For the artwork on Margo Price’s latest album, Hard Headed Woman, the typographic palette echoes the grit and charm of classic Americana. Her name appears in Ars Nova from PintassilgoPrints—a decorative, Art Nouveau-inspired display face whose bold, squarish forms instantly signal a sense of time and place. The album title is set in Cottonwood, an Adobe Originals typeface from 1991 inspired by 19th-century Western wood type, adding a rugged, frontier-style texture to the composition. Smaller supporting text uses News Gothic, a quintessential American sans serif designed by Morris Fuller Benton for American Type Founders in 1908.

The typographic mix feels rooted in time, and a little rebellious, by blending vintage influences with a modern confidence that mirrors Price’s own blend of country: true Americana and outlaw soul. The typography extends across the album packaging, the deluxe boxed set, and merchandise—giving the entire release a cohesive, unmistakably American voice.

[More info on Discogs]

From Wikipedia:

Volume One is the debut studio album by the American band Sleep. Not long after Sleep’s formation, the band went to Razor’s Edge studios to start recording. It was the only album recorded with original guitarist Justin Marler, before he would depart from the band in fall 1991 to become an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep’s later work. The image featured on the cover is taken from the Salvador Dalí painting Soft Self-Portrait with Fried Bacon.

Artwork [Visual Maintenance by] – John Yates

[More info on Discogs]

From Wikipedia:

Rave Un2 the Joy Fantastic is the twenty-third studio album by American recording artist Prince, who was at the time going by the unpronounceable “Love Symbol” (as shown on the album cover). Released on November 9, 1999, by NPG Records and Arista Records, the album was issued shortly after the release of The Vault: Old Friends 4 Sale (1999). It includes several guest appearances, including by Gwen Stefani, Eve, and Sheryl Crow; Prince also completed a cover of Crow’s 1996 single “Everyday Is a Winding Road”. A pop and R&B album, it departs from the soul genre found on Prince's previous efforts.

[More info on Discogs]

On June 14th we embarked upon a kayaking adventure that would take us across the entire Deh Cho river (also known as the Mackenzie River) in the Canadian Northwest Territories. The river begins on the Western shore of Tucho (also known as the Great Slave Lake) and flows all the way up to the Beaufort Sea (which is a part of the Arctic Ocean).

Our journey began on the beaches by the small town Xátł’odehchee (also known as Hay River) and for 54 days we would make our way towards our goal, a small Inuvialuit hamlet known as Tuktoyaktuk. During our voyage we visited small communities along the way, such as Zhahti Kue, Tthek'éhdélį, Łı́ı́dlı̨ı̨ Kų́ę́, Pehdzeh Ki, Tulita, Tłegǫ́hłı̨, Rádeyı̨lı̨kóé, Tsiigehtchic, Inuvik and Tuktoyaktuk.

The area we crossed during those 54 days was vast – the Northwest Territories are approximately four times the size of our home country Finland, but hosts a population of merely 44.000. (It is estimated that bears outnumber humans in the NWT.) The people who live on the land we travelled through are to the most part First Nations: Dene, Gwich’in and Inuvialuit.

Wherever we landed, we were met with warmth and kindness, and there was not a moment we didn’t feel welcome on the land. We learned a lot from the people we met and the discussions we had helped us gain a better understanding of what life was like in these remote areas.

Along us we naturally also brought our adventure flag – the standard underneath which we felt our journey to be blessed.

The design of the flag, as the journey itself, was a collaborative effort. Alone we are nothing. Christoffer designed the flag, Viivi did the caribou illustration, and Haije served as our seamstress.

On the obverse side the Dene name for the river (Deh Cho) is spelled out along with the year of our expedition. On the reverse side the abbreviated version of Tuktoyaktuk is written on top of a caribou. (The name Tuktoyaktuk can be translated into ”looks like a caribou”.)

The typefaces on the flag are three digital revivals of type from the late 1800s/early 1900s. Mark Simonson’s Etna (a revival of Aetna, William Hamilton Page, 1871) is used for the words Deh Cho, with the year being ATF Wedding Gothic (originally released by ATF as Wedding Gothic in 1901), created by the design team at ATF, and the name Tuk is set in Cottonwood – based on Gothic Tuscan Italian, Wells & Webb 1854. Adobe’s version was designed by Barbara Lind, Joy Redick and Kim Buker Chansler.

The resulting flag brought a smile to the faces of everyone who saw it, and the people we encountered were clearly impressed by our humble effort. The first photo with our flag was taken just when we were about to cast away, the final one when we had reached the end of our journey. The pictures that are in-between these two shows the land we paddled through but they cannot begin to tell all the stories, encounters and events we experienced.

