French edition of E.T.A. Hoffmann’s Nachtstücke (1816/1817; English: Night Pieces), translated by Philippe Forget and beautifully illustrated by Tristan Bonnemain. The book design uses Rector for titles and Adobe Garamond for the running text. From the website of the publisher, Les éditions du Typhon:

To plunge into this illustrated book is to follow the devil who, in the evening, amuses himself by frightening the bourgeois; to grow fond of a young man petrified by his childhood terrors; to haunt the corridors of a castle with a tormented woman; to be seized by the visions of a sinister house; or to be drawn, like that sailor, into the depths of the earth. To immerse oneself in Hoffmann is to enter the night, lulled by images that are as humorous as they are terrifying, brought to life by the drawings of Tristan Bonnemain.

From Archive Books:

In Pedagogies of Travesti Liberation, Maria Clara Araújo dos Passos examines the interplay of education, identity, and liberation in Brazil’s travesti community. She critiques traditional pedagogical frameworks that marginalize gender nonconforming narratives and highlights the effects of systemic discrimination on travestis’ psychosocial well-being. Pedagogies of Travesti Liberation advocates for inclusive educational practices and emphasizes the need for affirmative curricula. Newly translated from Portuguese, this work contributes towards connecting political struggles globally and navigating the complexities of translation— particularly of the term ‘travesti’—across various geographical and political contexts, featuring a conversation between Araújo dos Passos and translator Natália Affonso.

The book was edited by Daniel Neugebauer and published by Haus der Kulturen der Welt. Gallery Print provided printing and binding. Anna Diagne and Chiara Figone did the design and layout for Archive Books, using Sature for headlines and cover, Aktiv Grotesk for subheadings, and Sabon for the body text.

[More info on Discogs]

Each Kiss member put out a solo album in 1978. Of the four albums Ace Frehley’s was the most commercially and critically successful. Its success was mostly owed to Ace's cover of “New York Groove”, originally by the band Hello. These single sleeve covers were released in the French market for the lead single from each album, with names in all-lowercase Hot Dog and titles in all-caps Horatio. Art direction by Dennis Woloch, cover paintings by Eraldo Carugati.

[More info on Discogs]

[More info on Discogs]

[More info on Discogs]

Echo is Jesse Mockrin’s first museum publication, accompanying her solo exhibition at the Art Gallery of Ontario. Text is set in Sabon Next for its classic readability, with ABC Diatype providing a contemporary counterpoint in marginalia and notes. Warburg-style spreads photographed by Paul Weeks expand on her research, gathering images from Baroque painting to contemporary culture.

Studio Asensò chose the typeface Retiro for Vivre à Valras-Plage, a free magazine about tourism, food, wine and culture. With its different variants, ligatures, and raised letters, Retiro strengthens the notion of the Mediterranean terroir specific to this region.

The text typefaces are Adobe Garamond and Gotham. Section headers use Selfie, and Reina features for some headlines. The title and number on the cover are in TT Bluescreens.

Cover for no. 06, 2016

Spread from no. 06, 2016

Spread from no. 06, 2016

Theatrical poster for Bugonia

For Yorgos Lanthimos’ latest film, Bugonia, the Greek director has teamed up again with longterm graphic designer Vasilis Marmatakis, At the center of the marketing campaign for the film is a weird geometric typeface called Churchward Roundsquare. The font is one of many designed by New Zealand graphic designer Joseph Churchward (1933–2013), founder of Churchward Type. His biography can be found in the Encyclopedia of New Zealand:

Samoan-born graphic designer Joseph Churchward was an internationally renowned typeface designer whose work graced record covers, billboards, newspapers and popular literature such as posters and brochures around the world, both during his lifetime and beyond. He hand-created around 700 typefaces, drawing upon influences from his Pacific heritage and family. His work was well known to the international design community from the 1960s but was not prominent in New Zealand until Te Papa Tongarewa acquired his archive and held an exhibition of his work in 2009.

