Released in 1985, Si Boops Deh! is the debut album by Jamaican deejay Super Cat. According to Wikipedia, it —

included the hit singles “Boops” (which was based on Steely & Clevie’s updated “Feel Like Jumping” rhythm and sparked a craze for songs about sugar daddies), and “Cry Fi De Youth”, establishing his style of dancehall with conscious lyrics.

The title is shown in a hand-rendered version of Revue, with a perspective effect. Super Cat’s name is in all-caps ITC Benguiat.

[More info on Discogs]

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 fine Use of all-caps West Nouveau Didot for the cover of The Mean Machine, an album by jazz organist Jimmy McGriff (1936–2008) released on Groove Merchant in 1976. Printed in pale violet and yellow, the curly letters nicely echo the ornamentation on the musician’s garment.

[More info on Discogs]

“There are no seasons, no rush, no trends - only the natural rhythm of making things that feel true,” the founder told us. Drawn to the deep resonance of human presence and imperfection, we arrived at the name for a “meaningful things store”: Zoia’s Fingers.

The identity had to accompany the carefully made objects, delicate yet playful across its range of applications. We keep our fingers crossed for Zoia, and for all her thoughts, gestures, and feels.

The logo is composed of Eyja, and short copy is set in Herbik. Both are available from Counter Forms. On the website, type is set in Libre Franklin from Impallari Type.

The text on the balloon (“HAPPY BIRTHD”) might be in all-caps Franklin Gothic Wide.

This box set with twelve 7″ records containing a total of fifty party playtime songs was released on Playhour, a sublabel of Pickwick Records, and advertised in 1970. The collage on the cover is by Frank Daniel. The three main display typefaces are all from the catalog of Photo-Lettering: “50” uses numerals from West Barnum, “Party Playtime” is in caps from Caruso Roxy, and the Playhour logo on the back, the inner sleeve and the labels features Gonzales Jeanette.

[More info on Discogs]

This vinyl record from Grand Prix Series Records contains various country and western songs, as sung by Texas Jim Robertson. It is unknown when this album – let alone design – was released. The Encyclopedia of Country Music dates it to the late 1950s, whereas the Goldmine Record Album Price Guide estimates a date in the 1960s.

The condensed casual face with rough corners is Hand Lettering 3920, with the song list in what looks like Trade Gothic Bold Condensed.

[More info on Discogs]

From Wikipedia:

Our Mother the Mountain is the second studio album by country singer/songwriter Townes Van Zandt, released in 1969. It is considered to be one of his greatest recordings and features some of his best known works, including “Be Here To Love Me”, “Snake Mountain Blues” and “Our Mother The Mountain”. […] The artwork for Our Mother the Mountain was designed by Milton Glaser and the album cover features an arresting shot of Van Zandt taken by Allen Vogel.

The heavy geometric sans used for the title looks a lot like Futura Extra Bold (Intertype, 1952). In fact, it’s the earlier Airport Black, issued by Baltotype c.1943. Differences include the smaller counters (see for example the O), the lower crossbar in A, and the lighter middle bar in E, see this 1959 specimen. Photo-Lettering carried an adaptation of Airport Black for phototypesetting.

For the logo of Poppy Records, Glaser used his own Baby Teeth.

[More info on Discogs]

Francesco Franchi designed the branding for Collettivo Cicli Corsa, a members’ club by the Italian bicycling brand of the same name.

Focal is used on the website as well as the jerseys, water bottles, and caps.

“Llórale a tu madre” is a single by Mexican pop duo Jesse & Joy. The song would later also appear on their 2022 album Clichés. The cover only uses Luxury Platinum.

FL Rare by Flight Mode Type (Alex Slobzheninov) is the brand font of Serigrafia Los Gatos, as proposed by Design Office Fun (Paula de Álvaro):

A few months ago, we received a proposal from Contemporary Type to create the communication for the launch of a new typeface (FL Rare), so we decided to develop a complete identity to showcase the typeface in use.​ We reached out to Serigrafia Los Gatos to explain the concept and, after months of collaboration and screen-printing absolutely every object in their workshop with this new typeface, they even turned their van into a typographic specimen and business card. We couldn’t have chosen a better victim to turn ​F​L Rare font into a tangible reality across multiple formats.