Whatever the photographs lack in artistic quality they more than make up for as memories of a summer well spent.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

For Finnish rap artist Costi’s second Playmaker drop, the objective was to design a Western-and US-themed collection inspired by collegiate apparel, prominently featuring a distinctive collegiate-style with stretched Mesquite on a curve.

The collection includes two shirts in black and white and a crewneck with fitting track pants, all showcasing the same artwork in different styles. The track pants, as shown in the video, feature various college-type logos from up to down, inspired by several sport apparel from the NBA, incorporating the initials P and M for Playmaker. Additionally, the U-shaped horseshoe serves as a subtle reference to “University.”

For the logo on the track pants, we chose Vivaldi for its subtle and nostalgic feel. Its understated design ensures the logo blends in without standing out too much. In between the prints you can find a little quote – “There’s gold in the river” – written in the font used in his latest album cover for Coast to Costi, Celtic Garamond.

The “Sheriff” badge pairs Bernard Condensed with an unidentified slab serif.

Angled A set in Alterego Big Trap (designed by Pieter van Rosmalen and released by Bold Monday) at 1,700 pt on an Autumn Sunset background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female type designers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

Backward B set in Binia (designed and released by Agnieszka Ewa Olszewska) at 1,690 pt on a Brights background

Cut pile C set in Cottonwood (designed by Barbara Lind, Joy Redick, and Kim Buker Chansler and released by Adobe) at 1,475 pt on a Citron background

Debossed D set in Daze Display (designed and released by Gemma Mahoney) at 950 pt on a Dark Ivory background

Embossed E set in VTC Eva Maria (designed by Tré Seals and released by Vocal Type) at 680 pt on an English Rose background

F set in GlyphWorld Forest (designed and released by Leah Maldonado) at 1,375 pt on a Fiesta background with Fringe

G set in Giana (designed by and available from Fanny Hamelin) at 845 pt on a Gradient Gravity background

Book jacket for the first US edition of Dead Boys (here stylized as DeAD BOyS), a sci-fi novel by Richard Calder.

The title is set in Willow, accompanied by ITC Franklin Gothic for the blurb, Trade Gothic Extended for the author's name, and a seriffed face – possibly Engravers Roman – for “A Novel.”

County Highway is a 20-page broadsheet newspaper designed by Abbott Miller and team at Pentagram. It highlights political and spiritual articles, as well as agriculture, civil liberties, animals, herbal medicine, literature, art, and music.

From Pentagram's website:

County Highway is a new newspaper based on an old idea—that nothing compares to the joys of reading in print. Positioning itself as “America’s Only Newspaper,” the bi-monthly publication harkens back to the glory days of ink-stained broadsheets, as well as the alternative press, that covered local communities alongside national issues. Pentagram has created a visual identity and editorial design for County Highway that looks back to the heyday of 19th-century newspapers and celebrates reconnecting with print culture.

The design is constructed with a pleasing medley of typefaces. Job Clarendon (by DJR and Bethany Heck) is featured prominently in the logo and masthead, as well as in various weights for some of the article headlines. It is a display face designed with the letterpress era in mind. The other display typefaces act as ingredients to ground the look firmly in the 19th-century. Caslon Doric (by Commercial Type) allows for more variation on the article titles, Trio Grotesk by Schick Toikka adds micro touches along the spreads, and Blackoak (by Joy Redick) works as a loud, brassy display face. For body text, Shift (by MCKL Type Foundry) is employed, balancing the newspaper in a space to be as serious or as playful as it needs to be.

The cover features a grunged Fette Fraktur with a modified A for the title, Mesquite (Adobe) for the subtitle and Birch for the names of the editors. “Lemmy” is in Ironwood.

The Art Of Metal: Five Decades Of Heavy Metal Album Covers, Posters, T-Shirts And More is a book showcasing the finest examples of metal posters, cover and artwork. It was edited by Malcolm Dome and Martin Popoff with a foreword by Lemmy and published in 2013 by Omnibus Press in the UK and by Voyageur Press in the United States. Paul Palmer-Edwards of the award winning Grade Design in London provided the design of the book, including the cover illustration.

The book covers five decades of work and ten genres of metal displaying the diversity and similarity in design between the genres. Each chapter showcases a different display blackletter typeface. For chapter two A Gothique Time by Bonez Designz was selected. See the image captions for more fonts used in this publication.

Chapter 2, “New Wave Of British Heavy Metal”, in A Gothique Time

More A Gothique Time in chapter 2

The headline in A Gothique Time is paired with text in Trade Gothic.

