The artwork featuring conjoined twins on a see-saw was conceived by photographer Glen Wexler.

A rare appearance of Leonardo Hand spotted on Balance, Van Halen's last album featuring Sammy Hagar on vocals. The design itself screams a few 1990s clichés (early Photoshop abuse, Trajan for main titles) but has survived well in the band’s cannon.

The Leonardo font is based on the handwriting of Leonardo da Vinci. It brings back the work of American artist Judith Sutcliffe, who founded Electric Typographer in the mid-1980s transitioning from phototype to a full collection of digital fonts that were released by Daniel Will-Harris in the early 1990s.

[More info on Discogs]

Alternate cover made for the Japanese market, where depicting human deformities was a cultural stigma

The CD label features Leonardo da Vinci’s drawing Vitruvian Man.

“Parole… parole” (“Words… words”), 2009, drawing and computer graphics, 50×70cm. This poster was selected in the international competition “Good 50×70” on the theme of the nuclear emergency.

Weapons of Mass Destruction is the fifth studio album by American rapper Xzibit. It was released on December 14, 2004, through Open Bar Entertainment, Columbia Records and Sony Urban Music.

The Xzibit logo is by Mister Cartoon a.k.a. Mark Machado. The album name is set in eroded lowercase letters from Flyer Release (by House Industries). On the right of the cover, the stencil font is Phantom Stencil (by Mark A. Klein), with additional effects.

[More info on Discogs]

The song list is set in Flyer Release, combined with Alternate Gothic. The anti-piracy warning uses Bell Gothic Black.

The credits are set in ITC Franklin Gothic Condensed, combined with Flyer Release and Alternate Gothic.

Side note: this is one of my favorite albums by the artist, so many great songs, it made me document the fonts in use. “LAX” was featured in the soundtrack of the video game Need For Speed: Underground 2.
“Klack” was featured in the soundtrack of the video game Juiced 1.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

This telephone directory for East Chicago, Indiana (with Indiana Harbor) was published in March 1941 by Rueben H. Donnelley, Chicago, for the Illinois Bell Telephone Company.

The head is set in Kabel (or possibly Monotype’s copy, Sans Serif). The humble star of the show is Bell Gothic. Designed specifically for AT&T to set telephone directories, Chauncey H. Griffith’s typeface was first issued by Mergenthaler Linotype in 1938. It’s here combined with Century Oldstyle. Index headlines appear to be in Cheltenham.

Source: www.abebooks.com Worlds End Bookshop (edited). License: All Rights Reserved.

Dust jacket (front), Spring Books, 1970

Joseph Dunninger (1892–1975), also known as “The Amazing Dunninger”, was one of the most famous and proficient mentalists of all time, and one of the pioneer performers of magic on radio and television.

His Complete Encyclopedia of Magic was first published by Lyle Stuart in New York in 1967 and (later?) also by Spring Books (The Hamlyn Group, Ltd.) in London. The swashy roman chosen for the dust jacket as well as the title page is Davison Art Nouveau, which was added to Photo-Lettering’s library just shortly before. From 1975 on, it would become known as “the Dune font”. Hat tip to Magnus Häglund!

See more images including such of interior pages in Kipbot’s Flickr album.

Source: www.abebooks.com Princeton Antiques Bookshop. License: All Rights Reserved.

Spring Books edition, c. 1985

Source: www.abebooks.com Worlds End Bookshop. License: All Rights Reserved.

Title page, Spring Books, 1970

Source: www.abebooks.com Worlds End Bookshop. License: All Rights Reserved.

The book interior features various typefaces. This page has Hobo and Bell Gothic.

Triple Exposure was an exhibition held at the Victoria and Albert Museum, London, from September 1999 to January 2000. As this was an exhibition featuring three fashion/music photographers from the 1960s, I avoided focusing on just one of the photographers to represent the show. I devised a graphics solution by incorporating elements of each photographer’s key images, creating three roundels (the “triple” aspect) with photographs that contained circular elements, for example, the football, parachute and sunglasses, and overprinting them to evoke early UK 1960s graphics. Using the vivid CMYK colours on the target motifs linked the design appropriately to the new fashion, Pop Art and UK Mod movement of the period.

