepage.

Older version of the website using Neustadt by Samara Keller in the title.

Podcast title using Nostra Stream by Lucas Descroix.

Title using Till by Pauline Le Pape.

Granta Paperbacks, October 2012.

“A strange, allusive, tender memoir about growing up in middle-class Kenya.” — Chimamanda Ngozi Adichie

Binyavanga Wainaina’s book debut was published by Granta Books in 2011. The cover for the hardback edition (shown below) features modular letterforms, with the individual modules printed in two shades of blue, imperfectly aligned. It’s either lettering or a typeface I don’t recognize. The paperback cover from 2012 (shown above) picks up the modular theme. This time it’s definitely a typeface: LL Cobra was designed by Cornel Windlin and issued by Lineto in 1996. Here it is used exclusively in uppercase. The decorative pattern separating the title from the author’s name is composed from elements of the typeface, too, further emphasizing its modular nature. The typeface used for the blurb is ITC Lubalin Graph.

Wainaina is probably best know for for his satirical essay “How to Write About Africa”. The Kenyan author and gay rights activist passed away in May 2019 at age 48.

Hardback edition by Granta Books, Nov. 2011. The small type is ITC Avant Garde Gothic.