Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

Percy Faith’s I’ll Take Romance is a 1969 easy-listening compilation album released on the Harmony Records label. The title and artist name are in Davison Spencerian with the song list in News Gothic. The cover photo was taken by Walter Swarthout.

[More info on Discogs]

FAWA was a queer, solidarity-oriented venue in Paris combining a cultural center, community restaurant, and club. Developed as a collective initiative, it served as a shared living space where social engagement, culinary practices, and cultural events coexisted between 2023 and 2025.

The team of FAWA and edition.studio worked together to develop a visual language, using Phonk for a mural and the announcement of a mini-market.

Teaser poster

From Wikipedia:

Marty Supreme is a 2025 American sports comedy-drama film co-produced and directed by Josh Safdie from a screenplay he co-wrote with Ronald Bronstein, loosely based on the life and career of American table tennis player Marty Reisman. Co-produced by and starring Timothée Chalamet, the film also features Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Abel Ferrara, and Fran Drescher in supporting roles.

The main posters feature the title in a stretched and manipulated version of Gill Kayo Condensed and corresponding headers in Neue Helvetica Condensed, including its Heavy style. The billing block is set in Bee Two.

Eric Gill, the designer of Gill Sans, initially called the ultrabold style “Sans Double Elefans”. Released as Kayo, derived from “K.O.” (i.e. knockout in boxing), it feels appropriate for the main movie title on the poster, as it is a very prominent typeface used in sports.

The movie logo compared to a resetting in Gill Kayo Condensed with stretched letterforms. Various subsequent optimizations have been made, see for example the horizontals in T and E, the counters in A and Y, or the bottom of U. In the process, some glyphs like R ended up resembling Gill Sans Extra Condensed Bold.

Timothée and Josh Safdie imitating the Marty Mauser pose at the Marty Supreme black carpet in Los Angeles.

Gwyneth Paltrow in front of the movie logo

Focusing on contributions that explore composites as art and design forms, as research methodologies and practices, and/or as theoretical concepts, issue 60 of the review Azimuts – Design Art Recherche proposes that composites can be understood as a mode of presentation or representation of realities. Different hypotheses have been explored by the researchers and creators gathered here.

Reading their proposals, we can consider that their narratives define composites either as smooth, since the glue that aggregates the various components is invisible, or as rough because the glue, conversely, is visible.

Thus, this issue of Azimuts proposes, through the authors, to understand and define the specific materialities of this glue in that it is a binder, negotiating relationships. It is then a question of considering these sticky materials as a space, a transition, a break, or even a silence. Or, to quote novelist, poet and philosopher Édouard Glissant, “as a relationship, an opposition or a consequence”.

It is published by École supérieure d’art et design de Saint‑Étienne.

Zeit zu sterben is the German title of Tiempo de morir, known in English as (A) Time to Die. The Colombian-Cuban co-production is based on a script by Gabriel García Márquez. Directed by Jorge Alí Triana, the film stars Gustavo Angarita, María Eugenia Dávila, Enrique Almirante, and Sebastián Ospina.

The art on the poster for the East German release by Progress Film suggests a rooster’s head, with the beak depicted as a bullet. The tombstone-like letters for the title are from Buster.

KOLORIT is an open platform that realizes concerts in the fields of experimental sound, electronic music and audiovisual art. The campaign represent a new chapter of its concert series, turning Schleuse Zwei into a space where sound becomes reflection. This time, the question is no longer just what we remember – but how memory takes shape when we listen.

Inspired by ideas from philosophy and psychology, KOLORIT explores memory as something fluid and alive. A constant negotiation between what stays, what fades, and what transforms. Between echo and silence, recollection and invention, music becomes a way to sense what usually remains hidden.

The line-up for the show on November 29, 2025, included Kuoppamäki & Herbst, Multipolar, Phasenmensch & Antoine Saint-Martin, Eyal Talmor, and Laktose Intolerant (DJ).

(Text by KOLORIT, with slight edits. See also the press release by Hochschule Düsseldorf.)

The promotional materials were designed by Jan Schmidt Bist and present the first use of Memoir, a free all-caps typeface by Daniel Gremme. The KOLORIT logo (not part of this design) appears to use Futura Bold.

WS Craft’s upright and italic styles are mixed by graphic designer Bernardo Berga in Jazz Kissa, a book about the culture of jazz listening bars in Japan, published by creative agency and publishing house ERG Media:

Immerse yourself in the soul of Japanese listening culture with Jazz Kissa, an expansive photographic exploration of Japan’s iconic jazz cafés, known as Jazz Kissa. The book is the result of over fifteen years of dedicated work by photographer and cultural historian Katsumasa Kusunose, who has meticulously documented these intimate spaces and the people who keep their spirit alive.

