From the website of Ohio University Press:

Masked Gods is a vast book, a challenging and profoundly original account of the history, legends, and ceremonialism of the Navajo and Pueblo Indians of the Southwest. Following a brief but vivid history of the two tribes through the centuries of conquest, the book turns inward to the meaning of Native American legends and ritual—Navajo songs, Pueblo dances, Zuni kachina ceremonies. Enduring still, these rituals and ceremonies express a view of life, of man’s place in the creation, which is compared with Taoism and Buddhism—and with the aggressive individualism of the Western world.

The book was written by Frank Waters (1902–1995) and first published in 1950. Shown here is the paperback edition published in 1970 by Ballantine in their Ballantine Walden Edition, a series “aimed primarily at a college audience”. The cover design by Jim Driver features a photo of buffalo dancers by the New Mexico Department of Development. The bold caps with double inline are from Metropolis licht, a design by Willy Schwerdtner that was first cast by Stempel in 1928, and copied by Baltotype under the name Homewood.

Side 2

How a culture views the body is historically and politically specific. Albrecht Dürer’s Instructions on Measurement, published in 1528, marks a transition of how the Western body is represented—shifting from a feudal metaphysical understanding to a rationalized capitalist subject. Using my own body to illustrate, On Measurement considers the historical specificity of Dürer’s work, and situates its representation within a lineage of technologies from 1528–today that aim to capture, measure, and analyze the body.

Ten 6″×9″ prints: side 1 is 30″×18″ and side 2 is 12″×63″. Made as student project at RISD.

Side 1

Side 2, full scale is 5′3″

Side 1

From the website of Kate Wolf’s estate:

This double album is a retrospective of Kate’s studio recordings featuring many of her favorites. When Kate became ill, she began compiling this collection and finished it just before she became unable to work. Kate selected all the songs and photographs, and wrote the notes for the cover. Unfortunately, her passing came a month before the album's release.

The artist’s name and the title are set in Advertisers Gothic with “A Retrospective Of Recordings 1975 – 1985” in Palatino.

[More info on Discogs]

Zona SDQ/MCR is used here in deliberate contrast to the elegance of Palatino. Where Palatino carries classical proportion, calligraphic grace, and literary heritage, Zona SDQ speaks in a sharper, engineered voice – contemporary, constructed, unapologetically digital.

This tension defines the spirit of One Point Six, a Manchester-based design studio active during the 2000s.

Community Justice Exchange offers If They Build It: Organizing Lessons & Strategies Against Carceral Infrastructure as a free PDF download in English and Spanish, “for generating abolitionist struggles against the construction and expansion of cages.” With art direction by Mon M, designer Noah Jodice combined his own illustrations, angular shapes, and muted photographs in a simple color palette. The hand-cut and collaged aesthetic of the imagery pairs well with the angular outlines of Cedar for display settings. Extended body text is set in Palatino, with Halyard Micro used for emphasis and callouts, and Halyard Display for negative text.

Noah writes on his site:

As a prison abolitionist, I’m quite proud of this project, both for its scope and its content. The resource is dense with hard-earned lessons from the anti-carceral organizing work of the No New Jails Network. We designed the resource for a breadth of readers and experiences, whether you spend two minutes with the text, two hours, or two weeks.

Punto is a rounded, softly constructed typeface originally developed in 2006. Built primarily on a 3×3 grid, it has a modular simplicity that gives it both warmth and precision. The geometric structure lends a sense of order, while the generous curves soften its tone, creating a friendly yet disciplined aesthetic. Here, it’s used across printed materials for One Point Six Studio, where its balanced character complements the studio’s clean, methodical visual approach.

Movie poster for the 1987 vampire film The Lost Boys, directed by Joel Schumacher, starring Keifer Sutherland, Jason Patric, Corey Feldman, Corey Haim, and Diane Wiest.

The title treatment is set in caps from Palatino (designed by Hermann Zapf), using a mix of sizes. The billing block is also set in Palatino.

The tagline is set in Caslon 540@ by the American Type Founders Company.

The title typeface for this Halloween-themed children’s book is a design by Aldo Novarese that didn’t come up on Fonts In Use before: Oscar is an upright face of wide proportions, with a handwritten feel; its only serifs are the triangular entry strokes at the top left. It was first cast as metal typeface by Nebiolo in 1966. In the specimen for Oscar, the type foundry points out that, despite its originality, the design harks back to the past (translated from the Italian):

We notice a certain similarity with the semi-uncial-insular scripts of the 8th century, which contributed greatly to the evolution of humanistic writing that was to take place many centuries later.

