White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

Protest Grotesk is the typeface used by Seasonal Fruit for Wir wollen baden! (“We want to go swimming!”), published by Neckarinsel Stuttgart in collaboration with Prima Publikationen. Additional display typefaces used in the book include Sometimes Times and Blocus.

From the publisher (translated):

This water guide is a handy companion for getting into cool waters on hot days. Even in the Stuttgart metropolitan area, temperatures are rising. At the same time, Stuttgart and the surrounding region aren’t exactly known for nearby lakes for swimming. That’s why we went searching for you—and we found them: from river swimming spots to hidden waterfalls and refreshing forest baths, here are the islands for cooling off.

On 14 tours through the region, we give you insights into the many ways to swim and cool down, sprinkled with information and facts about the waters, because water is much more than just fun in the pool: it’s our drinking water, wastewater, a habitat for flora and fauna, and even a means of transport. Easily accessible by public transport, the tours invite you to stroll, walk, hike, cycle, or paddle—alone or with friends and family.

And the best part: each tour comes with a postcard as a keepsake, to send, or to share, featuring scenes from your swimming adventure.

Shortlisted for the Most Beautiful German Books 2025.

Postcard with all-caps Blocus on the back

Spread featuring all-caps Sometimes Times, rotated and with overlapping glyphs

The L.A. Review of the Moving Image documents the shifting landscape of film culture in Los Angeles. Over the past decade, the city’s creative life has expanded beyond its traditional centers, moving away from Hollywood premieres and studio theaters into a constellation of smaller, experimental spaces. Today, moving images circulate through artist-run cinemas, living room screenings, rooftops, cemeteries, guerrilla file shares, Twitch streams, and group chats. This dispersed yet coherent network reflects a culture where watching, rewatching, editing, and remixing have become collective rituals.

The Review approaches the moving image not simply as content, but as encounter; asking where films are shown, how they are shared, and how they reshape communities and publics. It positions itself within this fragmented geography as both observer and participant, chronicling the ways moving images continue to organize memory, desire, and cultural identity in Los Angeles.

The newspaper and the marketing materials use Ceraph, a flaring semi-serif designed by Emma Piercy available at Sharp Type. Ceraph’s distinctive blend of sharpness and warmth mirrors the project’s contemporary and experimental spirit. Its versatility makes it well-suited for both editorial contexts and promotional materials, giving the Review a consistent yet characterful typographic voice. [edit: Additional fonts include Sometimes Times and ABC Favorit Mono, see comments.]

The project was led by art director Ellie Sunlight Moon, with editorial direction by Anthony Tran. Contributions were made by Mariah Flores, and publishing guidance was provided by Rachel Rosenfelt.

Visual identity and website for Vlasblom & Deroose, a consultancy agency specializing in strategy and communication for NGOs and companies. Zeppa designed an identity that reflects their thoughtful, modern approach with a balance of clarity and elegance.

Typography plays a central role: Sometimes Times is used for the logotype, headlines, and quotes—bringing a refined tone with a subtle feminine touch. Neue Haas Unica supports body text with clean, modern readability.

Sam Bufalo is a documentary family and wedding photographer based in Stamford, Connecticut. We designed the brand identity and website for Sam that evokes emotions inspired by moments reminding you of old footage, handheld cameras from the 1970s, messy but real moments.

Sometimes Times, designed by Sam G. Hughes, is used as the main header and accent typeface. It is a timeless serif integrating contemporary aesthetics to classic form, inspired by individualistic old-style serifs and mid-1990s culture. For body copy, we used Courier Prime by Alan Dague-Greene, which brings to mind typewriters and computer programming. Courier Prime adds a sparse, minimal and “undesigned” feel to the identity.

Pippāl is a gathering place that celebrates the richness and diversity of Indian culture and cuisine, and melds traditional flavors with a modern touch. Influenced by the contrast and depth of cultures across India, the brand identity is built on connection and balance, reflected in both the wordmark – based on New Forest – and icon.

