Front cover for Our Biggest Hits. “THE DRIFTERS” and “‘OUR BIGGEST HITS’” are set in Egyptienne Bold Condensed (width stretched to 133%).

Our Biggest Hits (1964) is the fourth studio album by the Drifters, released by Atlantic Records. It was reissued as Under the Boardwalk, immediately after that single became a hit.

This use is specifically for the original cover, designed by Loring Eutemey and used for both albums. Subsequent repressings of Under the Boardwalk used a different design, also by Eutemey.

[More info on Discogs]

Back cover for Our Biggest Hits. “THE DRIFTERS” and “‘OUR BIGGEST HITS’” are set in Haas Inserat-Grotesk / Neue Aurora VIII (width stretched to 150%). The track list is set in Anzeigen-Grotesk / Neue Aurora IX, with side headers in Grotesque No. 9 (italic) and the writing credits underneath each track set in News Gothic (italic). The liner notes, written by Bob Altshuler, are set in Primer (normal, with song and album titles in italic). The credits, including a typo regarding the catalog number of Save the Last Dance for Me (as Atlantic’s 8000 series only went up to 8305), are also set in Primer (italic). The address info is set in Clarendon.

Front cover for Under the Boardwalk. Mostly the same design as Our Biggest Hits, except for “UNDER THE BOARDWALK” which is of a normal width (as well as losing its quotes).

Back cover for Under the Boardwalk. Mostly the same as Our Biggest Hits, except for “‘OUR BIGGEST HITS’” being replaced with “UNDER THE BOARDWALK”. The track list is also different: “Drip Drop” is removed and replaced with “Under the Boardwalk” as the opening track. The catalog number typo in the credits has been fixed.

Album cover for the soundtrack by Ernest Gold, composer of Exodus [More info on Discogs]

Judgment at Nuremberg depicts a fictionalized version of the Judges’ Trial of 1947, one of the twelve Nuremberg Military Tribunals conducted under the auspices of the U.S. military in the aftermath of World War II. Stanley Kramer’s 1961 film about the trial of 16 Nazi jurists and lawyers is based on a courtroom drama written by Abby Mann. It featured some of the best actors working in Hollywood at the time, including Spencer Tracy, Burt Lancaster, Richard Widmark, Werner Klemperer, Marlene Dietrich, Judy Garland, William Shatner, Montgomery Clift, and an Oscar winning performance by Maximilian Schell. The film won three Academy Awards in total and was nominated in nine more categories.

Both the theatrical release posters and the cover of Ernest Gold’s soundtrack feature the compressed Inserat-Grotesk as the primary typeface.

One Sheet (27″×41″) poster

Six Sheet (79″×80″) poster

One-off malt whisky that has travelled halfway around the world on a long sea voyage from the island of Tasmania, Australia, where it was distilled and aged, to Jerez de la Frontera, Spain.

Once there, half of the shipment was finished in a very old Oloroso sherry cask and the other half in a Pedro Ximénez one.

The typefaces used are ITC Franklin Gothic, Burgues Script, Clarendon, Caslon 3, and Sackers Gothic.

In association with JAGDA (Japan Graphic Designers Association), Kung Chichun (龚奇骏) at NEUE诺亦 and Dr. Sun Mingyuan (孙明远) curated the exhibition 一天世界：Graphic Design in Japan in Shanghai, China. STUDIO NA.EO 立入禁止 created the visual identity for this exhibition.

Clarendon is used for the main identity, which appears on posters, banners, and guidebooks. It is also used to set the (transliterated) names of featured designers and the titles of the informational text.

The secondary (Latin) type is Soft Text by Soft Type, which appears on the egg-packaging-inspired motion graphics and exhibition tickets. The egg meme originates from the Chinese mispronunciation of “JAGDA”, which sounds like a hen laying eggs. Soft Text may have helped convey the intentional mismatch and subtle humor. The motion graphics were created using a fork of BREAK GLASS by yasaman.

The specific Chinese types used—Songti (seriffed type) and Heiti (sans serif type)—are yet unidentified. The Songti is very likely Source Han Serif (Simplified Chinese version) while the Heiti could be from Founder.

