"The Cramp Twins" series logo. Screenshot taken from Series 1 Episode 1 - "Fashion Passion".

From Wikipedia:

The Cramp Twins is an animated television series created by British cartoonist Brian Wood based on his 1995 graphic novel of the same name. The show was produced by Sunbow Entertainment (in season 1), Telemagination (in season 2), and TV-Loonland AG, in association with Cartoon Network Europe.

The series debuted on BBC One during the CBBC programming block on 3 September 2001. Episode titles and the creator/writer/director credits were set in P22 ToyBox; whilst the closing credits were set in Copperplate Gothic Bold. The Cramp Twins logo probably is custom drawn.

Episode title for “Fashion Passion”, Series 1 Episode 1

Creator, writer and director credits, Series 1 Episode 1

Credits, Series 1 Episode 1

Toulouse Olympique Aviation Club was founded on October 4, 1944, through a
merger of Toulouse Olympique XV and the Omnisport Aviation Club Toulousain. Since March 6, 1990, the club from the capital of France’s southern Occitanie region is known under the name Toulouse Olympique Aérospatiale Club (TOAC).

This membership card from 1945/1946, issued to Joseph Goulounes (1924–2001), features the club’s emblem with a winged dragon and a compass rose.

“Membre actif” is set in Elegant-Grotesk licht, an all-caps inline version of Stempel’s Futura follower, Elegant-Grotesk. The specific version likely is Universelles éclairées, a local copy sold by the Dutreix foundry in Limoges.

The plain sans has German roots as well: it’s Simplex, a variant of Berthold-Grotesk with a monocular a, produced by Fonderie Olive in Marseille.

The italic serif used for “Année” is Cheltenham with the alternate swash A, available in France from Fonderie Caslon. The wide grot used for the club’s name is yet unidentified.

Bad Head is a monthly event held every third Thursday at Pintology, a craft beer and whisky bar in Sasazuka, West Tokyo. The series features vinyl DJ sets, craft beer, and distinctive posters designed by Ian Lynam since the beginning. Many of them feature various Future Fonts fonts.

This poster seems to exist only on Instagram, but it’s an exemplary use of Superfluous. Ian goes all in, using, abusing, and overusing its features and emoji to turn the composition into a delightful postmodern mess. The supporting typeface appears to be a customized Copperplate Gothic.

Tru Calling is an American TV series that aired from 2003 to 2005. It was canceled after only a few episodes of its second season. The story centers on Tru Davies (played by Eliza Dushku), a young woman with a unique calling. Working at a city morgue, she has the ability to hear the pleas of the recently deceased. When one of them asks for help, time rewinds to the beginning of that day, giving Tru a chance to prevent their death and change the course of events.

The logo of the show was designed by using Copperplate Gothic. This version was used for promotional purposes only. The second version was created by using Rotis SemiSerif. This typeface was also used throughout the opening credits for the actors credits.

Opening credits with Rotis SemiSerif

The Mind of a Mnemonist presents the psychological case of Solomon Shereshevsky, a.k.a. “S.”, a man with highly advanced memory.

From the inner flap:

Written by Alexander Romanovich Luria (1902–1977) – often is credited as a father of modern neuropsychology – the book was translated to the English by Lynn Solotaroff. Shown here is the jacket of the first English edition, published by Basic Books with a foreword by Jerome S. Bruner. Loretta Li’s design uses Benguiat Montage Extra Condensed and Copperplate Gothic Extended.

The Bienal de Arte Flamenco de Málaga is a cultural gathering that celebrates flamenco as an artistic expression and living heritage. A space for exchange and visibility around cante singing, dance, and guitar playing, it highlights flamenco tradition and its connection to the city, bringing together artists, audiences, and diverse contexts around a deeply rooted culture. It took place in Málaga from May 27 to August 2, 2025.

