Front cover, with photography by Ross Kirton

From Wikipedia:

Supernature is the third studio album by English electronic music duo Goldfrapp, released on 17 August 2005 by Mute Records. The album received generally favourable reviews, with most critics complimenting its blend of pop and electronic music. It debuted at number two on the UK Albums Chart with first-week sales of 52,976 copies, and has been certified platinum by the British Phonographic Industry (BPI). Supernature has sold one million copies worldwide.

The design is credited to Mat Maitland at Big Active, with art direction by Alison Goldfrapp, Mat Maitland, and Gerard Saint.

Matra is used for the album title and track listing, while all other text is in ITC Avant Garde Gothic. The Goldfrapp logo appears to be custom drawn.

[More info at Discogs]

Back cover

Lyrics and credits

Postcard (front)

Postcard (back)

A fine Use of all-caps West Nouveau Didot for the cover of The Mean Machine, an album by jazz organist Jimmy McGriff (1936–2008) released on Groove Merchant in 1976. Printed in pale violet and yellow, the curly letters nicely echo the ornamentation on the musician’s garment.

[More info on Discogs]

ARC Raiders is a multiplayer PvPvE extraction shooter developed by Embark Studios and published by Nexon, released on October 30th of 2025.

The game takes place in the year 2180, decades after hostile machines known as “ARC” suddenly descended from space and began attacking humanity. Players assume the role of a Raider, one of the few brave citizens of Toledo—a subterranean city to venture topside and scavenge in order to survive and supply resources for the city. Along the way, they will encounter ARC machines and other Raiders alike.

Arc Raiders uses ITC Avant Garde Gothic Bold for its logo, with slightly tighter spacing and the second R nearly cut in half to make way for the color stripes. An unabashed sign that this game embraces retro-futurism like its life depended on it. In-game, Barlow Light, Regular and Bold is heavily used for body text. Urbanist and Prompt share the role as a heading typeface, although Urbanist is used more regularly. JetBrains Mono is used as extra decorative flavor and can be seen mainly in the HUD.

Dark version of the ARC Raiders logo, which can be further distilled to just the lines themselves. The green, yellow and red lines represent the player’s three skill trees. The blue line represents ARC, which is where its name comes from; the literal arc in its radar signature.

The lobby, with a nice view of Speranza behind

Viewing the Gunsmith, one of six other work stations where players can craft guns and items from resources that they have scavenged during raids

The three main skill trees, where players can upgrade their Raider'’s stats such as increased mobility and stronger resilience during combat

In-game HUD

Loadout screen

Trading with Tian Wen, where you can buy or sell equipment. There are other traders too, of course.

The Projects menu, which acts as additional high-stakes goals for players to grind materials, submit them and receive rewards

Reading the Codex, where information such as enemies, weapons and general lore that are found during gameplay are stored here

Poster designs for Daughters of the Forest. A story of entanglements: between humans and mushrooms; the visible and the invisible; generational knowledge and modern science. This sci-fi documentary invites us to reconsider the experiences of both human and non-human inhabitants of our world.

Source: www.antikavion.cz Antikvariát Avion. License: All Rights Reserved.

Zelená kuchyně (1988) by Jan Jeník, Václav Větvička, and Sergej Michajlovič Skornjakov, with illustrations by Edita Plicková

In the late 1980s and early 1990s, Czechoslovak publisher Lidové nakladatelství brought out a series of nature books in their Edice Planeta imprint. Zelená kuchyně (“Green kitchen”) is about vegetables and edible plants and Zelení ježci (“Green hedgehogs”) about cacti, while Zelený domov (“Green home”) deals with houseplants and Klenoty přírody (“Jewels of nature”) with minerals.

The cover designs are by Milan Albich (1925–2000), a painter, illustrator, and graphic artist from Krupina, Slovakia. He rendered the titles in ITC Serif Gothic. in all-lowercase letters from the Black weight, likely using the Letraset adaptation for dry transfer lettering. Unlike Mecanorma’s – or the official digitization, for that matter – this version includes the alternate glyphs, see for example the descending forms for z and k, the spurless r, and the tailed t.