Algonquin Ornamented in use for the title of Spaceling, a science fiction novel by Doris Piserchia (1928–2021). The shown hardback edition was published by Nelson Doubleday in 1978. From the back of DAW’s paperback:

The ability to see other-dimensional rings that float in Earth’s atmosphere was a late mutation of a few space-age humans. Daryl was under the care of the institution for muters, and she had discovered that if you jumped through the right ring at the right time it would land you in another dimensional world and another shape.

Spaceling is the story of Daryl’s desperate efforts to unravel the mystery of why she was being held captive and of what was really going on in a certain alien dimension. Because she was sure it was all bad and that someday everyone would thank her for the revelation.

But instead everyone was engaged in a wild effort to hold her down, to keep her on this Earth, and to keep the world simply intact!

[More info on ISFDB]

Algonquin is used in spaced caps, with the interior ornamentation printed in a separate color. The book jacket was designed by John Lisco, with wraparound art by Richard Corben.

Detail from the inner flap

Caleo is a modern reinterpretation of the traditional night candle with a candle snuffer. The project was my Bachelor thesis at the Hochschule Rhein-Waal. The idea is to preserve the traditional interaction of man with light by sparing the product of any buttons. Every traditional and sensual function of a night candle got reworked into modern features. Additionally, the lamp serves as a portable aroma diffuser.

The visualization concept of this project expresses itself in a duality between old and new. This concept of duality also expresses itself as on and off, black and white, uppercase and lowercase.

Originally designed in 2017, I redesigned the project in 2025. Clarendon and Radio Grotesk are the two typefaces I’ve chosen. The bold Clarendon (with roots in the mid-1800s) was used for the wordmark. Radio Grotesk was used for the basic lamp component and every other typographical layout. Both typefaces carry tradition and originality and the concept of old and new. The naming of the wordmark and the subproducts uses the Latin language. Since I am referencing abandoned traditions, I thought to also use an old and abandoned language for the naming of the producer. Caleo is the latin word for glow and lumina is the Latin word for lights. In the project presentation, Signerica is used to emulate handwritten notes.

See the full case study on nicoschroeder.com.

The International Pop Orchestra was said to be “composed of 110 musicians; all hand-picked from among the world’s finest performers”. This album produced by Don Costa and Bernie Lowe was released in 1962 by Cameo Records.

The title is set in two fonts; “The 12” using Clarendon and the remainder using Filmotype Rodgers. Inside the theater screen is the orchestra’s name in all caps from its italic equivalent, Filmotype Tailor. “110 Men” is set in Venus Extended, and the names of the producers underneath are in Vogue.

[More info on Discogs]

In addition Quick, the front cover features Venus Extended in two weights and Century Expanded Italic for “Series 2000”.

Filmotype Quick is an inline variant of Ginger, issued in c.1958. In 1961, designer Murray Stein specified it for an album of Italian guitar music, released by Time Records in their Series 2000. The cover painting is by Mino Ceretti. The typography was carried out by The Composing Room, Inc., New York.

[More info on Discogs]

On the gatefold, “GUITARS” and “ITALY” were aligned to the letter I, and the open stems extended all the way to the top edge.

The back cover typography has Filmotype Jefferson for “Series 2000”, all-caps Franklin Gothic Extra Condensed for the track list, Trade Gothic in two widths for credits and address, and Clarendon.

Starting in 1962, the Firestone Tire and Rubber Company issued a series of seven annual Christmas albums. From Discogs:

The first three albums in the series were produced by Forrell, Thomas & Polack Associates, Inc. The last four, by Forell & Thomas, Inc. The manufacturer of the records is not identified explicitly. But based on the data printed on the labels and inscribed in the runout of the records, volumes 1, 2, 3 ,5 and 7 were manufactured by the custom records division of RCA Records, and Volumes 4 and 6 were manufactured by Capitol Records.

While the initial release was titled “Favorite Christmas Carols”, the following albums were named “Your Favorite Christmas Carols”, “Your Christmas Favorites”, and “Your Favorite Christmas Music”. Apart from the changing colors and credits, the basic design is always the same, depicting a large ribbon with mistletoe against an ornamental wrapping paper in the background. The title typeface is Cloister Black.