To develop its visual identity, we began with a process of research and visual archaeology, diving into flamenco posters from the 1970s and 80s. We were interested in reviving their way of communicating: the typography, the abundance of text, the colors, and that distinctive style characteristic of popular graphic culture. With respect, we reinterpreted this tradition through a contemporary lens, preserving the authenticity, energy, and passion of flamenco.

For the main masthead, we opted for a combination of 20th-century typefaces, bringing together Umbra and Copperplate Gothic. The dialogue between Umbra’s expressiveness and play of shadows and Copperplate Gothic’s solid, classical character creates a headline with presence, personality, and a certain timeless quality. This pairing strengthens the identity’s character while connecting it to the graphic tradition that inspired the project.

For secondary information, we used Annonce and, for residual information, Futura. A project with a highly typographic character. A revision of flamenco aesthetics brought into the present day.

For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.

Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.

At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.

Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.

The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.

The new identity has already been rolled out to the company’s Instagram and Facebook profiles.

The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.

Vom Fels zum Meer (“From rock to sea”) is an “illustrated journal for the German house” edited by Wilhelm Spemann (1844–1910) and published from 1881 to 1917. Between 1890 and 1897, Spemann’s publishing house was merged into Union Deutsche Verlagsgesellschaft, a company he had founded together with Adolf Kröner (1836–1911).

The shown letter was sent in January 1894 to one of the family journal’s advertisers, the “Duc” Cycle Co. in Herzogenbusch, that is ’s-Hertogenbosch in the Netherlands. “Duc” was a brand by B.A. Jansen who imported bicycles manufactured by the Quinton Cycle Co. in Coventry, England. Pasted in the bottom left corner is a sample of the ad that was to be included in Vom Fels zum Meer.

The text block at the top right features five different blackletter typefaces. The title is set in Renaissance-Fraktur, with the subtitle added in a version of Original-Gotisch. “Monats-Ausgabe” uses a German adaptation of Tudor Black, possibly Psalter-Gotisch by Krebs. Last but not least, we get to see Flinsch’s Halbfette Schwabacher and Albert Anklam’s Neue Schwabacher.

Detail

Album cover for the soundtrack by Ernest Gold, composer of Exodus [More info on Discogs]

Judgment at Nuremberg depicts a fictionalized version of the Judges’ Trial of 1947, one of the twelve Nuremberg Military Tribunals conducted under the auspices of the U.S. military in the aftermath of World War II. Stanley Kramer’s 1961 film about the trial of 16 Nazi jurists and lawyers is based on a courtroom drama written by Abby Mann. It featured some of the best actors working in Hollywood at the time, including Spencer Tracy, Burt Lancaster, Richard Widmark, Werner Klemperer, Marlene Dietrich, Judy Garland, William Shatner, Montgomery Clift, and an Oscar winning performance by Maximilian Schell. The film won three Academy Awards in total and was nominated in nine more categories.

Both the theatrical release posters and the cover of Ernest Gold’s soundtrack feature the compressed Inserat-Grotesk as the primary typeface.

One Sheet (27″×41″) poster

Six Sheet (79″×80″) poster

An advert from the early 1940s places the Bonmatí pharmacy at the upperside of the Rambla in Figueres, in the Catalonian region of Girona. Although the pharmacy moved to a new address few years ago, the old signage is still preserved at its original location. At the new address, the Bonmatí family preserves a ceramic sign and the cabinet that was used to store the labels for the pharmacy’s products. Typography and lettering, letterpress and lithography. A few millimetres of paper were used to create small graphic universes to organise the categories of pharmaceutical products.