Albich must have been fond of this typographic style: he also used it for a catalog of his own drawings and paintings in 1987.

Source: www.etsy.com craftytransfers (edited). License: All Rights Reserved.

A sheet of 48pt Serif Gothic Black, issued by Letraset in 1980 as LG3603 in their Letragraphica range. Note the alternates for aefkrstzEL and the pile of combining diacritics at the bottom.

Source: www.modrykonik.sk Modrý koník (edited). License: All Rights Reserved.

Zelení ježci (1989) by Stanislav Peleška and Valerij Dmitrijevič Lobko, with illustrations by Jiřina Kaplická and František Severa

Source: aukro.cz knihyantikeu (edited). License: All Rights Reserved.

Zelený domov (1990) by Galina Tavlinova and Jan Dienstbier, with illustrations by Zdeněk Berger

Source: www.knihyuvrany.cz Knihy U Vrány (edited). License: All Rights Reserved.

Klenoty přírody (1990) by Vladimír Bouška and Vitalij Ippolitovič Sobolevskij, illustrated by Adolf Absolon 

Visual identity for the exhibition Inezita Barroso: 100 anos de viola e pioneirismo for Sesc Mogi das Cruzes.

The show about Inezita Barroso (1925–2015) and “100 Years of Viola and Pioneering” is presented by Sesc Mogi das Cruzes to mark the artist’s centennial and bring together fifteen activities in her honor. The concept is anchored in enraizamento (“rootedness”), inspired by a statement Inezita made to Revista Brasil: “Something without roots flies away; the wind takes it and it disappears.” In her performances, Inezita was often seen wearing floral dresses, full skirts, and scarves, elements associated with traditional attire from Brazil’s countryside. The visual identity draws on this symbolic dimension by placing vernacular rural prints and folk embroidery at the center of the graphic system. The full booklet is available for download.

Issue no. 2 from July 1981. The white text at the bottom is an unidentified typeface similar to Futura Extra Bold Condensed. I wonder if it’s related to Heraldus. [edit: identified by Bryson as Tempo Black Condensed]

Motter Tektura is the logo typeface for Your Computer. The Australian monthly home computing magazine “for business and pleasure” ran from May/June 1981 to May/June 1997. From 1977 to 1984, Othmar Motter’s typeface was also used for the logo of the Apple Computer Inc., likewise in all-lowercase letters.

Initially edited by Les Bell and published by the White House Publishing Group under licence from Motorword Pty Ltd., Your Computer was typeset by Hughes Phototype, Mosman. and printed by The Lithgo Centre, Waterloo. Barry Brady served as the magazine’s first art director. In 1982, he was superseded by Michelle Mabbott. Rolf Hagenmaier filled this role in 1993.

By 1994, the logo had been redrawn (almost) beyond recognition.

You can browse many digitized issues in the Internet Archive.

Motter Tektura was also used as headline typeface on interior pages. Here’s the table of contents from no. 5, November 1981.

June 1982, with ITC Korinna in a starburst for the “Big Birthday Issue”. The logo got a contour.

October 1982, ft. Dynamo Shadow for “16 Bits – A Revolution?”

May 1983

June 1983

September 1983

“Learning With Your Computer” special issue, 1986, with a shaded logo version and ITC Avant Garde Gothic

February 1993. The claim below the logo now reads “Making your micro work”.

AirGo Radio is a podcast and media hub in Chicago reshaping the culture of the city and beyond. At a key moment for growth, they needed a future-facing brand with echoes of the history inspiring them.

AirGo’s wordmark references “on-air” and video recording iconography with a simple red dot, which expands to form the basis for the visual identity. The simple contrast of circle and angle expands to the broader system, inspired by mid-century media such as Avant Garde magazine and PBS Television. ITC Avant Garde Gothic was a practical choice as well—when handed off to the client for use, it’s sturdy enough to live unchanged, but its alternates can easily add visual interest to a pull quote or other text.

After being inspired by the film Marty Supreme, I decided to add a few items of my own creation to the world this movie created. These would have been celebrity endorsed and promotional items existing after Marty’s rise to fame.