Other text on most of the covers is set in designs by Filmotype, namely Rodgers, Wasp, and Fleet. Volume 5 is an exception in that it replaces Rodgers with Caslon Bold Condensed – which was carried by Filmotype as “CA51”. Some smaller bits also use the bold weight of Trade Gothic Extended. Lastly, the text on the golden starburst stickers is in all-caps Clarendon.

The final volume features a different photo for the ribbon.

In 1931, Les Editions Guérinet in Paris brought out a book titled Publicité Vignettes Lettres Chiffres Monogrammes (“Advertising, Vignettes, Letters, Numerals, Monograms”). One of the alphabets reproduced in it is titled “variante de la ‘Boule’ en moderne” and credited to lettering artist A. Bardi. Sometime between 1950 and 1960, Photo-Lettering in New York turned it into a typeface named Halloween (shout-out to Jay Mellor for finding the source).

In 1967, the Halloween typeface was used for Houdini’s Magic Kit. This beautifully designed paper assembly kit was issued by Platt & Munk, a publisher of children’s books, jigsaw puzzles and educational materials, probably best known for The Little Engine That Could. The box set includes a magician’s wand and a forty-eight page instruction book and allows for 75 different magic tricks.

The other typefaces on the box lid are from Photo-Lettering’s library, too: the sans-serif caps used for the words “Amazing” and “Delightful” in the ribbons are from Ventura. The numerals for “75” belong to Xenotype 3471, PLINC’s adaptation of Neptun. Last but not least, the rounded sans is the Shaded A style of Republic, a family that appeared already in PLINC’s 979 Basic Alphabets catalog from 1946.

See the Peculiar Manicule for more images of the kit.

A. Bardi’s “variante de la ‘Boule’ en moderne” as shown in Publicité Vignettes Lettres Chiffres Monogrammes

The contents of the kit

The cover of the instruction booklet pairs Halloween with a hand-drawn bottom-heavy serif of condensed proportions.

The titles on the sheet are in bichromatic Graphique, with instructions set in News Gothic.

“Magic Mask” is free-form lettering, patterned after Kalligraphia.

Graphique, the shaded compressed grot designed by Hermann Eidenbenz for Haas, in chromatic use for the fifth studio album by the Seekers, an Australian folk-influenced pop group. Originally released in the UK under the title Come the Day, it was renamed to Georgy Girl for the US release, following the chart success of the included song of the same name.

According to Wikipedia, the Seekers “were the first Australian pop music group to achieve major chart and sales success in the United Kingdom and the United States”. The band was active for sixty years, from 1962 to 2022 (with two interruptions).

The track names are set in Century Expanded Bold. Photography by Robert Whitaker. No designer credited.

[More info on Discogs]

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.

An advertisement for Alfieri & Lacroix designed by Franco Grignani. Scanned from Gebrauchsgraphik 04, 1962, and posted at Design Reviewed along with more of Grigani’s ads for Alfieri & Lacroix and the following intro:

Alfieri & Lacroix was established in 1896 by Emilio Alfieri and Edoardo Lacroix. The company was based in Milan and specialised in fine art printing. […]

In the early 1950s, Alfieri & Lacroix sought an advertising campaign to boost their business and establish themselves as a leader in the Italian printing industry. To achieve this, Morani commissioned Franco Grignani, a designer and collaborator of Studio Boggeri, granting him the freedom to innovate with typography, photography, and illustration.

Grignani’s task was unique. As Raimondo Hrabak noted in Gebrauchsgraphik issue No. 4, 1962, “Grignani neither had to promote the product nor the name of his client, but his only task was to demonstrate the whole variety of possibilities and applications which the technical facilities of his client’s modern enterprise offer the artist.” This approach allowed Grignani to explore and push the boundaries of design, resulting in exceptional and acclaimed work characterised by Grignani’s distinct design aesthetic and innovative perspective.

Fourth and final volume of the Jet Set Dance Discothèque series by Audio Fidelity Records, with beat and garage rock by The Teemates.