“Para tomar a cucharadas” and “Jarabe de savia de pino”: Neo Futura (Neufville’s name for Futura Black), Grotesca ancha nueva (Gans), and Antigua Mercedes (Neufville’s name for Tages-Antiqua)
“Uso indicado” and “Uso interno”: Romana estrecha negra (Fundición Tipográfica Nacional)
“Veterinaria” (and also “Fricciones”, “Inhalaciones” etc.): Cleopatra negra (Iranzo)
“Alcohol 96”: Futura (Neufville/Bauer)
“Tintura de Yodo” (and “Alcohol alcanforado”): Futura chupada, Neufville’s name for Futura Condensed
“Agua picrica”: Predilecta (Iranzo’s version of Kristall-Grotesk)
“Limonada purgante”: Grotesca Mercantil (Gans; see Longina)

“Agua de azahar”: unidentified typeface

“A toques”: Bernhard-Kursiv fett (Bauer)

Rows 1–3: Romana estrecha negra (serif) and an unidentified sans
Row 4: Predilecta
Row 5: “Bicarbonato de sosa” is in an unidentified typeface that has several glyphs in common with Roundhead and is also very close to Runic Grotesque (but with asymmetrical T). “Una cucharadita cada 2 horas” is in Venus Bold (Bauer).

Row 1: Fresko a.k.a. Cartoon (Bauer) with Predilecta
Rows 2–4: Antigua Mercedes, Futura, and Cleopatra. The labels in the last row additionally features Grotesca ancha nueva (“Puncem”) and Futura Condensed.

Top left (“Timol”): a local version of Zeitungs-Grotesque (Grotesca ancha by Gans, Grotesca negra by FTN, or Fette Grotesk by Bauer), Venus, Futura chupada negra, Bodoni, and a local version of Copperplate Gothic (Helénica ancha by Gans or Espartana estrecha by FTN)

Top right (“Callicida”): an unidentified wide grotesk, Futura, Venus

Bottom left: both weights of Cleopatra, Futura Italic, Grotesca ancha nueva, and a fine Bowl of Hygieia

Bottom right: Venus and Futura

Lithographic labels by J. Garcia printing house, Barcelona. Most text on these is lettering. The address is added in Cleopatra.

Different styles of lettering

Wang Laboratories was a renowned Massachusetts (USA) manufacturer of desktop computing and word processing technology through the 1970s and 1980s. Founded by Dr. An Wang in 1951, the company started out in typesetting and calculator equipment before becoming more successful and well-known for office computing equipment.

The Wang System 2200 was a series of desktop minicomputers with a built-in BASIC language, introduced in the early 1970s before the advent of popular microcomputing. The printed documentation for this line of systems employed a couple different design languages, but the style shown here with this typography was in consistent use through at least 1977’s PCS-II. 

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Letterhead by José de Ros

Josep de Ros was an industrialist from Figueres, Spain, born in the manor house of Les Olives into an aristocratic family. Around 1917, he started a business in the fertilizer sector and opened the Camponal liquor distillery a few years later. He had a warehouse on Vilallonga Avenue in Figueres, near the railway station, close to the border with France. He died in 1935.

In the shown letterheads by Josep/José de Ros from around 1930, the difference between typography and lettering is difficult to appreciate (thanks to the staff of Fonts In Use for the clarifications).

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Detail of the letterhead: “José de Ros / Abonos, cereales y despojos / Figueras”. All three styles are lettering.

The name is in an English script close to Stempel’s Künstler-Schreibschrift, known in Spanish as Inglesa Artista semi-negra, with an ornamented J and a characteristic loop around the stem of the R. Josep de Ros i Moner (father) and Josep de Ros i Reig (son) were descendents of Ros de Olano. In Stempel’s 1918 specimen book for the Spanish market, the name of Ros de Olano is set in Inglesa Artista (it’s misspelled as “Olona”; another page in the same book has the correct spelling).

“Figueras” is drawn in a serif with inline. The structure is very close to the Bravour typeface designed by Martin Jacoby-Boy for Stempel in 1912), but with sharper serifs, and a wider letter U with a small spur. I have made a comparison with the solid Bravour negra and the decorated Bravour adornado (Verzierte Bravour).

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Comparison of the lettered inline caps to the Bravour typeface

From the obituary for the father in La Veu de l’Empordá, 27 December 1919 (translated):

[…] Josep de Ros was from a noble family, from the stately house of Ros located in the town of Les Olives, although the one they owned in this city could also be considered a manor. Among the ancestors of the house are the famous General Ros de Olano, who was a minister of the Crown and commanded an army corps in the African War during the years 1859 and 1860. The last Prior of the Monastery of Santa Maria de Ripoll also came from the Ros family.