This is the front cover for Ballantine Books’ 1978 edition of Brain Wave, a science fiction novel written by Poul Anderson. The artwork seen here is attributed to Michael Herring, and has been used for several other editions of this book.

The main typeface used here is the hypnotic Allen Riptide, paired here with ITC Avant Garde Gothic and its condensed counterpart.

[More info on ISFDB]

French designer Jean Alessandrini (b. 1942) designed more than twenty typefaces, in all kinds of styles. So far, we’ve only documented in-use examples of his Hypnos.

Here’s another one, of the typeface that bears the designer’s name: Alessandrini 7 is a monolinear design based on modular shape, a spiral with two centers. It was drawn for Hollenstein in 1972 and was also available from TypoGabor. The only digitization that I’m aware of is unreleased. Lucas Liccini made it in 2020 as part of his Revivals & Renditions student project at UdK Berlin.

“Enfants venez chanter l’espoir” (“Children, come sing of hope”) is a song by pop singer Nicoletta (b. 1944). It was released in 1973 on Riviera Records.

[More info on Discogs]

The B-side is titled “Viens te balader au creux de mes chansons” (“Come take a stroll through my songs”).

Close-up of Elektra’s 1966 logo, taken from the 1980 label design

William S. Harvey designed Elektra’s most recognizable logo in 1966. The label used this branding for 17 years before it adopted an overhauled identity (designed by Milton Glaser, type designer and master warlock of the graphic arts) in 1983. Reworked variations of this iconic design were later used by the label after it was relaunched by Warner Music Group in 2009.

The logo consists of an uppercase E (based on outlined Bingo, a decorative stencil designed by John Albert Cavanagh for his 1946 book Lettering and adopted by Photo-Lettering) directly above the word “elektra” (set in Phanitalian, a heavily flared decorative sans originating in the catalog of Vanderburgh Wells & Company and offered in the 1960s by Headliners in its Morgan Press collection).

Label for The Doors’ 1969 album The Soft Parade. This label design, as well as the logo, was first used in March of 1966 on Phil Ochs’ In Concert live album.

Catalog number and disc side indicator, “STEREO,” and album title set in Railroad Gothic (ATF; 1906) [edit: or rather Gothic No. 13 (Linotype), see comments]. Track list and credits set in Vogue (bold; Intertype; 1930-1946). Band logo is a custom-made sort.

Label for Clear Light’s 1967 self-titled album (circa 1970–1973 reissue). This label design, which features a butterfly carrying the E by its stem (alongside a 7″ design featuring a caterpillar), was first used in August of 1970 on Josh White's The Best of… album.

Band name set in Franklin Gothic (ATF; 1904–1913). Disc side indicator, catalog number and “STEREO” set in Erbar-Grotesk Condensed (Ludwig & Mayer; 1929). Track list and credits set in Spartan (ATF/Linotype; 1939), a copy of Futura, here with its distinctive two-story a. Address info is set in Trade Gothic Extended (regular; Linotype; 1959).

Label for Gamma’s 1979 self-titled Gamma 1 album. This label design, which is similar to the 1969–1970 design (only used on two LPs) but with a smaller logo, was first used in 1979 on Nino Rota’s soundtrack album for the film Hurricane.

Disc side indicator, catalog number, “STEREO” and band/album name set in Futura (bold; Bauer; 1927). Track list and credits also set in Futura (regular). Address info set in ITC Avant Garde Gothic (regular; ITC; 1970).

Entrance to the company’s location in Civita Castellana, Italy. The accompanying handwriting font is PT Script Fog.

The.Artceram is an Italian manufacturer renowned for its bathroom furnishings. TheMix, designed by LucasFonts, is used in its logo. Introduced in 2014 as part of a major overhaul of the whole brand, the logo has become an integral part of the company’s identity.

The typeface blends in well with the vibrant yet elegant exhibition stands on which the products are displayed. The company successfully combines traditional craftsmanship with a modern, fresh aesthetic.

the.artceram exhibiting at Cersaie, the international exhibition of ceramic tiles and bathroom furnishings

2013 product catalog ft. Helvetica Condensed and ITC Avant Garde Gothic

Exhibition stand

Exhibition stand

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Show room at Cersaie

The logo displayed in front of the factory in Civita Castellana

SCELBI Computer Consulting, Inc., was (briefly and significantly) a 1970s microcomputer manufacturer but was mostly known in that era for its technical publications. The cover work for some of the early books features plenty of fun with photo lettering. The company name was often rendered in Koloss, as it is here. Helvetica is the baseline text choice, and Avant Garde Gothic with multiple ligatures is used for the title.