Using Bell Gothic as the primary typeface gave the typography a utilitarian feel and a bold print presence. The design was applied across an extensive marketing campaign, including transport and outdoor advertising sites. The shown images were generated from my original V&A artwork files and applied to contemporary mock-ups.

The posters use details from: Ronald Traeger: St Peter’s, Rome, May 1962; John Cowen: Model Jill Kennington in a fashion story “Birds in space”, June 1963; Michael Cooper: Keith Richards 1969.

The Bridge (Danish: Broen; Swedish: Bron) is a Nordic noir crime television series created and written by Hans Rosenfeldt. It has been shown in more than 100 countries. The typeface chosen for the titles is Bell Gothic, designed by American printer and typeface designer Chauncey H. Griffith in 1938. It’s used in caps from the Light and Black weights.

[More info on IMDb]

Album art for the 1967 Columbia Masterworks release of Leonard Bernstein conducting the New York Philharmonic Orchestra with Arthur Gold and Robert Fizdale, performing Béla Bartók’s Concerto for Two Pianos, Percussion and Orchestra and Music for String Instruments, Percussion and Celesta. The design is uncredited but was likely prepared in-house at Columbia Records.

The cover features a tightly-spaced setting of Akzidenz-Grotesk fett (known as Standard Bold in the US market) with a stripy effect alternating between slightly-offset slices in silver and gold. The extra-sharp acute accent for the ó in Bartók’s name appears to be an after-market creation. The F and i also appear to have been modified for better alignment in Fizdale’s name. The smaller testimonial quotes are set in Helvetica.

The liner notes on the back cover are set justified (presumably on a Linotype machine) in Palatino. The labels on the record itself use the condensed width of Erbar-Grotesk along with a some other workaday sans-serifs like Bell Gothic and Monotype Grotesque.

[More info at Discogs]

F37 Bella by F37 Foundry in use for Square Mile magazine. From F37 Foundry Brand Fonts:

Square Mile is a luxury men’s lifestyle magazine distributed in the City, London’s financial district. It features style, celebrity interviews, cool gadgets, cars, watches and more. Square Mile magazine wanted a contemporary typeface to use on its covers and feature articles. The look and feel of the typeface needed to appeal to its target audience — mainly high-net-worth males working in the City of London.

F37 Bella is a really stylish typeface. It helped to visually support the shift we made with the magazine to be more fashion and style focussed. Those razor-thin serifs are so distinctive … it’s an absolutely beautiful display font.

Matthew Hasteley — Creative Director, Square Up Media

The magazine logo is based on Interstate. In additional roles: Bell, Bell Gothic, and Trade Gothic, among other typefaces.

This poster series was created to promote an exhibition of work from TestLab Berlin / Californication. The project looked through European eyes at the myths and narratives of Los Angeles. Bell Gothic, as a utilitarian and industrial typeface for the Bell Telephone phone book, was a good contrast to the ‘glamorous Southern California’ myth.

50 graphorisms and 50 notions to escape the hegemonic discourse of the media.
This manual shows the relevance of the psychoanalytic approach to decipher the dominant discourses in our contemporary societies.

What characterizes the signifiers of postmodernity (sustainable development, biodiversity, renewable energies, fair trade, islamophobic, antisemitic, homophobic, for all, mansplaining, queer, bashing, crisis, augmented reality, troller, flooder, bio, Charlie …), is that they are without a complex logical connector, which makes them peremptory and inappropriate to the art of nuance, paradox and contradiction that make it possible to name, to conceive strategies on the progression but also the confusion of forces within a fight.

Published by L’ampoule.

