Source: www.instagram.com @CAVS. License: All Rights Reserved.

The Cleveland Cavaliers run in the 2026 NBA Playoffs reached the Eastern Conference Finals, their best effort since 2018. They battled through two seven game series, first getting past the Toronto Raptors and then knocking out the Detroit Pistons to earn a spot in the conference finals against the New York Knicks. Unfortunately for the Cavs, their run ended there. The New York Knicks dealt a 4–0 sweep.

For their playoff run branding and media campaign they heavily featured BRIK across physical and digital assets.

The “Let em know” slogan that’s visible in several of the images was designed by Jay Wallace already in 2022, using Favela Black.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Source: www.instagram.com @CAVS. License: All Rights Reserved.

Melodies is Jan Hammer Group’s second studio album, released in October of 1977 via Nemperor Records and distributed by Columbia Records.

Helvetica is used on the front cover with tight kerning. The band's name is stylized using a drop cap on each line. The back cover also uses Helvetica.

Richard Greenberg is credited for the album design.

[More info on Discogs]

Anna Monika Jost (b. 1944) is one of the many Swiss-born graphic designers who went to work in Milan during the 1950s and 1960s – this is a story that has been largely documented (notably at Zurich’s Museum für Gestaltung) and spawned a remarkable body of work by Jost and her colleagues Lora Lamm, Max Huber, Bruno Monguzzi, Walter Ballmer, etc.

Working for Italian brands such as Fiat and Olivetti, Jost found the right balance between Swiss constructive rigour, informed by Konkrete Kunst, and Italian playfulness in this 1966 poster for a travelling exhibition of Olivetti’s products. The typefaces used here are Helvetica (obviously) and, quite unexpectedly, News Gothic (for the isolated letters and numbers inside the round dots).

Jost was, alongside Bruno Monguzzi and Batia Suter, a recipient of the Swiss Grand Award for Design in 2025.

From Desisto:

“Tertúlias Gráficas” are informal meetups for enthusiasts in the field, held at our studio in Santa Apolónia, Lisbon. Before we head off for a summer break, we’ve invited [João Queirós] to come by and share a bit about his work and journey.

Desisto is a graphic design studio established in 2013, and based in Lisbon, Portugal. They also operate a Riso printing lab. They have been organizing the “Tertúlias Gráficas” at their studio since July 2019. Porto-based designer João Queirós was invited for the 19th edition, taking place on July 17, 2025.

The type-only banner-like poster was Riso-printed in two colors (brown and gray) and features Plain Form’s Ready Active, together with Helvetica.

“Like to Get to Know You Well” is a 1984 single by English singer Howard Jones. From Wikipedia:

The sleeve carried the motto “Dedicated to the original spirit of the Olympic Games” as the single was released at the start of the 1984 Summer Olympics in Los Angeles. The extended version, subtitled “international remix”, features Jones singing in English, German and French.

This international aspect carried over to the single’s sleeve design, where the uncredited designer depicts the title in a variety of (badly translated) languages and fonts. The artist name as well as English and French titles use Berling Bold. The Dutch title uses News Gothic Extra Condensed and the Spanish one Americana Extra Bold. The German is in Beton Bold Condensed, while the Japanese is in Gothic MB101. Italian is Futura Demibold. The Greek is in Eurostile Extended Black, with alterations made to create some faux-Greek glyphs. Finally, the Swedish uses Plantin.

[More info on Discogs]

“Bounce Right Back” on the back cover uses Berling as well.

A later release of the single replaced the badly translated Japanese with a slightly less bad translation, and replaced the Swedish at the bottom with “12″ International Remix” in Helvetica Bold.

Abilene FLF

The second season of Batman: The Animated Series (or The Adventures of Batman & Robin, as it was temporarily known) differs from the first season both in only consisting 20 episodes (versus the first season’s 65), and in using digital fonts (where the first season used dry transfer lettering).

Times Bold

Times New Roman Bold (compare the counter of the R in “Trial” to that of the one in “A Bullet for Bullock” above)

Flambard (or Studio?), heavily squeezed

Murray Hill

Unidentified

Abilene FLF

Times Bold

Chevalier

Univers 49

Filmotype Hudson

Chevalier

Ticonderoga

Plakette

ITC Ronda

Florentine

Stencil

Ad Lib

Helvetica

Premier Lightline

Funky Chicken is the debut album release by Chicago-based soul singer, producer/arranger. and saxophone player Willie Henderson (b. 1941), recorded with the Soul Explosions and released in 1970 on Brunswick Records.

The amorphous typeface chosen for the title is Fantasia, drawn by John Theodore for Photo-Lettering by 1969.

[More info on Discogs]

2023 reissue on yellow vinyl by Org Music

Front cover featuring the boys hitching a carpet ride - with their group name and the album title set in Photo-Lettering's Green Buzzard, released earlier in 1970.

Get Into Something (1970) is the Isley Brothers’ eighth studio album and their third on T-Neck, the label they founded six years earlier (at the time, it was distributed by Buddah Records). The album followed the double whammy of It’s Our Thing and The Brothers: Isley, both released in 1969.

The album’s title track includes some very impressive breakbeats (someone should sample them!) by George Moreland, and the track “Keep On Doin’” was interpolated without credit by James Brown into “The Grunt” by the JBs the same year.

[More info on Discogs]

Back cover featuring the group name and album title (still set in Buzzard) in a significantly larger size – group name in purple, album title in black. Track list and credits set in Helvetica Medium.

Inner gatefold featuring the Isleys (although… two-thirds of them are seen in this photo, Ron unfortunately isn’t). Names and availability notice set in Helvetica Medium.

