Poster for a Grand Final Day event at Skydiver, a record shop and bar in Collingwood, Melbourne. The poster marks the AFL Grand Final, an annual daytime Saturday fixture in September. The typography is set in Device TM (distressed), whose bold forms suit both sporting and club-oriented contexts. The secondary typeface is FF Blur.

The Skydiver logo (not part of this design) combines Friz Quadrata with Helvetica.

POSSESSED is a magazine published by Paris-based running brand Satisfy. This publication is about trail, running, and culture related to these practices. This is how they are presenting the 56th issue:

This issue of POSSESSED—POSSESSED No. 56—is our inaugural print issue, and if you’re at UTMB, you can hopefully score a copy at our Chamonix Off Road Supply. If you didn’t, that’s a bummer. Still, you can check out the digital version, which features our exclusive interview with Courtney Dauwalter, our exclusive interview with her husband Kevin Schmidt, a timeline of C.D.’s incredible professional ultrarunner journey, a look inside her photo album, a nutritious Dauwalter Family recipe that you can cook at home, an up-tempo playlist of Courtney’s favorite tunes, PLUS some upper body exercises to stop you from turning into Kermit the Frog, your running stars, reader mail, lots of dumb jokes, aliens, and more!

Cover for If Only You Could See What I’ve Seen with Your Eyes, 2017

If Only You Could See What I’ve Seen with Your Eyes is an exhibition catalog showing the work of Katja Novitskova. Commissioned by the Estonian Centre for Contemporary Art (CCA) for the Estonian Pavilion at the 57th Venice Biennale, it was copublished by Sternberg Press in May 2017. In 2018, a sequel titled If Only You Could See What I’ve Seen with Your Eyes, Stage 2 was published by the Art Museum of Estonia – Kumu Art Museum.

Both books were designed by Ott Metusala. For the titles and the headings, Metusala chose FF Blur. The titles are composed of different font sizes and with a significant texture game to blend with the textures of Novitskova’s work.

While the cover of the first catalog featured a leopoard, the second one depicts a bee. There are many animal representations in the books in connection with the artist’s vision at the heart of the ecological crisis. We can find wild and genetically modified life forms in the exhibition as on the cover.

From the exhibition notes about the second show:

Stage 2 works from the intersection of big data-driven industries and the expanding domain of seeing in the thick of ecological crisis. The display is an immersive environment inhabited by living machines, graphic charts embedded in synthetic materials, and two-dimensional sculptures of wild and genetically modified life forms. (...)

“If only you could see what I’ve seen with your eyes,” says the replicant Roy Batty to the maker of his eyes in the sci-fi film Blade Runner (1982) by Ridley Scott. Katja Novitskova and the curator Kati Ilves borrowed the quote for the title of the exhibition in the Estonian Pavilion at the Venice Biennale 2017, produced by the Centre for Contemporary Arts Estonia.

Katja Novitskova (b. 1984) is an artist originally from Tallinn, but living and working mainly in Berlin and Amsterdam. Her work lies at the intersection of visual culture, digital technologies, and speculative fiction: she is interested in how the rapidly changing planet is increasingly dependent on various data streams that mediate, preserve, and alter the environment around us in visual form.

Cover for If Only You Could See What I’ve Seen with Your Eyes, Stage 2

Spread from If Only You Could See What I’ve Seen with Your Eyes, 2017

Table of contents and title page from If Only You Could See What I’ve Seen with Your Eyes, 2017

Spread from If Only You Could See What I’ve Seen with Your Eyes, 2017

Spread from If Only You Could See What I’ve Seen with Your Eyes, 2017

Back cover for If Only You Could See What I’ve Seen with Your Eyes, 2017

Criocabin was established in 1984 as a manufacturer of cold storage units. The product range was expanded to include refrigerated counters in 2000, with the incorporation of creative companies. They have always pursued one single goal: to create exclusive products that are tailored to our customers’ needs. Uniqueness, creativity, style and production made in Italy are key points for Criocabin. Criocabin is a family business that is run directly by its founder, who is always present in the factory.

They design innovative ideas for furnishing points of sale. They analyse the market and their customers’ needs in depth, and then not only suggest finished products but come up with new display concepts, complete solutions responding to the demands of modern retail.

During a rebrand, Notorious used F37 Foundry’s F37 Neuro as the predominant typeface. F37 Neuro is accessible, characterful and contemporary – reassuringly Swiss, but with a hint of British eccentricity that sets it apart. Notorious comments:

When we were asked to deal with the restyling of the Criocabin brand identity, we did it starting from the company’s essential values.

It was important to preserve a certain cleanliness and minimalism but at the same time show a strong and unpredictable personality.