The different weights of the typeface connected perfectly with the screen printing technique​, the use of more or less ink and the resulting texture, from the lightest weight (FL Rare Display Fine) to the boldest (FL Rare Display Black), passing through all the intermediate ones. That’s why we reached out to Serigrafia Los Gatos to share this idea of an identity​-specimen.

More footage (including the car, driving, on the LosGatos’ Instagram feed.
Photography by Mario Saenz de Tejada

A research-based design education program by Bielke&Yang, exploring strategic and inclusive design processes through industry collaboration. The five-day intensive course (September 22–26, 2025, Oslo) brought together early-career designers with leading Norwegian creative organizations including reMarkable, NRK, Blank, Omhu, Void, Maskinen, and Bow.

Typeset in STK Bureau Sans by Smuss Type Kiosk.

Albra Book from Ultra Kuhl is used together with Messapia Bold and Coconat Bold Extended by Collletttivo in They That Do’s identity for Seedfolk, inspired by vintage botanicals and vegetable wood carvings. With an earthy look for the home startup, the studio set out to connect people with the colourful joys of growing their own. The website additionally uses Grilli Type’s GT Walsheim.

From Ellis Tree’s article for It’s Nice That:

Inspired by the shift in a desire to be outdoors and connecting with nature in the tough and isolating times of national lockdowns, Seedfolk was born out of a moment when many had time to slow down and reflect on the smaller things – in Gemma’s case this was growing veggies in her own back garden. The seed subscription and grow club started from Gemma’s own family’s journey with gardening and her desire to share this joy with others. “I thought this was a wonderful story and ultimately it's where the name came from – folk coming together to grow from the humble seed”, shares Vincent.

Album cover. Bastion is used on Tyler’s hat.

Don’t Tap the Glass is the ninth studio album by Tyler, the Creator, released on July 21st of 2025. Promoted only days prior to its release, the album sees Tyler embrace all out dance music with glittery synths, hard hitting beats and infectious tunes. I was admittedly slightly worried about the album music-wise but it was still very worth it.

Aesthetically, this album is the complete inverse of his previous album, Chromakopia. Embracing an 1980s-inspired pop and disco aesthetic, Don't Tap The Glass uses a modified version of Bastion set entirely in uppercase as its only branding typeface. It is used for the logo of the album and in all promotional material.

[More info on Discogs]

Album title lockup. Some notable changes in this modified Bastion are the very different single quotation mark and the letter T in “The” lacking the base serif.

Homepage of the promotional website

Lyric sheet for “Tell Me What It Is”, the last track in the album. The words in the lyrics have an inconsistent line height and some letters are tilted at an angle. Something I also noticed is that the letter S is bolder than other letters. Utterly confounding.

The taglines for the album, first heard in the opening track. Just like the logo, some letters visually are subtly different from others.

Almost all of the music videos from Don't Tap The Glass end with the logo flashing for a few seconds.

One of the first teasings for the album during the Chromakopia tour. The logo is seen here.

Still from the video for “Stop Playing With Me”

“Glass Tapper” T-shirt merchandise

For nearly a century, Mercury Cruises and First Lady have offered Chicago’s most iconic waterway experiences. Most notably, they partnered with the Chicago Architecture Center to create the world-renowned Chicago Architecture Center River Cruise aboard First Lady. Now considered the No. 1 boat tour in the country.

Despite pedigree, both boat operators faced a shifting landscape as the Chicago River became increasingly crowded with competitors. They brought on Nick Adam’s team at Span to help chart a new course, refining their position and crafting a brand that honors their 90-year legacy. The goal: to set a new standard for Chicago’s cultural and tourism landscape.

Span began by simplifying the name. From Chicago’s First Lady Cruiseline and Mercury Skyline Cruises, to the more resonant, flexible First Lady. From there, we developed a visual identity that bridges heritage and modernity. Channeling both the utility of the working river and the refined character of the vessels themselves.