When Typographic House advertised their typesetting services – and specifically Gill Sans Extra Bold – in the January 1969 issue of Art Direction, they adopted a quote by Franklin D. Roosevelt. It’s taken from a speech held on April 21, 1938, when FDR addressed 4,000 members of the Daughters of the American Revolution.

Typographic House was “the finest typesetter in Boston” [Richard Sheaff] and “the largest type house in New England” [Steve Jackaman], with offices in Boston, Providence, and Harford. Founded in 1938 by Michael Brotman (c.1907–2002), “Typo House” was led by James H. Moore (1932–2023) from 1967 until his retirement in 1991. In 1984, Moore acquired the company together with Peter Brotman (1941–2016), the founder’s son.

Desplazamiento is Ivy Barkakati’s second album in a decade. It sits at the cosmic intersection of minimalist composition, analog synthesizer music, drone, and rhythmic noise.

Recorded at home over two sleepless weeks in June 2021 with a Dave Smith Mono Evolver Keyboard, a borrowed MFB-522 drum computer, and Ableton Live, Desplazamiento’s six instrumental pieces represent an unmediated expression of the raw, internal feelings that lurked below the surface of Ivy’s subconscious mind during the early years of the global pandemic.

From Wikipedia:

“Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, Different Class (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release.

“Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from Different Class after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim.

[More info on Discogs]

Typography-wise, the single follows the choices made for the album, with Chromium One for the band logo (also by The Designers Republic) and Windsor Extra Bold Condensed. The palette is completed by italic Poster Bodoni and Helvetica.

The History of Rhythm & Blues vinyl record series is a 1960s compilation of various R&B records from various eras. The first volume covers the roots era (i.e., 1947-1952).

Two swashy typefaces from PLINC are used for the main title: PLINC Bookman Swash and West Behemoth Italic Swash.

[More info on Discogs]

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

Eydie Gormé’s The Look of Love is a 1968 album released on Columbia Records. It features her smooth vocal jazz and pop interpretations of standards and show tunes including those from Casino Royale, The Apple Tree, and The King and I. All text is set in Helvetica.

[More info on Discogs]

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

In April 2026, the Artemis II lunar flyby mission brought four astronauts around the moon and set the record for human distance from earth. Its crew includes the first person of color, the first woman, and the first Canadian to travel beyond low earth orbit.

Jeremy Hansen, the Canadian astronaut, wore a special mission patch created specifically for him by the Canadian Space Agency. It was designed by Anishinaabe artist Henry Guimond of the Turtle Lodge. Its heptagonal shape and the animals shown on it reference to the Seven Sacred Laws, a traditional First Nations teaching that emphasizes Respect, Love, Courage, Honesty, Wisdom, Humility, and Truth. The agency’s webpage and press video go into greater detail about the symbolism of each element on the patch.

The Canadian Space Agency video about the patch and its symbolism:

Jeremy Hansen sharing the patch while in space, during a Space-to-earth connection event:

On the patch, Hansen’s name is typeset prominently on the bottom in the heaviest weight of my typeface Condor. (As far as I know, this is the first time a font of mine has traveled to space!) The agency’s name is typeset in Helvetica in both English and French.

Other styles of Condor have also been used extensively by the Canadian Space Agency for its mission poster, its space-to-earth connection events, and other video documentation of the mission.

Astronaut Jeremy Hansen (right), pictured with his mission patch on his torso, stands alongside American astronaut Victor Glover in Florida.

A still from the April 8 space-to-Earth connection event. Jeremy Hansen shares and discusses the patch and what it means to him while aboard the Orion spacecraft during its return flight to Earth.

Artemis II mission poster

An embroidered patch replica available for sale at Ingenium Boutique

The crew of Artemis II pose with the Space Launch System and Orion spacecraft. Jeremy Hansen is at far right, with the patch visible on his uniform.

Canadian Space Agency President Lisa Campbell onstage at a space-to-Earth connection event with astronaut Jeremy Hansen, with tightly-tracked Condor in French and English

Cassette inlay ft. Data 70

Galactic Nightmare is a concept album self-published by Alan Jefferson in 1986. From Trunk Records:

Six years in the making (1979– 1985). A unique 90 minute space epic adventure made in a bedroom in Hull on limited and slightly dodgy equipment. A true labour of love and only previously available on C90 Cassette (with Dolby) via Sci-Fi and computer magazines in the mid 1980s. Totally unforgettable, joyous and full of extraordinary detail and ideas. 2 LP set, matt varnish, full colour artwork, printed inner sleeves with complete storyfile, lyrics etc.

The title on the original cassette release uses Data 70 with a gradient fill. In 2015, independent record label Trunk Records reissued the album on vinyl for the first time. Rather than reusing the original logo, Trunk used the similar Moore Computer for the title and track titles.

[More info on Discogs]

Front cover of the 2015 Trunk reissue ft. Moore Computer

Inner sleeve

A page of concept art and ephemera from the liner notes of Trunk’s reissue. Early designs for the title logo can be seen in the centre, both typeset in Data 70 and as custom lettering.

Promotional poster for Mes Pants de Queer, a thrift and self-publishing bookstore by, for and about LGBTQ2SAI+ communities in Montréal.

Promotional leaflet for Blue Accounts, a provider of tax advice and accountancy services. The typeface Neo is in use here alongside Helvetica.

Pump Bold is a typeface I would normally never consider using. I created this logo in the early 1970s when I was first becoming a self-taught designer. It was done with Letraset rub-down lettering. I liked that the d’s and the p’s were the same letterform, and that the lines could interlock up and down in an interesting way.