Desplazamiento is Ivy Barkakati’s second album in a decade. It sits at the cosmic intersection of minimalist composition, analog synthesizer music, drone, and rhythmic noise.

Recorded at home over two sleepless weeks in June 2021 with a Dave Smith Mono Evolver Keyboard, a borrowed MFB-522 drum computer, and Ableton Live, Desplazamiento’s six instrumental pieces represent an unmediated expression of the raw, internal feelings that lurked below the surface of Ivy’s subconscious mind during the early years of the global pandemic.

From Wikipedia:

“Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, Different Class (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release.

“Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from Different Class after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim.

[More info on Discogs]

Typography-wise, the single follows the choices made for the album, with Chromium One for the band logo (also by The Designers Republic) and Windsor Extra Bold Condensed. The palette is completed by italic Poster Bodoni and Helvetica.

The History of Rhythm & Blues vinyl record series is a 1960s compilation of various R&B records from various eras. The first volume covers the roots era (i.e., 1947-1952).

Two swashy typefaces from PLINC are used for the main title: PLINC Bookman Swash and West Behemoth Italic Swash.

[More info on Discogs]

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

Eydie Gormé’s The Look of Love is a 1968 album released on Columbia Records. It features her smooth vocal jazz and pop interpretations of standards and show tunes including those from Casino Royale, The Apple Tree, and The King and I. All text is set in Helvetica.

[More info on Discogs]

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

In April 2026, the Artemis II lunar flyby mission brought four astronauts around the moon and set the record for human distance from earth. Its crew includes the first person of color, the first woman, and the first Canadian to travel beyond low earth orbit.

Jeremy Hansen, the Canadian astronaut, wore a special mission patch created specifically for him by the Canadian Space Agency. It was designed by Anishinaabe artist Henry Guimond of the Turtle Lodge. Its heptagonal shape and the animals shown on it reference to the Seven Sacred Laws, a traditional First Nations teaching that emphasizes Respect, Love, Courage, Honesty, Wisdom, Humility, and Truth. The agency’s webpage and press video go into greater detail about the symbolism of each element on the patch.

The Canadian Space Agency video about the patch and its symbolism:

Jeremy Hansen sharing the patch while in space, during a Space-to-earth connection event:

On the patch, Hansen’s name is typeset prominently on the bottom in the heaviest weight of my typeface Condor. (As far as I know, this is the first time a font of mine has traveled to space!) The agency’s name is typeset in Helvetica in both English and French.

Other styles of Condor have also been used extensively by the Canadian Space Agency for its mission poster, its space-to-earth connection events, and other video documentation of the mission.

Astronaut Jeremy Hansen (right), pictured with his mission patch on his torso, stands alongside American astronaut Victor Glover in Florida.

A still from the April 8 space-to-Earth connection event. Jeremy Hansen shares and discusses the patch and what it means to him while aboard the Orion spacecraft during its return flight to Earth.

Artemis II mission poster

An embroidered patch replica available for sale at Ingenium Boutique

The crew of Artemis II pose with the Space Launch System and Orion spacecraft. Jeremy Hansen is at far right, with the patch visible on his uniform.

Canadian Space Agency President Lisa Campbell onstage at a space-to-Earth connection event with astronaut Jeremy Hansen, with tightly-tracked Condor in French and English

Cassette inlay ft. Data 70

Galactic Nightmare is a concept album self-published by Alan Jefferson in 1986. From Trunk Records:

Six years in the making (1979– 1985). A unique 90 minute space epic adventure made in a bedroom in Hull on limited and slightly dodgy equipment. A true labour of love and only previously available on C90 Cassette (with Dolby) via Sci-Fi and computer magazines in the mid 1980s. Totally unforgettable, joyous and full of extraordinary detail and ideas. 2 LP set, matt varnish, full colour artwork, printed inner sleeves with complete storyfile, lyrics etc.

The title on the original cassette release uses Data 70 with a gradient fill. In 2015, independent record label Trunk Records reissued the album on vinyl for the first time. Rather than reusing the original logo, Trunk used the similar Moore Computer for the title and track titles.

[More info on Discogs]

Front cover of the 2015 Trunk reissue ft. Moore Computer

Inner sleeve

A page of concept art and ephemera from the liner notes of Trunk’s reissue. Early designs for the title logo can be seen in the centre, both typeset in Data 70 and as custom lettering.

Promotional poster for Mes Pants de Queer, a thrift and self-publishing bookstore by, for and about LGBTQ2SAI+ communities in Montréal.

Promotional leaflet for Blue Accounts, a provider of tax advice and accountancy services. The typeface Neo is in use here alongside Helvetica.

Pump Bold is a typeface I would normally never consider using. I created this logo in the early 1970s when I was first becoming a self-taught designer. It was done with Letraset rub-down lettering. I liked that the d’s and the p’s were the same letterform, and that the lines could interlock up and down in an interesting way.

