Verner Panton, The Panthella, Light, Form, Color, Totality, Radicalism, Time and Décor and The Self is a pocket-sized publication containing one hundred aphorisms by Danish designer Verner Panton (1916–1998). Titles, numbers and informational pages are typeset in JN Messenger, whilst the aphorisms are typeset in Univers Black. The publication also contains a series of text set in Univers, and projected on one of Verner Panton’s famous designs: the Panthella lamp.

Commissioned by Louis Poulsen and For Scale, and designed by Studio Lowrie, the publication launched with a physical party in New York.

Visual identity for the exhibition Inezita Barroso: 100 anos de viola e pioneirismo for Sesc Mogi das Cruzes.

The show about Inezita Barroso (1925–2015) and “100 Years of Viola and Pioneering” is presented by Sesc Mogi das Cruzes to mark the artist’s centennial and bring together fifteen activities in her honor. The concept is anchored in enraizamento (“rootedness”), inspired by a statement Inezita made to Revista Brasil: “Something without roots flies away; the wind takes it and it disappears.” In her performances, Inezita was often seen wearing floral dresses, full skirts, and scarves, elements associated with traditional attire from Brazil’s countryside. The visual identity draws on this symbolic dimension by placing vernacular rural prints and folk embroidery at the center of the graphic system. The full booklet is available for download.

The Schomburg Center is one of the world’s leading cultural institutions devoted to the preservation and study of materials focused on African American, African Diasporic, and African experiences. Its wide-ranging collections illuminate the richness of global Black history, arts, and culture, and continue the tradition of its namesake.

Featuring the Community Gothic typeface by Frere-Jones Type, the design was created by Brooklyn-based Morcos Key, who collaborated with the New York Public Library’s Schomburg Center for Research in Black Culture on the celebratory announcement of its centennial. To mark the occasion, a special limited-edition library card was produced featuring artwork by Houston Conwill for the Schomburg’s 100th anniversary.

The Schomburg Center logo is in Mike Abbink’s FF Kievit and the call to action in FF Kievit Slab.

Written by journalist Félix Monreal and published in 2021, this is a 300-page volume on the centenary of the Club Atlético Osasuna in Pamplona, Spain. The book reviews the history of the so called “club rojillo” (red-and-white club) through stories of players, coaches, and fans, combining narrative with infographics and statistics.

It was designed by the studio Errea Communication combining a series of fonts among which Octothorpe (Iván Moreno, PampaType) was used as a display asset in chapter openings and other pieces. Additional typefaces include Le Monde Courrier (Jean François Porchez, Typofonderie), Platform (Berton Hasebe, Commercial Type), and Ohno Fatface (James Edmondson, OH no Type Co.).

From the editors:

An anniversary book is a wonderful opportunity to share memories of experiences, recognize so many people, and strengthen bonds. It is a unique opportunity. It is also an opportunity to recount life with innovative passion, looking toward the future.

See more images on Selekted.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

To commemorate the centenary of the birth of Scottish author Muriel Spark (1918-2006), Polygon, a Scottish imprint, is issuing a uniform edition of all 22 of her novels.

Designer Teresa Monachino chose to design the covers typographically, using two typefaces by Eric Gill, Gill Kayo and Perpetua. As she states,

The one thing that I kept in the front of my mind was that Muriel Spark was ‘the writer’s writer’. I read the 22 blurbs that accompanied each story and I knew then that the work should speak for itself. If we mustn’t judge a book by its cover then we must judge it by its words. What happens then when the words are the cover? I proposed that the book blurb should be on the jacket cover so that the design lets the stories speak for themselves; they need no further embellishment, it’s all in the writing.

To encourage readers to collect the entire set of works by ‘the writer's writer’, the designer included a kind of typewriter keyboard grid on the covers, with each book’s number in the sequence of titles highlighted, set in Gill Sans.

The sequence numbers are repeated at the bottom of each jacket spine, as well as a single, similarly highlighted single letter at the top. When all the books are assembled in order on a shelf, the highlighted letters spell out ‘THE NOVELS OF MURIEL SPARK’ — a clever ‘Easter egg’!

The texts are set in Monotype Ehrhardt.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: booksfromscotland.com Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Heimann + Schwantes:

100 years ago, political pressure forced the Bauhaus school to relocate from Weimar to Dessau. Dessau became a place where the Bauhaus could flourish and put its vision of a better life for all into practice.

From September 2025 onwards, the Bauhaus Dessau Foundation will celebrate this anniversary with a year-long festival programme entitled ‘An die Substanz’ (To the Core). The focus will be on the material, economic and technological foundations of the Bauhaus, from the extraction of raw materials to production processes, trade routes and the social and ecological consequences.

To mark the anniversary, we have developed a corporate design that restores colour and diversity of form to the Bauhaus Dessau identity. The design aims to breathe life into both the historical dimension of the Bauhaus and the discourse on contemporary design requirements.