The typeface Sometimes Times offers an inviting timelessness and charm. Interstate relates to the slightly condensed, high counter height of Sometimes' letterforms, yet contrasts as a hard-working sans-serif. Campaign adds a layer of interest to augment the other two typefaces, with a charismatic expanded Grotesque font that rounds out the typographic system.

The Japanese clothing brand Edwin opened a new store in Antwerp, Belgium, in December of 2022. For the occasion, they commissioned graphic designer Stephanie Specht to produce communication elements, signage and limited merch. Paired with Sometimes Times by BoulevardLAB, it is the first-ever public use of Plain Form's Ready, then freshly released with the launch of the foundry.

EnKō Beauty was created by successful makeup artist Caylin McDonie, who has risen to fame through social media, renowned for her avant-garde looks.

The name EnKō is a word originating in Japanese folklore, meaning water dragon, and was originally inspired by a beauty-look. Handmade from scratch, the custom logotype and typography in Rabbit Hole Display was created by Hugmun Studio (@hugmun.studio) founder Tomasz Pawluk a.k.a Boafff (@boafff). Hugmun Studio comments:

Each surreal letter flows, hinting at the folklore origins feels relevant to makeup, art, and freehand flowing lines as we see in Caylin’s artistry. Metallic, holographic, 3D, and chrome also play a large role in the brand identity. Shifting and flowing with light and color like the multi tones found in the eye shadows.

The packaging was created by Marceli Printery with debossing and black letterpress printing on Carte à Parfum paper by Fedrigoni. The complimentary Sometimes Times Italic by BoulevardLAB provides a lighter but equally intricate contrast to Rabbit Hole Display. These are offset by Optimo’s sans serif Plain.

I designed the logo for Lentement (렁트멍), a fine dining restaurant in Seoul run by chef Lee Hae-wook (이해욱), using a customized stencil version of F37 Bergman. It’s paired with Sometimes Times.

The rest that Lentement pursues is a gap in everyday life. The space where you can enjoy a neat meals and neatly prepared meals with high-quality fresh ingredients.

Art direction for Placement Perfumes, an independent perfume studio from Singapore. Creation of the logo and global identity, brand photography and web design.

Placement Perfumes creates immersive fine fragrances that will traverse through space and time with you. Over seven years of autodidactic fragrance design experience infuses their work with a distinctive voice that simultaneously reveres and obverts established perfume wisdom.

The name Placement was chosen to underscore the reality of each perfume as not just an experiential vapour but a tangible, purposeful object – of art, design, and beauty, contained within its own set of coordinates. A favorite perfume has a place in your heart, in your regimen, and deeper in your subconscious than you might imagine.

For the logo, I used the font Sometimes Times by Boulevard LAB. It is a timeless serif integrating contemporary aesthetics to classic form. Inspired by individualistic old-style serifs and mid ’90s culture. Sometimes Times works perfectly in big and medium sizes while still holding legibility in smaller sizes. The use of both regular and italic fonts emphasizes the aspect of freshness.

For the perfume scents title, I used Byrd by Good Type Foundry. It is chunky, happy and a bit retro, rounded sans serif typeface. I paired it with Simula Book by Sharp Type, a very simple and legible typeface for smaller texts.

The terrace restaurant A-Frame offers classic picnic dishes for lunch or as an evening snack.

In the 300-strong community of Rocheport on the banks of the Missouri lies the Les Bourgeois Winery. It is the third largest winery in Missouri, USA and was one of the first clients of the Hoot Design Company, which is located in neighbouring Columbia.

The winery has a distillery, bistro, restaurant and accommodation, which were all brought together under the new umbrella brand The Blufftop at Rocheport with the help of Hoot in early 2022.

Some of the brands were already established, while others were new with the relaunch. “To ensure that The Blufftop at Rocheport and its nine sub-brands are cohesive, we created ten visual identities that work seamlessly together. With a broad color palette inspired by Missouri’s natural landscape, custom illustrations and a variety of different type families, we developed a visual system that is both distinctive and consistent,” said the founder of Hoot, Kristen Brown. One of the type families that they used is Fontwerk’s West, which Brown considered to be “the perfect complement to our sweeping wordmarks” and according to her, “formed the basis on which we could unite the nine brands under one roof.”