VGC offered a version for phototypesetting. Bitstream made a digitization named Formal 436 in the early 1990s.

Halloween Monster is one of six books in Catherine Stock’s The Festive Year collection. First published by Bradbury Press in 1990, the images shown here are from the Aladdin Books edition issued in 1993. The book design was provided by the author herself, who specified Palatino for text. From the back cover:

Everyone’s excited about Halloween. Everyone, that is, except Tommy. Tommy doesn’t want to go trick or treating… in fact, the idea of being out with all those ghosts and witches has him scared!
But with a little help from his good friend Billy, Tommy overcomes his fear, and becomes the scariest monster ever—just in time for Halloween!

Title page

Virtual Addiction: Help for Netheads, Cyberfreaks, and Those Who Love Them is a book on internet addiction by David N. Greenfield, published in 1999 by New Harbinger Publications. The cover design is credited to Blue Design.

The title and author’s name on the front cover use Epitaph, while the tagline uses Clicker. In the interior, headings use Futura BT while the text uses Palatino. The back cover uses Scala Sans.

Pearl S. Buck (1892–1973) was the first American woman to win the Nobel Prize in Literature. Her vast œuvre also includes about twenty books for children. The Little Fox in the Middle is one of the later ones, published in 1966 by Collier Books, with illustrations by Robert Jones. The jacket typography brings two typefaces that both originated in 1950s Germany: the title is in Georg Trump’s Codex (1954), the credits in Hermann Zapf’s Palatino with italic (1950).

Concept and art direction for the Nike Paris showroom, created for the launch of the Fall 2024 collection. A project covering all visual and spatial aspects of the space – from the design of a central furniture piece to graphic treatments, material choices, product staging, and the creation of a coherent atmosphere aligned with the brand’s identity.

The typographic system – combining Palatino and Neue Helvetica – was implemented in line with Nike’s existing guidelines, contributing to the overall clarity and balance of the visual identity.

Art direction: Victor Carboni & Gabrielle Jabarnia
Agency: Midi:Quinze
Creative direction: Jérémie Boeglin
Business management: Morgane Lejeau
Production: Lab Productions
Photography: Herve Goluza

Source: www.penguin.co.uk License: All Rights Reserved.

A bunch of ampersands for the cover of Mac & His Problem from “one of the most prominent writers in the Spanish language” [Wikipedia], Enrique Vila–Matas. Fragmented coloured blocks loosely joined nearly cover the cover, and most of the blocks feature a hand-drawn ampersand. Although hand-drawn, most or all of them seem to follow a pre-made font. Using the numbered key (image below):

2 and 9 are Palatino Italic
3 is Baskerville or a follower
4 is a Caslon, perhaps Adobe Caslon Italic
5 is Palatino Regular
6 is Trajan
7 is Shelley Script
8 I didn’t manage to identify (and on some covers, block 1 also has the same design ampersand).

Author’s name (top) and book title (bottom) are set in Metro No. 2, with the mystery ampersand.

License: All Rights Reserved.

Source: vintagebooksdesign.tumblr.com License: All Rights Reserved.

Source: vintagebooksdesign.tumblr.com License: All Rights Reserved.

Ontario-based Golspie Dairy is “dairy farming since 1874, cheesemaking since 2022”. The new packaging for their Crowdie – a soft, fresh cheese variety hailing from Scotland – uses Parisian as the primary typeface, with Palatino and Gotham for secondary information. The Golspie logo is in Broadway.

The softcover (with flaps) is printed in Pantone neon green, with the title set in Baskerville Display PT.

Streif av fellesskap (“A touch of community”) is an anthology published by MUNCH Publishing, the editorial branch of Oslo’s Munchmuseet, in connection with the interdisciplinary festival Tekst på MUNCH, vol. 2: Former for fællskap.

The book was published in November 2023, with text contributions by Priya Bains, Oliver Lovrenski, Bjørn Hatterud, Lars Korff Lofthus, Rochelle Roberts, Glenn Bech, Daniel Mariblanca, 71BODIES, Ida Helene Benonisen, Asha Abdullahi, Brynjulf Jung Tjønn and Ihra Lill Scharning.