From Studio Asensó:

To mark the centenary of Gustave Fayet's birth, a number of exhibitions are taking place across France – in Béziers, Narbonne, Arles, Villeneuve-lez-Avignon and Paris at the Fondation Louis Vuitton (2026). An immersion in the vibrant world of this multi-faceted artist: painter, publisher, bibliophile and great lover of illustrated books. The Musée d'Art Gustave Fayet Association is celebrating this richness through a collection of previously unpublished works, the common thread running through this cultural season.

The book cover and headlines are set in Monotype Plantin, using its regular and Italic styles. Massilia by Blaze Type forms the backbone of the book’s interior typography. Used for titles and chapter openers, the typeface structures the reading flow with clarity and rhythm. Inspired by Marseille’s signage and Mediterranean graphic vernacular, Massilia finds here a context where its bold yet warm tone can fully express itself. Deep-blue full-page spreads act as visual pauses throughout the book.

The cover typography features both weights of Grand Central, Bold and Light.

LTypI is a moniker for the act of picking a typeface because its name matches the content. Some cases have little to do with an actual lack of typographic imagination, and rather are just wonderfully topical. This book is such an example. Authored by Anthony W. Robbins and the New York Transit Museum, it was published in 2013 to celebrate the centennial of New York’s Grand Central Terminal.

For the cover, contents, and chapter titles, Topos Graphics opted for Grand Central. What else would have been more appropriate? Tobias Frere-Jones designed this all-caps typeface in the mid-1990s when the station underwent a full renovation. Two Twelve hired him “to design a typeface in Grand Central’s distinct Beaux-Arts style”, to “keep new locator maps and signage in harmony with the old lettering.” [Frere-Jones Type] When the station was built in the 1910s, signpainters used “an American take” on the so-called “French Oldstyle”, a genre that goes back to French printer Louis Perrin and his mid-19th century reinterpretation of ancient Roman lettering, the Caractères Augustaux. The characteristic R with its curved and pointed leg can also be found in the tile lettering for the subway sign.

In 2018, Frere-Jones together with Nina Stössinger revisited the theme, then with lowercase characters and as a six-weight family with italics. The resulting typeface, Empirica, happens to be used on the Grand Central Terminal’s website.

Colophon and contents

Detail from the table of contents

Grand Central is also used for chapter titles.

The typeface used for body copy, captions and running titles is Sentinel.

Description of the project by the designers of Paper Paper:

For Testori 100, the first in a series of volumes published by Casa Testori, we designed a visually striking book that collects all the events held during Testori's centenary. The design focuses on celebrating Testori’s polyhedral legacy with a contemporary approach, combining historical references with modern layouts. The book captures the essence of the year’s celebrations while offering a visually engaging and cohesive experience for readers.

The typefaces used are ALT Klarinet, FF Attribute Mono, and Blanchard.

The exhibition „Mitologia” Jana Parandowskiego i inne mitologie / Jan Parandowski’s “Mythology” and other mythologies at Warsaw’s Adam Mickiewicz Museum of Literature was organized to commemorate the centenary of the publication of this renowned work, which falls in 2024.

Through a collection of oil paintings, graphics, photographs, sculptures, film materials, and unique book editions, including the first edition of Parandowski’s Mythology, the exhibition immerses viewers in the world of ancient perceptions of the universe. The narrative is enriched with quotes from Mythology and works by writers who drew inspiration from classical art, antiquity, and stories from that era.

The set design was designed by Kuba Maria Mazurkiewicz. The designer used Rubin Sans by Threedotstype throughout the exhibition, together with Open Sauce [see comments].

Monaako Script takes its name from a town in the south of France, referencing one of its inspirations: the lettering of Saint Raphaël Liqueurs, which could be seen along the roads of southern France since the 1950s. The choice of the name Monaako is likely a tribute to the French typographic landscape of that era.

Hyères, home to the Villa Noailles, is also a city in the south of France, as is Marseille, where the event’s communication materials were displayed. In 2023, the arts center “celebrated the Centenary of the Clos Saint-Bernard, known as the villa Noailles”. Designer Marc Armand used Monaako together with Enduro for the identity of the anniversary and the materials for the various events.

The uppercase letters of Monaako are extremely lively, colorful, and their unconventional style tends to leave a lasting impression. They work well to create a strong typographic identity. Their geometric structure harmoniously interacts with the shapes of the building.

The event logo, possibly inspired by the cockade of France, was created using the numbers from Monaako Script, outlined.

Poster for an exhibition of portraits by Marie-Laure & Chales de Noailles, held in spring 2023 as part of the centenary.

The logo for the anniversary

The wordmark for the centenary on a window of the arts center

Map for the events in Hyères

Program for the events in Paris

Map and program for the events in Marseille

El Casal d’Olesa is a performing arts theater in Olesa de Montserrat, Spain. As part of their centennial, the theater staged Carroussel, a tribute to the variety shows of the same name that were held in El Casal in the 1950s and 60s. From their website (translated):

A great opportunity to see on stage more than 80 artists from Olesa with performances of music, dance, magic and theater, which will transport us throughout the hundred years of the institution’s history through a story between vineyards, looms, marquees and bouncers.