The emotional backbone of the Blufftop brand is formed by the calligraphic Esmeralda from Sudtipos and the graceful serif Sometimes Times from BoulevardLAB; the modernist Alternate forms of Korolev from Device is used as the headline typeface, and Victoria Rushton’s Gautreaux serves for the occasional article or preposition. Together, the font quintet defines a heterogeneous brand family that is both easily accessible and appealing.

Rocheport Distilling Co. Whiskey set in West and Esmeralda

The floral leitmotif of the brand family defines the calligraphic typeface, Esmeralda by Sudtipos and the captions are set in Korolev Alternate.

Nine brands under one roof with Fontwerk’s geometric sans West as a unifying element

On the website, West functions as the main font for navigation, headlines and in the body text.

The Blufftop at Rocheport’s property map makes full use of the font quartet.

Esmeralda and Korolev on coasters

Sometimes Times, Esmeralda and West used for a wine label

A towel featuring Sudtipos’ Esmeralda

Passion Projects keep you sane. They help you flex new styles and learn new skills. Here's a piece of fan art I made to get amped for the NBA Eastern Conference Finals featuring the Milwaukee Bucks and the Atlanta Hawks, and to try a new collage style. Featuring Sometimes Times serif by BoulevardLAB and Santa Ana sans by Hoodzpah with a custom long drop shadow. The aging effect was made using Atomica Photoshop action by True Grit Texture Supply.

Digerolamo is a Florence-based brand of leather accessories. Its name carries three generations of leather craftsmanship, and today it remains true to its artisan roots by proposing and creating unique handmade pieces. We were commissioned to redesign the brand, the packaging and new website.

The rebranding represented a change of stage for the brand, since it stopped selling physically and launched into online commerce. For communication pieces, the logo and ultimately all its identity, we use a two font pairing, a narrow sans-serif (Greed by Displaay Type Foundry) and a serif (Sometimes Times by Boulevard LAB) inspired by individualistic old-style serif and mid ’90s culture. This pairing expresses the modernity, the tradition and the elegance of the brand, all of them essential values of Digerolamo.

We also explored with playful graphic resources based on the silhouettes of the bags.

About the Hestia Artistic Journey Foundation:

Since 2002 our mission has been to observe, support and award young creators at the onset of their artistic careers. These activities were formalised in 2014 when the Foundation was established, and we are pursuing our goals by organising the competition for students of art faculties across Poland and via numerous undertakings for the artists’ benefit with our role as an art patron. Our hope is not only to facilitate young artists in entering the art market but also to raise public discussion on the state, experiences and anxieties of the young generation.

Osmose is used in the extended version, with the Regular for the title and the Medium for the menu. It is a good fit with Sometimes Times for the graphic illustrations. The intro paragraph is set in Editorial New Ultralight. Lastly, GT America is used for all text and headings.

Letterhead for Svenja Blobel, a photographer from Hamburg. Svenja's personal focus is in the field of fashion and portrait photography. Setting all text in Sometimes Times, we created a visual balance between the first and last name. It also allowed us to seperate the personal and formal details. In addition to that, the font reflects the photographer’s work with people and fashion.

From the back cover text:

This book by Samuel Avital is a caravan of visions, dreams, words, poems, events, reflections, exercises, memories, lamentations, consolations, and observations. It takes us on the artistic and mystical life journey: From here to there, from the binding ego to the true free self, from the infinite to the finite, from inspiration to action – From Ecstasy to Lunch, and back again.

For Samuel’s latest cover we leaned on a combination of the recently released Sometimes Times from BoulevardLAB™ and Neue Haas Grotesk. It’s like pairing Times & Helvetica on crack. Sometimes Times and Neue Haas Grotesk bridge contemporary aesthetics with tireless, timeless form. Perfect for the journey Samuel provides.