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

Barcelona Step By Step by Bert and Frances Strauss

Barcelona pam a pam is a city guide written by Alexandre Cirici Pellicer (1914–1983) and first published in 1971 by Editorial Teide, with photographs by Oriol Maspons (1928–2013) and drawings by the author. Bert and Frances Strauss translated the book to the English, as Barcelona Step By Step (1974). A version in Castilian Spanish, Barcelona paso a paso, followed by 1975.

Source: en.todocoleccion.net Maria28MM (edited). License: All Rights Reserved.

Barcelona pam a pam (original Catalan version), with Cirici’s name in Akzidenz-Grotesk

Source: srabsenta.blogspot.com Cosas de Absenta (edited). License: All Rights Reserved.

Barcelona paso a paso (Castilian version), with Cirici’s name in Helvetica

All three editions feature the same cover design by Victor Rahola – with the title set on a curve, in A.M. Cassandre’s Bifur – albeit it with different colors for the hat of the man peering in from above. The interior pages are set in Folio and two typefaces by Simoncini: Karlgeorg Hoefer’s Permanent and Francesco Simoncini’s Aster.

Source: archive.org License: All Rights Reserved.

Title page with Folio halbfett and Permanent

Source: archive.org License: All Rights Reserved.

Table of contents in Permanent. The colophon on the left is set in Monotype Grotesque.

Source: archive.org License: All Rights Reserved.

Folio mager for the chapter title “How To Use This Book”, Aster for the text

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Aster

Source: archive.org License: All Rights Reserved.

Chapter opening with the number from Folio’s extrafett and the title in the mager.

Source: archive.org License: All Rights Reserved.

Text is interspersed with bits of history that are presented in a smaller size, also from Permanent.

Source: archive.org License: All Rights Reserved.

Spread from chapter 11 on Antoni Gaudí, with one of the photographs by Maspons. The caption is in Aster Italic.

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Permanent

Source: archive.org License: All Rights Reserved.

Glossary of special terms

A.R. Luria’s The Mind of the Mnemonist was first published in English by Basic Books in 1968. This is the cover of the first paperback edition, issued by Discus Books in September 1969.

The exciting and bewildering inner world of an ordinary man endowed with extraordinary mental powers
“Haunting … vividly and touchingly real.” — Scientitic American

The uncredited design uses tightly spaced Helvetica caps for the title and the author’s name. The smaller text including the blurb is in Helvetica, too. “Recall” is staged as a type size gradient in Egyptienne Bold Condensed. The text snippets used in the collage feature two more serif typefaces, including Palatino for the one on red background, but those probably weren’t actively chosen by the designer.

Trevor Dearing (1933–2023) was a Charismatic Anglican priest who wrote eighteen books, including this one about miraculous healing through faith. For the cover, designer Cynthia Sahlman build a wall of type from the Heavy and Regular weights of ITC Serif Gothic. The display typeface by Herb Lubalin and Tony Di Spigna is used in all caps, featuring the alternate uncialish E.

No. 3, “Goldminen und Gorillas” / “Der Käfig”, 1982 (© Franquin / S.E.P.P., 1973, 1977)

This series of comic albums with German translations of the adventures of Spirou & Fantasio – with art by André Franquin – were published by Semic starting in 1982. The Spirou title and the album number are in Filmotype Vim, an open and shaded variant of Accent. The episode titles are added in Churchward Brush, often set on an angle.

No. 2, “Ein eisgekühlter Gast taut auf”, 1982. Reprints from Les Aventures de Spirou et Fantasio (Dupuis, 1950 series) #13; Le Voyageur du Mésozoïque (1960)

No. 5, “Auf dem Rummelplatz geht’s rund” / “Ferienfahrt mit Hindernissen”, 1982 (© Franquin / S.E.P.P., 1973, 1977)

No. 6, “Der Liliput-Trick” / “Des Wahnsinns fette Beute”, 1983 (© Franquin / S.E.P.P., 1977)

No. 7, “Tiefenrausch”, 1983 (© Franquin / S.E.P.P., 1977)

This one goes out to John who’s looking for more in-use examples of Daisyland.

For ages 8–80
A good beginner’s book. easy enough for children, appealing enough for adults.
Clear Project Instructions · Knotting Diagrams · Full-Color Photos

On 23 pages, the DIY book presents patterns titled Neat Knots Wallhanging, Wings of String Butterfly, Fish Story, Twice as Nice Plant Hanger, Beaded Beauty Belt, Beach or Books Tote, Jump Ropes, Message Center, Mr. Happy, Ring Around a Towel, and Pretty Hang-up.

Kids Can Macramé was edited and art directed by Mickey Baskett, with photography by Jimmy George and illustrations by Jackie Stephens. Cathy Bonds, Rose Brinkley, Michelle Menough, Carol Millsaps, and Lynn Witbeck are listed as co-authors.

All of the typefaces were available from VGC for the Photo Typositor. Daisyland – an ornamented variant of Erwin by Murray Fuchs – and Jerry Matejka’s Soul were originals by the Florida-based phototype company.