The typography features a range of typefaces, see the captions. In addition to the fonts shown in the images, there is also Adobe Garamond, Helvetica, Galliard, and Futura.

Stacked and staggered lines in Store Norske Jazz

ITC Founder’s Caslon, paired with headlines in Linotype Didot – including a custom outlined version

The text by Rochelle Roberts is set in Palatino, featuring small caps, old-style figures, and italic.

Glenn Bech’s contribution is set in Monotype Baskerville.

Detail featuring Univers Italic

More poetry featuring ITC Founder’s Caslon

The rotated text is set in two upright weights of Univers.

From Wikipedia:

The TV Album is a compilation CD of songs by “Weird Al” Yankovic that features songs about television and TV shows. In 1993, Yankovic’s former record label, Scotti Brothers, had released a similar album called The Food Album that contained songs about food. The artwork was done by Mad magazine veteran Jack Davis.

Funhouse is used for the artist’s name and Ice Age is used for the album title.

[More info on Discogs]

The Canadian version with a MuchMusic promotion and a shadow on “‘WEIRD AL’ YANKOVIC”

The back cover uses Times New Roman (image taken from the Canadian version).

The credits use Palatino, with ITC Zapf Dingbats as bullet points.

CD label

The cassette version of the Canadian version uses Beeswax for “‘WEIRD AL’ YANKOVIC” and Helvetica Condensed for track names and credits.

Nike’s “So Win” campaign features tightly spaced Palatino. The accompanying fonts are their custom version of Futura Extra Bold Condensed for the slogan and Helvetica Now for the athletes’ names.

Unveiled during Super Bowl LIX, “So Win” includes a 60-second anthem, athlete extensions, still photography and a social media campaign that illustrate Nike’s unwavering belief in the limitless power of sport. […]

The anthem draws on [Sabrina Ionescu], Jordan Chiles, Caitlin Clark, Sha’Carri Richardson, A’ja Wilson, Sophia Wilson (formerly Smith) and several of their contemporaries from Nike’s iconic roster of athletes, who together encourage everyone to block out the noise, dig in and let their hard work speak for itself.

This album features many theme songs by various artists. The title, along with “Enchanted Music Series”, is set in West Italiano with some swashes being modified. The song list below is set in ITC Caslon No. 223, with Palatino for “The Young and The Restless”.

[More info on Discogs]

Theatrical release poster designed by LA. Secondary fonts include Palatino and Bee.

The hand drawn Outright Horror has found the perfect match in Blumhouse’s 2025 update on the classic creature feature Wolf Man.

Originally designed as a font pair, Outright Horror features a bold inky version plus a light contrasting font with a scratchy feel that the studio have employed in this title design. The trailer makes a clever use of the transformation from a classic serif – apparently Trajan – to Outright Horror in an expression of the themes contained in the Wolf Man story. See it in action in the trailer.

On this teaser poster in landscape format, the smaller text is set in Times New Roman.

The Great Paris Concert isn’t a single concert, but rather a collation of three performances given by jazz pianist Duke Ellington (1899–1974) and his orchestra. Recorded at the Olympia in Paris on February 1st, 2nd, and 23rd, 1963, they were edited and sequenced by İlhan Mimaroğlu (1926–2012) and released by Atlantic Records as a double album a decade later, in 1973.

The cover typeface is Dave Davison’s Moulin Rouge, with descending initial caps. Fun fact: the eponymous Moulin Rouge is located a mere two kilometers north of the Olympia. It was co-founded in 1889 by Joseph Oller, who in 1893 opened the Olympia. Giuseppe G. Pino (1940–2022) took the cover photograph. No designer is credited.

[More info on Discogs]

Text on the back cover is set in Palatino Bold.

The Longines Symphonette was an orchestra pertaining to the Longines Symphonette Society. This mail-order label was led by Alan Cartoun, son of Longines chairman Fred Cartoun. In 1966, they released a 6-LP box set with no less than 84 songs by Bing Crosby.

George Gross (1909–2003) is credited for the cover illustration. The main typeface is Dave Davison’s Epanoul. The sans with letterforms based on a squircle is combined with Palatino Italic (used with swash caps) and a formal script (for “The”). The text in the bottom left corner of the cover is set in Bernhard Modern.

[More info on Discogs]