The Galaxy game was a space conquest adventure, in the vein of the classic Star Trek games from early computing. The books (available for the Intel 8008/8080 systems as well as the Motorola 6800) contained the whole game, reproduced as machine language code with explanations for both gameplay and how the program worked.

SCELBAL was a version of BASIC for SCELBI’s own computer system, and the title of its book is set in Baby Arbuckle, a follower of Baby Fat.

The company’s First Book of Computer Games is less aesthetically coherent. It repeats the Helvetica and Koloss, then throws Neil Bold, Pioneer, and Dubbeldik into the mix.

More on the SCELBI computer in the context of early micro computing can be found here, while a number of SCELBI’s books are available at the SCELBI Museum and the Internet Archive.

Source: www.abebooks.com Cross Genre Books (edited). License: All Rights Reserved.

Ellison Wonderland is a collection of short stories by Harlan Ellison (1934–2018). First published in the United States in 1962, this is the jacket for the first UK edition, issued by Millington in 1979.

Instead of working with an illustrator, designer Lorie Epstein opted for a purely typographic approach featuring Quartermaine. She separated the thin and thick strokes of Stuart Longley’s open, dimensional unicase typeface and gave them different colors: blue and purple for the author’s name, and orange and pink for the title.

The Science Fiction Book Club mention in the bottom right corner is set in ITC Avant Garde Gothic, with its alternate e and faux small caps.

[More info on ISFDB]

The New York Philharmonic’s rendition of The Planets under the guidance of Leonard Bernstein was recorded December 7, 1971. The original release came with a cover featuring an illustration of an angel by Christian Piper.

The variant shown here was designed by Ikuo Niida 新居田郁夫, and it’s spectacular. I can make out stylized planets on concentric orbits, but I’m not quite sure what I’m looking at, and what techniques Niida employed – some parts remind me of Max Ernst’s grattages.

The title is set in the open style of Cinema a.k.a. Hollywood, with the lines below added in bold caps from ITC Avant Garde Gothic.

[More info on Discogs]

A better view on the type

Fete des Bruyeres
2ème Dimanche d’Aout
Sur ce Site
Musique et Danse de Bretagne et d’Ailleurs

On our way from the parking to the cliffs of Beuzec-Cap-Sizun, Bretagne, we passed workers dismantling a stage from a festival that ended the previous day plus a sign explaining what we had just missed. Fête de Bruyères (“Heather festival”) is a local folk festival with dance and music held every second Sunday in August. The billboard shows a man in folk costume playing bagpipe and women in traditional clothing riding a horse carriage, with the côte sauvage (“wild coast”) as a backdrop. The airbrushed image is partly covered with vinyl lettering, using a different font for each line. It is signed by local sign firm Le Bars Publicité in the bottom left corner, but not dated.

Ferns, heather, rocks and sea: the côte sauvage.

In the mid-1980s, commercial radio stations started to broadcast in Germany. Until then there were public stations only.

In the late 1980s in particular, many private stations sprang up like mushrooms at the local and regional level.

In Heilbronn, Radio Regional was established as the station of the local daily newspaper Heilbronner Stimme. This was later followed by a merger with Radio T. O. N., based in Bad Mergentheim, and accompanying changes to the logo.

The original Radio Regional logo was used in two color variations, and the ratio of word and image marks was also adjusted depending on the intended use.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

From Parks Project:

Alaska is the Last Frontier – wild, vast, and unlike anywhere else on Earth. This collection calls to Respect & Protect – to stand with a place that is fighting to stay wild. Together, we can help defend the Last Frontier and the voices rooted in it. […]  we’re raising funds to protect Alaska’s wild beauty and support the Native Conservancy – the first Native-led land trust in the U.S. working to safeguard ecosystems and strengthen Indigenous food sovereignty.