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Detail of the letterhead featuring Merveille, Kleukens, and Venus, all by Bauer/Neufville

The Camponal letterhead is typographic: it’s set in the typefaces Merveille, Kleukens-Kursiv and Venus-Grotesk, all by the Bauer type foundry (Merveille originated in the United States under the name Laclede), and distributed in Spain by the Neufville branch in Barcelona. Bauer’s typefaces were the most commonly used ones in Catalonia before the Franco dictatorship (1939). This letterhead helped to locate the forgotten Camponal distillery.

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Label featuring Venus schmal dreiviertelfett, Fette Grotesk-Kursiv, and Clio a.k.a. Kleopatra

The Camponal identity uses other typefaces by Bauer and Neufville, like Antigua Mercedes (the Spanish name of Tages-Antiqua), Bernhard-Antiqua, Fette Grotesk-Kursiv, Carnaby (Marocco), Grotesca Estrecha (Neue enge Zeitungs-Grotesk), Florentiner Mediaeval, and Majestic.

A few typefaces could have been sourced from different type foundries based in Madrid and Valencia, like Clio (Ludwig Wagner, 1903) distributed by Neufville/Bauer as Kleopatra and by Gans as Aurora; or Aurora Grotesk (Wagner & Schmidt, 1908) sold by Gans as Grotesca Ideal and by Fundición Tipográfica Nacional as Grotesca Estrecha.

Typography and lettering also coexist in other elements, such as in the Camponal liquour labels and packaging.

Learn more about Josep de Ros and the Camponal distillery.

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Camponal label featuring lettering (white letters), Kleukens-Antiqua, and Majestic

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Label featuring Kleukens-Antiqua, Venus, and an unidentified typeface (similar to Stempel’s Holzhausen-Antiqua, but with a different M)

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Bottle label ft. lettering, an unidentified grotesk for “Licor de Hierbas ‘Camponal’” (similar to Grotesca Favorita by Gans), and Bauer’s Kleopatra

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Packaging ft. lettering (the reversed letters at the top), Marocco a.k.a. Carnaby for “Cura estómago e intestinos”, Majestic for “G. Garriga”, and other unidentified typefaces

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Camponal ad ft. Bernhard-Antiqua, Universitäts-Antiqua a.k.a Druckhaus-Antiqua, Neue enge Zeitungs-Grotesk, Tages-Antiqua a.k.a. Antigua Mercedes, and others

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Point-of-sale display ft. Columbus, a version of Edel-Grotesk (probably Groteska Moderna by Fundición Tipográfica Nacional), and Schmale halbfette Etienne

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Camponal ad ft. Bernhard-Antiqua, Tages-Antiqua a.k.a. Antigua Mercedes, Universitäts-Antiqua, Florentiner Mediaeval, Kleukens-Antiqua, and an unidentified grotesk

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Address label ft. Etienne Sombreada (Gans’s version of Umstochene Etienne by Schelter & Giesecke), Venus, and Antigua Veneciana (Gans’s version of ATF’s Cheltenham)

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FC Lourdais is a French rugby union club from Lourdes in Hautes-Pyrénées, formed in 1911. This honorary membership card for Monsieur Laurent Cami for the season 1926/1927 depicts the club’s name in a typeface that originated under the name Ancient Gothic.

Designed by William W. Jackson for the Keystone in Philadelphia, Ancient Gothic was patented March 17, 1891. The all-caps design features letters with open top and solid bottom halves. On the card, it was overprinted in red in a solid style, for a two-color effect. The same design was offered in Germany (by Krebs as Allegro) and in Italy (by Augusta as Beatrice). Some version also found its way to southwestern France.