The inspiration from the Helvetica font, used up to that moment by Criocabin, and the personality given by its contrasts and curves, were the reasons that made us choose F37 Neuro.

A choice that after three years still proves to be right and consistent with Criocabin’s way and its desire to communicate.

Released in 1994 by Flipside Records, just a week before the better-known Mellow Gold on the Geffen/DGC label, Beck’s second full-length LP Stereopathic Soulmanure was a compilation of early “lo-fi” rock recordings.

And underscoring its origin in the decade of alternative rock & grunge, its cover has that most 1990s of grunge typefaces, FF Blur.

Design by Gibran Evans and T.A.Z. (alias Jim Evans), featuring a drawing by Bob Gundermen.

[More info on Discogs]

The track names and the credits are set in FF Blur, too.

“I was only teasing, teasing you.” might be part of the original found (?) Victorian art. Mixoma (2022) is a recent typeface with a similarly unconventional weight distribution.

Back cover

Front cover of CD and vinyl release. Frankie is used for the band name, and FF Blur Bold for the album title.

From Wikipedia:

CrazySexyCool is the second studio album by American girl group TLC. It was released on November 15, 1994, by LaFace and Arista Records. Following the group's record deal, they released their debut album Ooooooohhh... On the TLC Tip in 1992 to positive reviews and commercial success. The following year the group began working on a follow-up with an unproductive recording process due to personal struggles, notably those of member Lisa "Left Eye" Lopes who was involved in a volatile romantic relationship and struggling with alcoholism. The album's recording lasted until September 1994, with Lopes' role diminished because she was in rehab.

Art direction was provided by Christopher Stern. Creative direction by Davett Singletary. Photography by Dah Len.

On the album cover, Frankie is used for the band name. The grunged version of Franklin Gothic was made by Type-Ø-Tones in 1992. Neville Brody’s FF Blur Bold, likewise from 1992, is used for the album title. The designer used a variety of upper- and lowercase letters, as well as different text sizes, without wordspaces. FF Blur is also used on the CD itself, as well as on the tracklisting located on the back of the album.

[More info on Discogs]

Back cover of vinyl release. FF Blur Medium is used for the tracklisting text. Photography by Dah Len.

Photography included in the liner of the CD release, by Dah Len.

FF Blur Bold is used for the “Crazy”, “Sexy”, and “Cool” words that surround the CD.

Back cover of original CD release. FF Blur, in a combination of Light and Medium weights, is used for the tracklisting text. Photography by Dah Len.

February 1997 ft. Impact, FF Blur, and Franklin Gothic. Bryant’s #8 jersey would be a mainstay until 2006 when he switched to #24.

Slam magazine was started in 1994 by Publisher Dennis Page and Creative Director Don Morris at the now-defunct Harris Publications. Morris designed the current logo in 1996, based on Neville Brody’s FF Harlem. Cory Johnson (who later went to Vibe) was founding Editor-In-Chief.

The magazine looked to show a hip hop spin on basketball. When it came to design, everything from the distorted grunge era to stretched PC type to early 00s pixel/techno to Obama-era clarity has been covered in truckloads. The magazine is a great representation of the last 25 years of type trends (see all the covers at Fandom). Standouts include an odd version of House Industries's House Gothic 23 (maybe a very early version) and the timely Timmons NY/BWord combo (both by Pentagram’s Matt Willey).

Kobe Bryant was on the cover of Slam upwards of twenty times (Slam has collected all of them). Key career moments are highlighted, right on to Kobe’s mentorship of his daughter Gianna’s basketball team at Mamba Sports Academy.

February 2003, ft. Chalet Comprimé 1970 in use shortly after its release.

January 2000, ft. House Gothic 23, sometimes with the alternate straight-legged R and bearded G, plus Vineta for “KB8”.

March 1998 with more House Gothic 23 and Garage Gothic caps.

December 2008, with Champion Gothic, in all caps from several weights. “Special” fetaures Bello. Design by Stephen Goggi.

March 2019, with Timmons NY and BWord, both designed by Matt Willey.

April 2010, ft. United Sans in various weights and widths. The quote is set in all-caps Miller Display Italic. In supporting roles, more Vineta (stars) and Bello (URL). Design by Melissa Medvedich with photography by Martin Schoeller.

Special Edition 2016, ft. Tungsten and Gotham Ultra.

Reckless

Covers for digital podcasts produced by Neo Violence, a Prague-based electronic & club music label. The series title is in Matter, with artist names in changing typefaces.

FF Blur

Nasalization

Custom lettering

Excelsor Script

Lady Starlight

Post-Antiqua

This flyer from JazzFest Berlin '94 captures the zeitgeist with FF Blur, some funky geometric lettering and the deep blue/mud brown color plalette.

British Penguin Readers edition, 1999