In the context of Bugonia, Vasilis Marmatakis uses the typeface in quite a jarring manner. In the trailer for example, Marmatakis disturbs the naturally flowy Adobe Garamond Bold Italic for the credits, choosing to interrupt them halfway through with the harsh, sharp edges of a single letter of Churchward Roundsquare. The end result is jarring and off putting, a perfect tonal fit for the film work of Yorgos Lanthimos.

Churchward Roundsquare print negative, from the Museum of New Zealand (Te Papa Tongarewa)’s Pacific Cultures Collection.

Emma Stone credit, from the trailer

Jesse Plemons credit, from the trailer

Yorgos Lanthimos credit, from the trailer

DVD front cover

The 1982 film The Beastmaster was released on DVD and VHS by Anchor Bay Entertainment in 2001. This was the first time the film was made available on DVD, though it had previously been released on VHS with different cover designs.

For this release, a new logo was designed using Morpheus. The glyphs were modified slightly by unjoining the s’s and raising the heights of the t’s in “BeastMaster” (but not in “the”).

The new logo closely resembles that of the contemporary BeastMaster TV series (which used Mason Serif).

DVD back cover

VHS front cover

The project originated from a series of dinosaur drawings made by children between the ages of 8 and 11. Fascinated by the lines and spontaneity of the figures, I created a small encyclopedia. The project is inspired by the classic encyclopedias that were popular a few decades ago, but pairs them with dinosaur illustrations drawn by children.

Particular emphasis is placed on the way dinosaurs are represented, highlighting how their appearance is constantly changing due to ongoing scientific discoveries. This device also serves as an alternative way to present this kind of artwork, which carries a strong emotional component but is rarely published, in a project not aimed at children, but at teenagers and adults.

140×190 mm, paperback, cover in Favini Dolcevita 280 g, interior pages in uncoated paper 100 g, 60 pages

Description of the book by the publishing house Spector Books:

Artist Gabriele Stötzer was the powerhouse of Erfurt’s lively underground. After Wolf Biermann’s expatriation in 1976, she herself was held on remand and put in the Hoheneck women’s prison. Her one-year imprisonment did not silence her though. After her release, she ran an underground gallery and established a group of female artists. On 4 December 1989, she was the first to occupy the Stasi building in Erfurt together with a collection of like-minded people. More than twenty-five years after the event, Stötzer researched her own past and that of thirty-two fellow artists as recorded in the Stasi archives. She has written a factual report on the different forms of observation that were used, exposing the internal logic of the surveillance regime. Her text is supplemented by original documents from the files, photos from the underground as well as found footage from the 1960s to 1980s.

288pp. with numerous color and black and white illustrations, perfect bound softcover, 21×26.5 cm; German

ISBN: 9783959053174

The book was written by Gabriele Stötzer and edited by Anne König. Designer Malin Gewinner used Stempel Garamond for text, together with the yet unreleased Streetfutura and Rike Mono for titles and marginalia, respectively.

Hollywood Guys & Dolls is a two-volume CD series released in 1994 by Parrot Records. It’s focused on renditions of popular songs as sung by Bing Crosby and several prominent Hollywood stars.

The designs of these two album covers are identical to each other. The title is Broadway, featuring Sabon and various other fonts as well.

Schnellschwimmer X Rennbahn invited you to Disco Zwei for their very first event. On May 3, 2025, they were presenting their signature sounds at this special location in Mannheim and arranged their own visual installations to bring energy to the night.

The first floor featured proper techno to lose yourself in, while the second floor was a space for all those who prefer sweating to tightly mixed house tunes.

The late Argentine designer Luis Siquot (1945–2025) has left us with several typeface designs. We’ve seen his ITC Juanita in use for a book with paintings of African wildlife. Siquot also takes credit for a couple of album covers.

Shown here is his design for The Rite of Strings. The acoustic jazz fusion album by guitarist Al Di Meola, bassist Stanley Clarke, and violinist Jean-Luc Ponty was recorded at Studio 56, after the trio’s six-month world tour in 1995, and released by Gai Saber.

The cover shows a stylized illustration of the three kinds of string instruments, with many strong colors blended into each other.