Dust jacket of the hardback edition by Bartholomew House, 1969, with Helvetica caps for the credits

Capitalizing on the success of Coffee Tea or Me? (1967), Bartholomew House followed up with Tender Loving Care. The uninhibited memoirs of two air force nurses. This “adult fiction” is credited to Joni Moura and Jackie Sutherland, but again was ghost-written by Donald Bain. In terms of visuals, the publisher stuck to the formula for success with illustrations by Bill Wenzel and Caruso Roxy as the signature typeface.

The paperback edition by Fawcett Crest uses Alternate Gothic for the named of the alleged authors and Inserat-Grotesk for the blurb.

First edition (hardcover) by Bartholomew House, 1967, illustrated by Bill Wenzell. The illustrations on the front of jacket are by Roy E. LaGrone. Secondary typefaces include Craw Clarendon Condensed, Filmotype Harmony (or Photo-Lettering’s copy, Almadine Script), and Century Expanded Italic.

Coffee Tea or Me? was advertised as “the uninhibited memoirs of two airline stewardesses”, and credited to Trudy Baker and Rachel Jones. In fact, it was ghost-written by Donald Bain. The 1967 hardcover dust jacket features Caruso Roxy, set in all caps. The same typeface was also used for the paperback cover, now bigger and in mixed case, as well as for the three sequels published until 1975. In 1973, the book was made into a film.

Caruso Roxy is a typeface that we’ve come to associate with the swinging 60s.

Coffee Tea or Me? The uninhibited memoirs of two airline stewardesses. First Bantam edition (paperback), November 1968 with cover art by Bill Wenzel and small text in all-caps News Gothic.

The Coffee Tea or Me Girls’ ’Round the World Diary. First edition (hardcover) by Grosset & Dunlap, 1970. The multilingual toasts are stereotypically added in more or less fitting typefaces: Peignot (French), Post-Antiqua (Hebrew), Cloister Black (German), Centaur (Spanish), Akzidenz-Grotesk Extended (Scandinavian), Jessen-Schrift (Greek), Americana (English), Mandarin (Japanese), and Century Schoolbook (Italian).

Jacket and cover with spine lettering

The Coffee Tea or Me Girls’ ’Round the World Diary. Paperback edition by Bantam Books, April 1971, with small type in Alternate Gothic.

The Coffee Tea Or Me Girls: Lay it On The Line, Bantam Books, 1973. The fat years are over: the main typeface now is Caruso Roxy’s light weight. Secondary text is in italic caps from Caledonia.

The Coffee Tea Or Me Girls Get Away From It All, Bantam Books, 1975, with Helvetica used for the text in red.

This album with interpretations of romantic music by Vilnius-born violinst Jascha Heifetz (1901–1987) was released by RCA Red Seal in 1971. It features the light weight of Caruso Roxy, in all caps and with white dots on the I’s.

“The violinist of the century” is set in a wide style from the Sacramento series, in contoured caps. The names of the tracks are in some Helvetica-like substance with a non-standard a. Since the other two fonts are Photo-Lettering exclusives, it stands to reason that their phototype adaptation included such an alternate.

The illustration is by Al Hirschfeld (1903–2003) who is known for hiding the name of his daughter, Nina, in most of the drawings he produced after her birth. Zoom in to spot it.

[More info on Discogs]

Battle Mask, 1970. Secondary text is in Trade Gothic and Gothic No. 13 or similar.

Matterhorn is used for Don Pendleton’s The Executioner series from Pinnacle Books. Shown above is the first printing of the third book, Battle Mask, published in April 1970. The shorter bar in the first letter of the tt combo and the shorter bottom bar in E are likely contextual modifications. This masthead became the standard for the series starting with the the seventh book and the series’ many reprints until sometime in the late 1970s, several of which are shown below.

From Wikipedia:

The Executioner (a.k.a. Mack Bolan) is a monthly men's action-adventure paperback book series (published from 1969–2020) following the exploits of the character Mack Bolan and his wars against organized crime and international terrorism. The series has sold more than 200 million copies since its 1969 debut installment, War Against the Mafia.

The regular series includes 464 novels (as of December 2020 when the series ended). […] The Executioner was created and initially written by American author Don Pendleton, who penned 37 of the original 38 Bolan novels (he did not write #16).

War Against the Mafia, 1972 (8th printing)

Death Squad, 1971. Text in the angled band is in Eurostile Bold Condensed and the synopsis in Helvetica Bold.

Miami Massacre, 1970. Text in the angled band is in Franklin Gothic and the synopsis in Helvetica Condensed.

Continental Contract, 1971

Assault on Soho, 1978. Matterhorn is paired with two weights of Helvetica Condensed.

Nightmare in New York, 1971

Chicago Wipe-Out, 1978

Vegas Vendetta, 1979. Text in the angled band is in Akzidenz-Grotesk Condensed and the synopsis in Trade Gothic Bold.

Caribbean Kill, 1972

California Hit, 1972

Boston Blitz, 1974

Washington I.O.U., 1978

San Diego Siege, 1972. Cover art by Gil Cohen.

Panic in Philly, 1973. Cover art by Gil Cohen.

Sicilian Slaughter by Jim Peterson, 1973