The sticker by the Fédération Française de Rugby (F.F.R.) features the bold condensed style of Cheltenham. The years at the top are in some Clarendon variety. “Membre honoraire” is in inclined caps from a typeface with tiny serifs. It’s a version of Copperplate Gothic, possibly FTF’s Antiques Litho No. 4. The other typefaces are yet unidentified.

Stade Saint-Maixentais was a rugby club from Saint-Maixent in the department of Deux-Sèvres in western France. This honorary membership card for Monsieur Defaye, the club’s treasurer general, is part of a calendar issued for the 1923/1924 season. It carries the rubber stamp signature of the club’s president, Charles Teneau, who ran a local hosiery factory.

The wide typeface used in all caps at the top is Fantasques Larges by Deberny & Cie. In 1923, the foundry merged with Peignot & Fils into Deberny & Peignot who continued the design. Fantasques Larges didn’t originate in France, though, but rather at Stephenson Blake in England. There, it was first cast in 1890 and sold under the name Flemish Expanded.

Smaller text is set in Cheltenham. Designed in New York City, this typeface was available in France at the time from Fonderie Caslon. The italic is used with some of its swash caps.

The incredible story of the Maine Yankee who discovered the world’s richest half mile of gold in Canada, and the strange and tragic end that befell him.

Geoffrey Bocca’s account of the Oakes case was first published in 1959 by Doubleday, as The Life and Death of Sir Harry Oakes. The cover of Greywood’s paperback edition from 1970 features Fred Lambert’s Sans Stencil for the title.

This album with music composed by Johann Sebastian Bach and performed by German lutenist Walter Gerwig was released on Nonesuch Records in 1966. The cover design is by William S. Harvey, with art by Donald Leake.

Phanitalian Ornamented No 2 was first shown by wood type manufacturer William Hamilton Page in 1879, more than a century after Bach had lived. Still, Harvey deemed the Tuscan with its bulbous terminals baroque enough to be used for the composer’s name. Its mid-stem decoration was a tad too much, though: the designer simplified the letterforms by cutting away the lateral knobs. The only letters to keep their decoration are those where the “rivet heads” connect to a structural element on the other side of the stem, see B E H. In the process, Harvey also made the letters a little wider.

[More info on Discogs]

Detail of Phanitalian Ornamented No 2, widened and minus the mid-stem ornamentation. Compare to the unmodified letterforms in Solotype’s phototype version, Bohemia.

Communication campaign for Karakter on the occasion of Milan Design Week 2024 under the creative direction of Apartamento Studios.

Much of the communications being centred around a printed magazine called Conversations, the brand typefaces A2 Antwerp and Neuzeit-Grotesk were a rather fortunate combination for editorial work, allowing for elegant typesetting at all sizes and a balance between modernism and expressiveness.

An early use of Ed Benguiat’s appropriately named Jumpy Latin, for an album by the George Wallington Quintet, which at the time included Donald Byrd, Jackie McLean, Art Taylor, and Paul Chambers. It was recorded at New York’s Cafe Bohemia seventy years ago, on September 9, 1955, and released by Progressive Records the following year.

Photography (and cover design?) by Carole Reiff Galletly (1934–1984).

[More info on Discogs]

Front cover

Blackheart Revolution is the third studio album by American industrial rock band Genitorturers, released in 2009.

The band name and album title use a mixture of Mason Serif and Morpheus, a free font which appears to have been inspired by Mason Serif. The track listing on the back cover is set entirely in all-caps Morpheus.

[More info on Discogs]

Close-up

Back cover (Brazilian/Argentine release)

That Summer in Paris is a book by Morley Callaghan (1903–1990). In 1929, the Candian novelist “spent some months in Paris, where he was part of the great gathering of writers in Montparnasse that included Ernest Hemingway, Ezra Pound, Gertrude Stein, F. Scott Fitzgerald, and James Joyce.” [Wikipedia]

His “Memories of Tangled Friendships with Hemingway, Fitzgerald and Some Others” were published in 1963. This is the cover of Dell’s paperback (Laurel Edition 86649) from 1964, featuring all-caps Futura Black in the French national colors.