For the typography, Siquot didn’t use his own fonts. The main typeface is Retro Bold. The all-caps slab serif was designed by Andrew Smith and Colin Brignall, quoting the Constructivist, Bauhaus, Art Deco, and Streamline movements as influences. It was issued in 1992 as one of Letraset’s last releases to be produced for dry transfer lettering, before switching entirely to their digital Fontek range.

The credits as well as the track names on the back and the CD itself are added in Lithos. Released in 1989 in Adobe’s fledgling Originals program, the lapidary sans was among Carol Twombly’s first published type designs for the Californian software company, together with Charlemagne and Trajan, and became quite ubiquitous in 1990s desktop publishing. “Artist management” is added in a bold italic style from Adobe Garamond by her colleague Robert Slimbach, also from 1989.

[More info on Discogs]

The Legal Notice sticker applied to this promotional copy features another Adobe release from 1989: for a while, David Siegel’s Tekton became at least as popular as Lithos, but since then has fallen out of fashion even more thoroughly.

The design of this packaging example for Luxury Box Sicilia stems from the packaging producer’s desire to transform two iconic symbols of Easter tradition – the dove and the chocolate egg – into “collectible objects capable of communicating craftsmanship, delicacy and care through a refined and contemporary aesthetic”.

The script typeface – Nautica by Resistenza – helps define the identity of the project, with a thin and sophisticated line that recalls handwriting, while maintaining balance and readability. The quote by Erri de Luca and other information are set in Adobe Garamond Italic.

Mockup of Foster’s Book of Yōkai, designed by Kevin Barrett Kane

For this collector’s edition repackaged book, I opted to spice things up with yōkai literally running across the cover in a sort of battle/chase sequence that brought energy and play to the cover design. Luckily, and naturally, the art program was well-suited for this concept!

Title page

Part opener

Table of contents

Sample spread of Foster's Book of Yōkai, designed by Kevin Barrett Kane.

The prominent F in the title is from Olicana, while the rest of the text is in Granjon.

Inky Fingers: The Making of Books in Early Modern Europe is a book by Anthony Grafton, a historian of the place and period. It was published by Belknap Press, an imprint of Harvard University Press, in 2020.

The cover was designed by Graciela Galup. The inset on the cover is a woodcut illustration depicting a printer’s shop from Jeremiah Hornschuch’s Orthotypographia (Leipzig, 1608), which Grafton says was the first handbook to be written on proof-corrections. You can see a scan of the print, from a second edition published in 1634, via the Saxon State and University Library Dresden.

The fuller dust jacket

Copyright page set in Trump-Mediäval, and the dedication set in Granjon Italic

RT Alias in use for the catalog of Jesse Stecklow’s exhibition titled Terminal at the mumok in Vienna, designed by the artist himself:

The collection, analysis, and circulation of ecological data, often invisible to the human eye, is at the core of Jesse Stecklow’s artistic practice. The Los Angeles-based artist (b. 1993) works with a precisely defined repertoire of objects that oscillate between image, text and sound. His sculptures enter into a dialogue with their surrounding environment, effectively confusing the boundaries of the work. Stecklow is less concerned with the singular object itself. Rather, he is interested in the various narratives that are created through location-related shifts in context. Stecklow refers to his objects as characters. They take on different roles depending on the situation in which they find themselves, thus assuming multiple identities in divergent forms.

In his first European museum exhibition, Stecklow transformed the exhibition space into a waiting room. He presented various versions of his sculptures in repetition across displays he designed as a hybrid between luggage carousels and dining tables. These forms reflect the shifts between public and private spaces that have occurred throughout the pandemic: while heavily frequented airport terminals emptied, our hitherto lonely dining tables have filled up, becoming offices and school desks.

The text typeface is Stempel Garamond. The oldstyle roman used on the cover is yet unidentified [edit: it’s a layered combination of Cobra and Larish Alte, see comments].