Printed on specially sourced Japanese paper inspired by the texture of Altec A7 speakers and wrapped in a traditional OBI strip, Jazz Kissa is both a cultural document and a beautiful object in its own right.

The typefaces used on the obi strip are Eiko and Source Han Sans for the Japanese title, “ジャズ喫茶”.

From the website of author Maxie McCoy:

DAISY is a sweeping historical novel that follows the extraordinary life of Juliette “Daisy” Gordon Low – a woman whose strong spirit and steadfast friendships helped her create an enduring movement for women and girls.

Determined to live beyond the confines of Southern society, Daisy set out for a grander life in New York City, only for tragedy to call her back home to Savannah, Georgia. Heartbroken yet resilient, Daisy finds strength not just in herself, but in the steadfast sisterhood of her friends, whose loyalty and love help her reimagine what life could be.

These friendships carry her through a turbulent marriage to the charming yet elusive Willy Low, and ultimately give her the courage to push past expectations and carve a new path. From the cobblestone streets of Savannah to the stately halls of England, DAISY brings to life a network of enduring friendships that enable her to resist societal norms and build a legacy that spans generations.

Raissa Pardini designed the book using Romie in Roman and Italic on the cover, with the Black weight on the book spine. Romie is designed by Margot Lévêque.

House of Kong was an immersive installation featuring music, art and artefacts from the virtual band Gorillaz that took place from August 8 to September 3, 2025, at the Copper Box Arena in London.

With high lowercase x-height and short ascenders and descenders, Pitch lends itself to tight line spacing for a high-impact effect. The design team behind the House of Kong event used Pitch on posters, leaflets and large banners directing visitors around the exhibition venue.

Creation and production of communications for the Printemps de la librairie indépendante event, a week of free cultural events in Strasbourg’s independent bookstores (workshops, meetings, book signings, and many other festive and literary activities).

A sticker for The Pachinko Factory located amidst a pachinko machine mechanism.

Who the heck looks at the back of mechanical devices? Well, I certainly do.

Imagine my glee when I spotted this incredible logo for The Pachinko Factory, a business in Calgary, Alberta, that reconditioned and distributed authentic Japanese pachinko machines between 1976 and 1983.

This machine originally belonged to my daughter-in-law’s grandfather and was likely purchased in the late 1970s.

The customization of what I assume to be Letraset’s version of Aldo Novarese’s Stop is delightful … especially the scattering of little pachinko balls as design elements.

Graphic Cultures of Dissent / Cultures graphiques de la contestation is the result of three years’ research devoted to the artistic, militant and counter-cultural printed matter from the 1960s and 1970s.

Initiated in 2021 by Nicolas Liucci-Goutnikov, Mica Gherghescu and Thomas Bertail, this research project’s aim is to promote the artistic, activist and counter-cultural ephemera of the 1960s and 1970s held by the Kandinsky Library. Published by the Centre Pompidou and the Outset Contemporary Art Fund, it is the result of collaboration between international partners: Stuart Hall at INIVA in London, the Paris 8 University Vincennes-Saint-Denis, the Beaux-arts de Paris, La Contemporaine, the Freedom Archives in San Francisco and the Center for the Study of Political Graphics in Los Angeles (CSPG).

At the same time, the project has enabled an educational programme to be set up for students from the Paris Beaux-Arts and the University of Paris 8 | Vincennes – Saint-Denis, encouraging them to appropriate this heritage in order to breathe new life into the critical force of ephemera. Through creative and collaborative workshops involving students and their teachers, this approach has encouraged an active and contemporary exploration of these sources.

One of the main design challenge was to reflect the aesthetics of the militant publications of the 1968s without compromising the legibility of the content, the documentation of the archive or the coherence of the publication. The aim was to bring out in places the characteristic expressiveness of the Free Press press without lapsing into pastiche.
This balance between functionalism and extravagance is reflected in the typographic choices made, with the use of EB Trainer by Antoine Elsensohn and Times Dot by Laurel Schwulst.

Arts Worker United (AWU) is a lobbying organization focused on building awareness of and support for members of the creative class and their critical impact on the national economy. Founded during the COVID-19 pandemic, AWU works to ensure local and national governmental support for this critical—and often overlooked—sector of the working class.

One Design created a brand identity rooted in the visual vernacular of trade unions and craft guilds, that could flex to connect with politicians and arts workers alike. The AWU seal is a symbol of unity, sophistication, and confidence. The extended visual language embraces a distinctive and powerful energy through color, layout, and imagery that connects with the creative class.