“U.S.A. Surpasses All the Genocide Records, the flag poster, is curiously only listed once in Fluxus publications and then by implication, as a publication of Implosions, a commercial branch of Fluxus started by Maciunas, Robert Watts, and Herman Fine. The work was not signed. It has the image of death in place of stars, and calculations about genocide in place of stripes. The poster was widely distrbuted, and is illustrated in books on political posters from that era. I think that Maciunas particularly wanted the poster to be anonymous so that its impact would be seen for itself, not because of a name associated with it. On the poster, one is invited to send for calculations and references to ‘p.o. box 180, New York, NY 10012‘ (the fluxus postal box). One would have received an essay with calculations titled U.S. Surpasses All Nazi Genocide Records, with Maciunas' name printed on it.” — Fluxus Codex, pp. 391 via Significant Object

The US flag has long provided artists a canvas for protest. Its simple, graphic iconography serves as a foil for the nation’s more complicated past and present. This piece is among several stars-and-stripes reinterpretations that appear in Strikethrough: Typographic Messages of Protest, a Letterform Archive exhibition opening July 23, 2022.

Flyer written and published by G. Maciunas, 1966.

A reprint by Reflection Press, Stuttgart, in 1973 under the supervision of Maciunas.

John Lennon and Yoko Ono with the print, c.1970. Photo from press kit for The U.S. Versus John Lennon.

The idea of this antagonistic conflict is precisely the opposition. The opposition to the Salazar dictatorship of the twentieth century. Referring generally to the course of events during the regime and the MFA acts (Armed Forces Movement) on April 25, 1974. António de Oliveira Salazar defends the principles of the Portuguese dictatorship and its monarchical power wishes, while General Humberto Delgado is one of the main opposition names advocating the democratization of the country. There are several factors relevant to the characters in the evolution of the Portuguese politics in the twentieth century, which makes this “versus” also a demonstration of the ideal socio-political conflicts.

The opening credits of Alejandro G. Iñárritu's Birdman or (The Unexpected Virtue of Ignorance) are all about the the jazz percussions of Antonio Sánchez and an equally rhythmic play with its typography. It makes use of Bell Gothic Black in all caps, with some characters modified. The spur on ‘G’ is removed. ‘I’ lost its serifs and gained a dot. ‘J’ received a dot, too. The leg of ‘R’ is curved.

An article in The New Yorker unveils the whys and wherefores of the sequenced lettering:

The biggest surprise of Alejandro González Iñárritu’s new film, “Birdman,” is its opening credits: the typography (as seen in the trailer) is borrowed from that of Jean-Luc Godard’s color films of the mid-sixties, and Iñárritu’s credits are animated—with letters filling in onscreen in alphabetical order—exactly as Godard’s were in “Pierrot le Fou” (1965).

Attitude is the UK and Europe's best-selling and groundbreaking LGBTQ magazine. It is sold worldwide as a physical magazine, and as a digital download.

Alias Cactus is used for headline type.

“Oliver Jeffers is popularly known as a children’s books author and illustrator. His approach to this work is grounded in a consistently maintained fine art practice. Neither Here Nor There is a monograph which explores this side of his work, framed against Oliver’s relationship with the cities of New York and Belfast, and his collaborations with other artists.” — Conor & David

It is available in a Limited Edition with a turquoise cloth slipcase, or “Studio Edition” in a handmade walnut box. More info at Oliver Jeffers’ shop.

Bell Gothic originally was designed to serve at very small sizes: Chauncey H. Griffith created it in 1938 for the telephone directories of the Bell Telephone Company. That doesn’t hinder graphic designers today to apply it very big, to expose its quirky details like the r’s heavy arm or the i’s blocky dot, and to reuse these features as eye-catchers.

The Frog Hospital cover was among AIGA’s 50 Covers of 1995. This is what Barbara deWilde wrote about her rationale:

Lorrie Moore is a great writer read mostly by women, but the men who do read her books often worship her. Her first two hardcover books were so pink that few men would have been attracted to them. With Frog Hospital I wanted to change all this, but every time I added color or image or any typographic display the meaning of the words changed and the design detracted from the original plaintive, open tone of the title. So, I have to say this is design by omission. And what it becomes is just a large question which really stands out in the fiction section of the bookstore … and hopefully attracts a wide audience.

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