Draymond Green is a professional basketball player who plays for the Golden State Warriors in the NBA. He’s known for being outspoken, thus making him an obvious choice for hosting a podcast. The show is on The Volume podcast network whose promotional graphics were designed by Fifteen Below Zero.

I am not personally a big Green fan (despite living in the Bay Area), but I appreciate the typeface choice on this logo because it uses a typeface by a local designer. Jim Parkinson describes his Amboy as “an inlined square gothic style typical of mid-20th-century showcard lettering. Samples similar to this still exist on walls of buildings in my home town, Oakland, California.”

Poster for ACORN, Living Rent and London Renters’ Union to encourage people to join these organisations. Headlines use Marvin Visions, smaller text is set with Futura.

Autonomous Design Group is an independent collective of designers, artists and creatives opposed to capitalism and authoritarianism. We maintain that the aesthetic is of vital importance in the terrain of political struggle. We aim to offer artistic support to a wide range of groups and movements and encourage everyone to contact us for designs. All our designs are open-source and editable.

​We use a combination of collage, creative graphical elements, strong typography and colour palettes to depart from the usual red and black style of the left – an aesthetic which we believe comes across as dated and out of touch.

Shown here is a selection of posters around the theme of housing rights. Find more housing posters on our website.

Rent Strike Weekender, with a collage based on 1950s Air France posters and using Commune Nuit Debout.

Social Housing, with a collage based on 1950s Air France posters, with text set in Helvetica Condensed.

“Homes for people not profit”, set in all caps Gibson.

Poster for Los Angeles Tenants Union, headlines set in Amboy Black.

Poster for Sacramento Tenants’ Union. Collage from 1950s Air France posters. Gill Sans on top, stretch Gill Kayo for the bottom lines.

Poster for London Renters’ Union during the Coronavirus pandemic.

To promote and commemorate the release of Martin Scorsese's The Irishman, Netflix underwent a month-long activation across two cities. An 8-page broadsheet newspaper was produced, taking audiences back to August 1, 1975, the day after Teamster boss Jimmy Hoffa was reported missing to federal authorities.

At showings at New York's historic Belasco Theater, copies of The Irishman Daily were stocked in newspaper receptacles adorned with political stickers from the era. Next to those, interactive phone booths played clips from the film on a small screen when you picked up the receiver.

In the pages of The Irishman Daily, auxiliary stories fill out the world of Scorsese's decades-spanning epic. True crime drama sits among stories of the day, like the MTA increasing subway fare to 50 cents and the Yankees hiring the notorious Billy Martin. Arts and sports pages are filled out with classified listings, standings, and music charts. On the back, an ad paying homage to Frank Sheeran's chosen profession sits below a map guiding visitors to Netflix's Little Italy takeover promoting the film.

The design of the paper drew inspiration from the splashy, photo-heavy New York Daily News, while elements from the Brooklyn Daily Eagle, New York Times and Detroit Free Press influenced the denser interior layout. One anachronistic indulgence is Florian Karsten's Screamer, used only for the front page hammer head. Distressed Futura and ParaType’s SchoolBook round out the headline typography. The newspaper logo is an adaptation of the movie’s logo in all-caps ITC Grouch. Bushwick JNL is used for the word “FINAL” on the left side of the masthead.

Among the fonts used for the ads are Optima (Giovanni I. Russo), Akzidenz-Grotesk Condensed (Jimmy’s Last Stop) and Moret (St. Luke’s).

Corner Store JF, Main Feature JNL and SAA Series for the Secret Guide to Little Italy.

“Have you heard … WE PAINT HOUSES.” is in Rockwell Condensed, with Amboy for “CHEECH’S”.

The text typeface is Bookmania. The classified ads on the right are in Monotype Grotesque and Benton Sans Condensed. ITC Kabel and some Britannic are used for the Fair furriers ad. “Belasco” features Davida and Columbia Titling.

Double IPA @ 8% ABV. Label design by Tyler McCoy, Lead Designer at DuClaw Brewing Co., featuring Jim Parkinson’s Amboy Black.