Half-title page, featuring the grunged Fette Fraktur with the romanized A

Title page

Table of contents with Fette Fraktur and Trade Gothic

Chapter 1, “Origins: Traditional Metal”, ft. Bayreuth

Chapter 3, “Hair Metal”, in Kingthings Spike

Chapter 4, “Doom & Stoner Metal”, ft. Blackmoor

Volume 1, 1992

Creole Kings of New Orleans is a compilation of 1950s rhythm and blues music by New Orleans artists like Lloyd Price, Clifton Chenier, and Art Neville, from the archives of the record labels Regal, Specialty, and Ebb. It was published in 1992 and 1993 in two volumes, by Specialty Records in the US and by Ace Records in the UK.

The purely typographic covers feature a range of expressive typefaces, including three of Adobe’s early 1990s wood type revivals, Barbara Lind’s Poplar, Joy Redick’s Blackoak, and Kim Buker Chansler’s Birch, complemented by stars and manicules from Adobe Wood Type Ornaments.

[More info on Discogs]

Volume 2, 1993

VIA Studio’s star chart is a beginner's guide to understanding star charts and the effects the celestial bodies have on us all.

We were inspired by the once omnipresent astrology magazines of the 50s and 60s. For just a quarter of a month, you'd get daily forecasts, answers to your most burning questions, and pages and pages of immaculately illustrated star maps delivered to your home.

We hope you enjoy using it as much as we enjoyed creating it.

Self-initiated posters for the 1979 album All Of Me by Masayoshi Takanaka. I worked with different elements of the Pacific Ocean in reference to the original design of the album.

Front cover of Channel 1, released June 2000

Channel is a series of leftfield, electro and electroclash music compilation mixes released between 2000 to 2005. The channels range from one to four and feature a roster of British and international artists in a tracklist of 10 to 15 tracks, including Yello, LCD Soundsystem, Lopazz, and others.

Trevor Jackson, the founder of the now-defunct “highly acclaimed” Output Recordings (1996–2006), was known for designing the covers himself in the independent label’s art director role.

The first in this installment (released in June 2000) features a hot pink background (except fluorescent orange in the 2005 copies, not pictured) and text set in Berthold’s Akzidenz-Grotesk Bold, which was also used for the CD-R version (not pictured) released with Source UK, a tradename of the French label Source, but in a background of silver filled on the cover and the text being aligned on the centre above.

However, from Channel 2 to Channel 4, the band names on the front and track names on the back are a circus maelstrom of fonts with various backgrounds, including monochrome in two variants (one being white and black, the second being black on white) and metallic gold (pictured) and metallic silver (not pictured).

These fonts include classics from the metal type era as well as the 1970s/80s dry-transfer and phototypesetting years (including designs by ITC, Letraset, Mecanorma, VGC, Fotostar/Fascimile Fonts, and Photo-Lettering) in the styles of Art Deco, Victorian, Art Nouveau, geometric, etc. Note especially the early use of Tank by Canadian type designer Ray Larabie (in the 2004 compilation cover which by the way was possibly inspired by ITC Machine from 1970) and Boback from Nathan Williams’ Baseline Fonts foundry (not released until 2006) [edit: it’s probably the earlier Serifedsans].

Back cover, in left-aligned text and two columns

Channel Two, released April 2003: Centaur (Bruce Rogers, Monotype, 1928), Cooper Black (Oswald Bruce Cooper, Barnhart Brothers and Spindler, 1922), ITC Symbol (Aldo Novarese, 1984), Abbot Old Style (Joseph W. Phinney, ATF, 1901), Albertus (Berthold Wolpe, Monotype, 1936), Cottonwood (Barbara Lind et al., Adobe, 1989), Old English (Monotype, an adaptation of ATF Cloister Black, 1904), Memphis Bold (Rudolf Wolf, 1931), Studio (Dick Dooijes and Dolf Overbeek, Amsterdam Type Foundry, 1946), Too Much Shadow (Bill Seifert, VGC, 1974), Karnak Bold Condensed (Robert Hunter Middleton, Ludlow, 1931), Boback (Baseline Fonts, released ca. 2006, documented early use of an Alternate Gothic with serifs on the bottom) [edit: it’s probably the earlier Serifedsans], Helvetica Condensed (outlined, Stempel/Linotype), ITC Avant Garde Gothic (Herb Lubalin and Tom Carnase, 1970) and Hamilton (Font Bureau, 1993).