A system of typographic ligatures—custom glyphs built into a bespoke cut of Object Sans from Pangram Pangram—is a visual nod to the concept of support and solidarity.

Desire Lines is a collateral pavilion of the Venice Art Biennale 2024. The project brings together three independent European cultural institutions: Proforma (UK), Begehungen (DE), and PASE (IT). Their goal is to build connections between artists from the European scene through residencies, exhibitions, performances, and other events. This edition features the work of artists such as Edgar Leciejewski, Margret Hoppe, Max Magaldi, Pierpaolo Ovarini, and Omari Taylor.

The visual identity is initially built around the concept of an apparent grid – both evolving and flexible – that serves as a foundational structure. It evokes the idea of a modifiable playground, a dynamic visual framework reflecting the diversity of creative approaches and perspectives of the invited artists. The logotype block unites the three entities, reinforcing the idea of connection and links, symbolized by a line that takes shape, illustrating the various possible paths. Each line becomes a guiding thread, a metaphor for the exchanges and connections woven between the different cultural actors and the spaces they occupy.

Pixelarte Studio designed the viusal identity and the artwork for four single records by reggaeton artist Brandon Montoya, capturing the genre’s vibrant energy and urban culture.

Featuring bold typography and vivid colors, the design reflects Brandon Montoya’s dynamic style. Typeface combinations and striking visuals ensure the brand stands out, creating a cohesive and memorable identity.

Sarah Myerscough Gallery specializes in contemporary art that explores the intersection of nature, craftsmanship, and design. With a focus on sustainable materials and innovative techniques, the gallery represents artists who push the boundaries of their mediums, creating work that is both thought-provoking and visually stunning.

The gallery’s identity uses Romie Regular with Italic by Margot Lévêque and ABC Diatype by Dinamo.

NadineCorp. is an open-source accounting tool created for designers affiliated with the Maison des Artistes, the national body managing the social security system for visual artists in France. In 2020, CRC Studio collaborated with Guillaume Bonneau to design and develop NadineCorp.’s branding, UI, social media presence, and full functionality.

On the website, Helvetica is substituted with Nimbus Sans.

The NadineCorp logo pairs Helvetica with Redaction and kana from Mondwest. The division logos use Cooper BT, M PLUS Rounded, STHupo, Microsoft YaHei and Stick. The social media brand logos additionally use Cooper Black, Eurostile, and ITC Avant Garde Gothic.

The fonts used for the fictional partners and sponsors are not listed under this post’s typeface credits, but they are Frankfurter Highlight. Gill Kayo, Frankfurter, NaN Jaune, and Nympha.

Assorted social media posts. The script fonts featured on some of them are Astenia and Ultra System Script.

“How a luxury car should move you.”

During the 1980s, Ford’s “Lincoln” brand used an assortment of various Futuras (and derivatives) and Avant Garde.

In the examples from around 1986 shown here, the unusually high x-height is the dead giveaway that this isn’t the original Futura by Paul Renner. Futura Maxi by Photo-Lettering and neo-Mini Futura by Headliners are two derivatives with such a raised waistline. Judging from the finer details, it’s neither of those, though. It’s also pretty close to Century Gothic, but that typeface isn’t a perfect match either. Also, it wasn’t released until 1990. Chances are we’re looking at yet another such variant, possibly a custom creation made for and exclusive to Ford. For the time being, Futura is tagged.

This Futura variant was used for several print advertising campaigns, and the 1987 Lincoln full-line catalog.

“How a luxury car should behave.”

“How a luxury car should behave.”

“How a luxury car should look.”

“What a luxury car should be.” – catalog cover

BEC1972 began with a vision: a future where everyone lives better. This idea unites artisans, designers, and industrialists to create a distinctive brand—a small-scale furniture publisher that crafts pieces on demand, with no stock, using minimal materials to minimize environmental impact.

The publisher grew out of BEC Industries, drawing on decades of experience in architecture and design. BEC's rich history includes producing television sets in the 1980s and contributing to iconic events like the Barcelona Olympic Games and the Seville Expo. Today, they leverage their past to build a sustainable future for housing.

For their first collection, they collaborated with one of the foremost names in design: Carles Riart. Most of Carles’ work has been driven by private commissions, but his goal is to create a better future for everyone. He aims to share his knowledge by designing furniture that looks to the future and promotes well-being. His philosophy is evident in every piece.

Casa Bien was entrusted with developing the brand strategy, visual and verbal identity, art direction for photography, audiovisual production, and building their e-commerce platform. This comprehensive project reflects Casa Bien’s deep alignment and strong connection with the brand.