Cover art by Irving Sloane. The typography brings together the condensed Anzeigen-Grotesk and the compressed Inserat-Grotesk. Both typefaces originated at the Swiss Haas foundry as reworkings of styles from a typeface series that originated at Leipzig punchcutting company Wagner & Schmidt, and were highly popular in the mid-1960s.

[More info on Discogs]

German sleeve for a 1975 re-release of “Be My Baby” with B-side “Do I Love You”, originally released in August 1963 and June 1964, respectively. While the song titles are set in caps from Windsor Elongated, the band name is shown in a two-color rendition of Graphique, arranged on an arch, with partly overlapping letterforms.

[More info at Discogs]

Soul Men is the third album by soul duo Sam & Dave. It was released on Stax Records in October 1967 with cover art designed by Loring Eutemey. The typography uses Folio Extra Bold. The album introduced the smash hit single “Soul Man,” which soared to No. 1 on the R&B Singles chart and secured the No. 2 spot on the Hot 100 Singles chart.

[More info on Discogs]

During ‘Las Fallas' festivity in València (Spain), the ‘llibret’ is the booklet created by each neighborhood association as a central and consultative element for the festivities of that year. In 2024, we had the pleasure of collaborating with the Falla Blanquerías association. The theme of their year was around the conservation of L’Albufera, a protected natural park in València.

For the typographic choice, we selected a black grotesk and a classic serif. KTF Rublena is used for the title and the all caps headlines. The Wide style of Clarendon is chosen for subheadings and page numbering, and its regular version for paragraphs.

For the graphic identity, we worked under the concept of ‘El Lluent’ (The Shiny), choosing a vibrant, bright color combination. The cover represents the horizon and the sun reflecting on the lake of L’Albufera. From there, we created a graphic system based on simple geometric shapes that helped us represent elements related to the park and the Fallas festival.

See the full project on Behance.

Front cover of LP edition of the album

Cibo Matto (Italian for “crazy food”) was a band formed and fronted by Miho Hatori and Yuka Honda, two Japanese expatriates living in New York City. Other members have included Yuko Araki, Timo Ellis, Duma Love, and, most notably, Sean Lennon.

Viva! La Woman, the band’s first full-length album, showcases their singular fusion of disparate genres and influences. Every song on the album is in some way related to food or drink, such as the tracks “Know Your Chicken” and “Sugar Water.”

The band’s name appears to be a roughly hand-drawn recreation of Graphique with a slightly deeper shadow. The album’s title is in all caps Rossetti, a wonky digitization of Harrington.

Art direction and design by Mike Mills, with design assistance from Garland Lyn. The cover illustration is by Thomas Thurnauer.

[More info on Discogs]

Front cover of CD edition of the album.

The June 1977 issue, featuring ITC Souvenir Medium contrasted with Orator (IBM) as its secondary typefaces.

Class Struggle was a publication by the Irish Workers Group that focused on political issues from a socialist point of view. Shown here is the run from the first to seventh issues; the subsequent issues switched to a Balloon and Flash-based layout.

The name of the publication is the compressed Compacta Light, with the Irish Workers Group logo set in Kabel Black. The accompanying typefaces depend on the individual issues, many of which were available from Letraset at the time.

The first issue uses ITC Souvenir Medium and Orator (IBM).

The November 1977 issue. ITC Souvenir Medium, Clarendon Medium, and an outlined version of Egyptienne Bold Condensed are the secondary typefaces.

The May 1978 issue stands out by using three colors: red, white, and black. Here, Kabel Black is brought to the forefront and is accompanied by ITC Souvenir Medium and Optima Bold.

The Spring 1979 issue. The outlined version of Egyptienne Bold Condensed is paired with Univers 75 and Optima Bold, with the date and price set in ITC Souvenir Medium.

The Summer 1979 issue, which features the bold weight of Compacta, Futura Bold (and Futura Condensed Bold, with wonky t’s that were likely repurposed from a different letter), Optima Bold, and Univers 75.

The November 1979 issue, featuring Futura Condensed Bold, Compacta Bold, Univers 75, and Helvetica Inserat.