From the publisher’s website (translated from Spanish):

Third edition of Influjo Lunar, manual to the lunar cycles. It consists of the vision of eight women in relation to the phases of the moon and their influence on our rhythms and our bodies from different perspectives. The themes are: The Lunar Phases, Our Lunar Cycles, The Moon and Astrology, The Moon in Nutrition, The Moon and Plants, Astrobotany and Rituals, Pleasures to Inhabit and Menstrual Cycle.

Edited and designed by Camila Jouannet from the independent publishing workshop Ediciones Granizo. The typesetting features an unconventional combination, used in several editions of the publishing house, mixing two serif fonts: Adobe Garamond and Berenjena.

Table of Contents detail

30,000 on the Hoof is a Western novel by Zane Grey (1872–1939), published posthumously in 1940. Shown here is the first-edition cover by Grosset & Dunlap.

The title typeface, an all-caps roman with flare serifs and inline effect, is Atrax. “Thirty thousand” is written as a number. This way, we get to see Atrax’ numerals, which exhibit diagonal contrast – unlike the letters, which are drawn around a vertical contrast axis. With all weight apportioned to the bottom left, the zero almost looks like a dimensional ball.

If you try to learn about the origins of Atrax from a font marketplace like Monotype’s MyFonts, you’ll find that it was designed by “URW Design Staff” and that the design is owned by URW Type Foundry (a publisher acquired by Monotype in 2020). The tags hint at a date in the 1990s. That’s misleading at best, and only relates to one of the digitizations.

In fact, Atrax is a design by Heinrich Jost (1889–1948), a student of Paul Renner and Emil Preetorius. From 1923 until his premature death, Jost served as the art director for Bauer, during the type foundry’s most successful years, overlooking the release of his former teacher’s Futura. Issued in 1926, Atrax was Jost’s first published type design of his own. It was followed by Beton and Bauer Bodoni, among others.

The name of the author is added in all-caps Futura fett.

On the title page, the book’s title is set in Goudy Open. The designer apparently didn’t like this typeface’s zero, which is a monolinear circle, and used the lowercase letter o instead (in his own book, Goudy agreed).

Most of the smaller text is set in Janson, apparently using the version by Mergenthaler Linotype. Judging from the narrower Z in “ZANE”, the heading at the top of the left page is set in Monotype Janson, though. The publisher’s name at the bottom right looks like it’s Mergenthaler Linotype’s Garamond (No. 1), a design based on Stempel Garamond.

Calendario Lunar para el Hemisferio Sur 2023–2024 is a lunar calendar and illustrated poster. This large format print (50×70cm) has nine annual editions and each one shows, on one side, the annual lunar cycles in the Southern Hemisphere and, on the other side, an original illustration made by four hands. Typesetting features an unconventional combination, mixing two serif fonts: Adobe Garamond and Berenjena.

The calendar was designed by Camila Jouannet and co-drawn by Pablo Delcielo and Eduardo Desagrados, Offset printed in 3/5 colors on 140g/m² spun paper, and published and distributed by the independent Chilean publishing house Ediciones Granizo.

Buckshot Roulette is a 2023 tabletop horror video game developed by Mike Klubnika, initially self-published on itch.io before receiving a Steam release in 2024. The game involves the player playing a twisted version of Russian roulette with a shotgun against “The Dealer” or three other players. Everyone plays and only one leaves the room with a fatter wallet and their head intact.

Buckshot Roulette’s typography heavily complements the game's industrial look, reminiscent of grindhouse movies. The serif type for the game’s logo is a Garamond, stretched and possibly with faux bolding. Judging from the angles of the top serifs in T, it’s one of the versions based on Jannon’s work. Easier to identify is Fake Receipt, used as the primary user interface font. Its dotted appearance is further distorted thanks to the in-game pixel filter, giving it a very scratchy look.

Main menu. “Buckshot” is vertically stretched while the text below is slightly squished.

“The Dealer” calmly explains the rules of the game.

A diegetic use of Fake Receipt on the score counter. The Dealer seems either stressed, amused or neither, as I unknowingly shot a live round at myself.

Winning a multiplayer match

Searching for lobbies in multiplayer. Fake Receipt is slightly squished here.

Modifying a lobby

Fake Receipt used in the Multiplayer Update trailer