At the heart of the new identity is a custom logotype based on Clockmaker, a lavish typeface inspired by Elandkay and the architectural lettering traditions of Louis Sullivan and Frank Lloyd Wright. We refined its letterforms to merge Victorian curves, Art Nouveau grace, Prairie-style form, and Art Deco precision—creating a typographic expression of Chicago’s rich design lineage. A signature swash numeral 1 flows like waves and wind, integrating seamlessly into the logotype or standing alone as a monogram. Paired with Euchre, a Chicago-designed typeface full of charm and sparkle, the system balances Midwestern elegance and grandeur with a tone that feels sophisticated yet approachable.

The vessels’ signature green and gold livery became the foundation of the refreshed color palette—elevated, amplified, and extended system-wide. We designed a suite of decorative plaque borders, intricate rule lines, and custom guilloché patterns that evoke both water and currency—offering a sense of timeless craft and detail.

EverYou uses Orange Squash for its website and branding, including the logo and all marketing materials. Formerly known as Tender Loving Care (TLC), established in 1995, EverYou provides high-quality wigs, headwear, and recovery products to support individuals undergoing cancer treatment. These products help patients feel like themselves through hair loss and other side effects of treatment.

EverYou works with the American Cancer Society to ensure each product meets the needs of cancer patients. With the use of Orange Squash, EverYou creates a warm, welcoming identity that helps patients feel supported and empowered during their cancer journey.

The exhibition Stephen Jones, chapeaux d’artiste at the Palais Galliera presents the work of this British designer – unquestionably one of the greatest contemporary milliners – from his first collections in the 1980s to the most recent.

For the first time in over fourty years at the Palais Galliera, an exhibition is devoted entirely to an accessory, the hat, elevated to a work of art. The exhibition focuses on Stephen Jones’ creative process, the sources of inspiration behind his pieces and the place of Paris in his work.

Graphic designer Camille Guitton was commissioned to create the exhibition design. She chose to work with Selva for the titles and ES Peak for the body text.

Fruit Riot, a sour candy brand under Beyond Better Foods, sports a punchy wordmark set in Ohno Softie by OH no Type Co. – a fitting choice for a name that practically demands a squishy, and energetic treatment. With its bulbous forms, exaggerated curves, and lively rhythm, Ohno Softie captures the sensory overload of a sour candy experience.

The packaging and website include Alyc from Ultra Kuhl for supportive squishiness, and FontPanda’s Think Thick for bringing the irreverent and informal vibe even further.

This was an April Fool’s joke, there is no sour broccoli candy available!

Merch!

Poster application

When you think of techno music, many people think of Berlin. And when people think of techno in Berlin, many think of Stil vor Talent – the music label of Oliver Koletzki. He founded the label in 2005 after being told that he had too little musical talent. With his own style and the promise of creative freedom and high-quality music, Stil vor Talent embarked on a long journey. Many labels have come and gone. Stil vor Talent has stayed and got the first rebranding after 20 years in business.

The rebranding uses Bossa by Family Type as the main typeface. The reason for this choice is its strong and self-confident character, while still not feeling distant and arrogant (the second part was really important to the designer and the client).

Poster and fashion application

Logo

Fashion applications

Brand motion

Stickers

Packaging application and website design

Brand motion

Stickers and poster

Website detail from the News page

Website detail with artist bio. The text typeface is KH Teka.

This is the fourth studio album by Japanese singer-songwriter Anri (Eiko Kawashima). The album cover is photographed by Hisako Okubo and designed by Tomio Watanabe. The first half of the album (Disco Side) is written and produced by Toshiki Kadomatsu, while the latter half (Sea Side) is jointly written and produced by Anri and Takeshi Kobayashi.

The album title is manually italicized using Filmotype Free. The typeface used in the album title is also used to set the names of each side on the back cover. The tracklist, musicians, and staff personnel are all set in Franklin Gothic. Lastly, the quote on the right portion is set in a bold italic variant of Century No. 1.

[More info on Discogs]

The 2023 Bristol Rhythm & Roots Reunion in downtown Bristol, Tennessee & Virginia, featured Margo Price and Nickel Creek, amongst other musicians.

HWT Etta East, the non-decorated member of Lynne Yun & Maxime Gau’s Etta family, is used for the name of the event. It's paired up with a sans serif typeface, Adam Ladd’s Gopher.

Poster

Still from the video trailer

Still from the video trailer

Still from the video trailer