Back cover

Channel 3, released in June 2004 (pictured behind is the pink cover): Agraphicus (VGC before 1982, digitized by WSI in 1996 as Arruba), Tank (Ray Larabie of Typodermic, 2004 – the year this album was released in), ITC Busorama (Herb Lubalin and Tom Carnase, the creators of Avant Garde Gothic, 1970), Buxom (Bob Trogman of Fotostar/Fascimile, 1975), ITC Pioneer (Ronné Bonder, 1970), ITC Serif Gothic (Herb Lubalin and Tony Di Spigna, 1972), a condensed sans (probably a bolder style of FF Meta or similar), Shatter (Vic Carless, Letraset, 1973), Futura Black (Paul Renner, Bauer, 1929), Clarendon (Hermann Eidenbenz, Haas, 1953), Umbra (Robert H. Middleton, Ludlow, 1932), ITC American Typewriter Light (Tony Stan and Joel Kaden, 1974), and Raphael (Central Type Foundry, 1885)

Back cover with copyright and remix text in Helvetica (Max Miedinger, Haas, 1957)

Example spread of booklet that comes with the tracklist

Channel 4, released in September 2005: Fiorello (Photo-Lettering Inc., before 1965), Futura Light (Paul Renner, Bauer, 1927), Blackline (Wolf Magin, Berthold, 1973), Shotgun (J. Looney, VGC, 1972), ITC Busorama (see Channel 3 for info, here used with the asymmetrical A), ITC Zapf International (Hermann Zapf, 1977), Isabella (Herman Ihlenburg; MacKellar, Smiths and Jordan; 1892), Novel Gothic (shaded variant as seen in Solotype’s 3-D and Shaded Alphabets; Charles H. Becker and Morris F. Benton, ATF, 1928), Crypt, Sauce (unknown), University Roman (Letraset, 1972), Cooper Black (outlined variant) and ITC Serif Gothic Bold.

Back cover

Spine

Typography Studio had the pleasure of designing this limited edition of Run, Rose, Run, Dolly Parton’s first-ever novel, co-written by bestselling author, James Patterson.

The design features a slew of ornamental tuscan and wood typefaces, including Mesquite (Adobe) by Joy Redick; Bery Tuscan by Fred Smeijers; Bracelet Victorian by Douglas Day; Magic by Eduardo Recife; and Paratype’s interpretation of Paul Renner’s Futura – Futura PT by Isabella Chaeva, Vladimir Andrich, and Vladimir Yefimov. White ink screen printed on 310gsm Gmund Gold Shimmer, with stencilled rose edges.

From the press release:

Dolly Parton has teamed up with the world’s bestselling author, James Patterson, to write a new book. “Run, Rose, Run,” Dolly’s first-ever novel, which will be published March 7, 2022. An album of the same name, consisting of twelve original songs by Dolly, will be released in conjunction with the book. The novel also includes lyrics to the songs, which are essential to the story. This dual release will mark the first time a #1 bestselling author and an entertainment icon who has sold well over 100 million albums worldwide have collaborated on a book and an album.

In March 2020, I was commissioned by Rimowa to design a contribution to their luggage sticker collection. The theme was the graduation of the class of 2020, a transitional year on a worldwide level. Although the product did not hit the market, the experience of working for such a well-rounded team was fascinating.

The font in use is Dinamo’s ABC Whyte Inktrap, while the two globes are glyphs from W Type Foundry’s Friends. Finally, I placed the “of” catchword glyph from Adobe Wood Type Ornaments in the center, with minor adjustments.

As part of the nod to the museum’s name, the identity includes illustrations in the style of stained-glass windows of Waters and some of his closer collaborators; Divine and Mary Vivian Pearce.

The Church of Trash is a branding project for an imaginary museum and exhibition celebrating John Waters’ work. The museum inhabits the Bell Foundry building in Baltimore, as the self-proclaimed pope of trash is a proud Baltimorean.

I decided to go with a somewhat unconventional typeface. After trying many display options, Juniper seemed to match how distinctive Waters’ work is. Since the logo has two C in it, I modified one of its tails to have an easter egg in the typography. As Juniper is so recognizable and has so many curves, I chose Museo Sans 500, a more traditional sans serif, to go with it.

The project was done at the Maryland Institute College of Art (MICA) for a Graduate Branding course with the mentorship of Abbott Miller and Andrew Walters. See more images on my website.

So — small between the stars
So ——— large against the sky

Fakepaper’s greetings cards 2017

Poster series designed by Caterina Bianchini for Axe on Wax, a London based record label with artists like Chaos in the CBD, Boo Williams and Marlon Hoffstadt. The posters use a variety of fonts, including several freebies or system fonts, with Pretorian being a recurring theme.

The open-source Eczar paired with Pretorian, all in distorted caps

The blue type appears to be Flames, a free digitization of Mecanorma’s Dreamline.

Lydia is a digitization of the Bold Condensed weights of Lydian.

The big type appears to be outlined Grease, a highlight version of Cooper Black.

A mark for ceramicist Fernando Alcalde. The font is likely Gothic 821, Bitstream’s version of Block. The steam is a single flourish from Adobe Wood Type Ornaments 2.