The 1976 release of The Modern Lovers, compiled from recordings made earlier in the decade, for an aborted LP for Warner Bros and other sources. The sleeve is a triumph of minimal design, adapting an aerodynamic heart logo that the band used on an early business card, rendering it in the stark, precise form of a neon sign glimpsed on a dark night.

Filmotype Lucky is effortlessly evokes this mid-century aesthetic. Ebony was enjoying a renaissance at the time (see also Blondie’s 1976 debut) – the emerging punk movement favouring clean, strong letterforms over the ornamentation of psychedelia and after. Further examples include Franklin Gothic on Ramones and Gill Sans Extra Bold on the “Neat Neat Neat” single sleeve, both likewise from 1976. (Jamie Reid’s “ransom note” style which would become a cliche of punk design developed independently).

The neon motif is continued in the use of Kaufmann, with its continuous line representing neon tubing, for the LP credits, supported by Gill Sans. The band logo that appears on the labels as well as on the flyer reproduced on the back in in all-lowercase City Bold.

Jim Blodgett is credited with “LP co-ordination”, which may or may not include the sleeve design.

[More info on Discogs]

Back cover. The reproduced flyer for a gig at Gloucester High Auditorium additionally features Futura Black.

Que me toquen una cumbia!! (Y algo más) by Bianca Forischi is a homage to cumbia, the most listened-to genre in Latin America. The zine explores its vibrant visual language, tracing its evolution from the 1950s to the present. Structured as a timeline, it moves through key formats: vinyl, cassette, CD, and pendrive, reflecting how cumbia’s identity have transformed over the decades.

The zine was Forischi’s graduation project for her studies in Rotterdam. It was made while working at Can Can Press in Mexico City and will soon be available from their store.

Obscurest Vinyl is a producer of viral, parodically vulgar and apparently AI-generated riffs of vinyl singles from the 1950s, ’60s, ’70s, etc. Shown here is “Rubbin’ and a Tuggin’ My Nips!” by the fictional Lucho Buerle.

To give the single a pseudo-1960s appearance, the cover uses several mostly period-appropriate typefaces: (OPTI’s digitization of) Venus Extended for the Obscurest Vinyl logotype, Filmotype Hemlock for the album title, Filmotype Lucky for “presents”, Filmotype Melon on a bouncing baseline for the “artist’s” name, and Turnpike for the tagline.

From Design Womb:

California Olive Ranch is the #1 brand of domestically produced extra virgin olive oil in the United States. The San Francisco Bay Area brand challenged us with seeing their redesign through on the brand’s identity and packaging design. In addition we delivered a library of brand assets which include a custom branded tagline graphic, flavor iconography, and packaging labels for an array of new products.

The new packaging design feels fresh, Californian, and is somewhat rooted back to the original labels to avoid confusion with loyal customers. To achieve this we designed a modernized interpretation of the rancher icon for the logo and carried over the existing color palette with subtle updates that feel vibrant and welcoming. The strategic use of a secondary color palette and special effects such as a gold foil, metallic ink, embossing, and premium papers helps draw a line between different product price points and keeps the branding cohesive.

The brand name uses Cervo in its wordmark, supported by Bill Corporate Narrow. This same typeface combination is used on all labels throughout the product line. There is also a set of hand-rendered brand typography where Cervo and Bill Corporate are paired with Filmotype Lucky.