The June–September 1980 issue. The cover features ITC Clearface Heavy, Windsor, Helvetica (in addition to an outlined version of the same face), and Univers 75 for the price.

A selection of pages from the A4 handouts printed for each exhibition

ISSUES is a contemporary art gallery in central Stockholm, initially set up as an ambulancing space in 2014 by Oscar Carlson, Johan af Geijerstam, Julia Eriksson and Peter Ström.

Between 2014 and 2021 the gallery produced thirteen shows around Stockholm, where the geographical location was of equal importance as the artist. For Issues #3 in 2015, Ryan Trecartin’s work CENTER JENNY was shown in the local Mediamarkt store on all 196 TV screens simultaneously. For Issues #4 in 2017, a group exhibition took place in an (at the time) empty space on Södermalm shaped like a display window, where the artworks were rotated every fifteen minutes in order to let that specific space come to its fullest.

Because of these new physical and geographical locations, the visual identity for the gallery was changed each time, adopting different typographic references to the current space.

In 2021 a more permanent space on Vattugatan 13 was found, turning the gallery into a commercial one in a fixed location – at least for the time being.

A permanent design system was introduced with the new space, where the location was less important – almost the opposite, as the new space was in a location almost unheard of even for the most hardcore Stockholmer, in an area filled with governmental buildings.

The design system takes its starting points in concrete poetry and early computer art (mainly ASCII) using Vincent Chan’s Quadrant Text Mono, complemented with the addition of a typeface and treatment picked for every artist – giving each artist their own visual identity connected to the space. Each typeface and treatment picked either refers to the artist’s practice or is connected to the idea of a place in downtown Stockholm – or in some cases, both.

The grid is based the word “ISSUES” written 16 by 10.5 times on an A4 sheet — because, you know, too many ISSUES…

The visual identity for ISSUES 4 took its typographic starting points in the typeface Eurostile found at the logo of a left over vacuum cleaner in the space.

The new space at Vattugatan 13 uses Quadrant Text Mono on all its signage and printed matter, as well as on the website and social media.

Insta stories using frame-by-frame tap animations, mixing ASCII and logo typography in ABC Honeymoon

Selected front and back covers from the A4-sized catalogue that comes with each exhibition.

Covers featuring Brush Script, Crowbar, Horizontal, and Jannon

Insta stories featuring P22 Arts and Crafts, Antique Olive Nord, Purple Haze, and PC Myungjo

For most of the shows, merchendise has been made in order to promote the shows with and to the local community and scene that ISSUES is part of. Reflective wests for Henning Hamilton using ABC Maxi Round, gym bottles for Hampus Wernemyr in Jannon, hats for Zoe Barca in Monaako, and candy, T-shirts and mugs in Quadrant Text Mono.

For DOWNTOWN ISSUES 2 in September 2023, one T-shirt with a typographic identity was designed for each participating artist printed in a single copy only. Seen here is a selection of the almost 70 T-shirts in total.

A few examples: The typography for Elis Monteverde Burrau with Tesla references the big amount of Teslas in the neighbourhood (and indicates where this Swedish poet might be heading in the future?). The typography for Georg Nordmark in Amsi references local pet food chain Arket Zoo because of Georg’s interest in animals in his art. The typography for Militza Monteverde Burrau uses Dinamo’s ABC Honeymoon and connects to her organic sculptures in glass. The typography for Ilja Karilampi links to his meme lord status via its use of Impact. Siri Carlén was treated with the never-to-be-released Småländsk Antikva by Konst & Teknik – which started around the same time Siri was a student of Konst & Teknik at Konstfack. Viktor Fordell got a Ford logo knockoff typeface because of... you know... Ford.

The non-personal T-shirts come with one front cover and three different back versions: The big 2 is based on the most downtown building Stockholm offers, parking house Parkaden and its beautiful brutalist numbering system and fascade. “DOWN TOWN” refers to local clothing brand Our Legacy WORK SHOP that is often seen on T-shirts around town. A version of the T-shirt with all the artist names overprinted was made in an extra limited edition of only five copies. All T-shirts printed in white ink on black fabric by Everynight Studios.

Fonts in USE!