The visual identity of the 2024 graduation show for ENSAV La Cambre, an art school based in Brussels, Belgium, celebrates the school's upcoming centenary.

It features visual elements from the school, including the digitized typefaces Erasme and Grotesque Commercial, as well as geometric shapes inspired by the garden plan of La Cambre Abbey.

The design aims to blend historical explorations with a contemporary message.

Red Kap is an American retailer specializing in making workwear since their founding in 1923, starting with a trademark red cap. To celebrate their 100 year anniversary, they hired Nashville-based creative agency Table to give them a brand refresh that is far from the usual uniform.

Previous iterations on the brand included a typical selection of “workman” sans serifs — Trade Gothic, then a gaspipe sans, then Knockout and Gotham (Hoefler & Co) in the mid–2010s, then a techy monospace in the early 2020s.

In 2023, Table decided to shed the “thousand-yard stares and guitar riffs” that is de rigueur for products targeted to the trades, and focus on the fun people have at work when they’re doing what they love. Keeping the Knockout used in the Red Kap logo, Table added Obviously (OH no Type Co) into the mix to take over the heavy lifting. The conversation between the two highlights all the bounce and fun Obviously brings to the brand, like a seen-it-all old timer and an enthusiastic apprentice.

The new brand centers around inviting and playful brand photography set with several widths of Obviously, and a background of the eponymous red. To complete the ensemble, Table designed golden callouts that feel almost like patches that might be sewn onto the garments.

Lastly, the identity is anchored with a neutral grotesk for body copy: most of the time Neue Haas Grotesk (Commercial Type), sometimes Neue Haas Unica (Monotype), other times just Helvetica, Arial, Open Sans or Roboto.

Brand strategy, naming, brand messaging, creative direction, art direction, visual identity, logo design by Table, with production by Farmuse.

Principal, Head of Creative and Design: Sean O’Brien
Design director: Ashley Rocha
Senior art director: Shehan Rodrigo, Haley Stone
Graphic designer: Michael Dove
Web design: Elva

For a full list of credits, see the case study on Behance.

Homepage (top)

Homepage (detail)

Homepage (footer)

After Russia is an album of songs based on the poems of the so-called unnoticed generation, writers and poets who began writing in exile but never found their audience back home. The record was released in 2023 and marks the 100th anniversary of the first wave of Russian emigration.

The album cover and its website use Loos by CSTM Fonts (reimagined by Tuman), the serif Nib by Colophon, and the slightly wild display font Nieuk by Le Laïc: Type Foundry.

The 2024 Paris Summer Olympics will be kicked off on July 26 this year. Exactly one thousand days before that moment, French sports newspaper L’Équipe dedicated a special issue to this event. “1924–2024, Cent ans de Jeux en France” builds a bridge between the Paris games of 1924 and the upcoming ones one hundred years later. In fact, this year the French capital will host the Olympic Games already for the third time, the first time being 1900 when they were held in conjunction with the world’s fair.

The front page of the special edition reflects on that long history designwise. The huge photograph (by Franck Seguin) on top shifts from black-and-white to color and depicts two superstars of today: Kylian Mbappé, Parisian footballer, and Cléopatre Darleux, goalkeeper of the French handball team, who respectively talk about their Olympic ambitions and experiences. While the layout of the page follows the expected pattern for a newspaper, the combination of typefaces is quite extraordinary.

The three fonts used to typeset the headlines draw an inspiring line through French type design history.

To begin with, you see Robur used for Darleux’s name and the quote beside the smaller picture of Mbappé. Robur was designed by George Auriol and published by Peignot & Fils between 1907 and 1911. In general terms, it is a bolder display variant of Auriol’s first typeface Auriol. It has its roots in Modern Style and the discovery of the Asian pointed brush as a writing implement by Western calligraphers. Auriol and Robur were very popular in France deep into the 1930s.

Next up in chronology is Cassannet, used in two contrasting weights for the big headline “1924–2024, Cent ans de Jeux en France”. Released in 2011, it was designed by Ismael González and draws its inspiration from the constructivist Art Déco lettering style of A.M. Cassandre who, back in 1924, had just begun his stunning career as a graphic and type designer.

All remaining headlines are set from Mars. This sans serif was designed by Alaric Garnier, who took cues from Venus, a typeface published by the Bauer type foundry around the same time as Robur. It is available from Production Type in three widths, two of which are used here: Mars Condensed is what you see in the all-caps lines and in the intro to the text about Darleux, Mars Standard was used for “Je veux vivre les Jeux de Paris”. Not on view here is the widest style, Mars Extended.

The reading text is typeset in ITC Cheltenham, a narrow and thereby economic roman with short sturdy serifs and roots in the early 1900s. “Sommaire”, the headline to the table of contents, is set from Engravers Old English, a broken script stemming from about the same time. The “Football” and “Handball” headings appear to be reproduced directly from an old newspaper. It’s unclear if these words use handdrawn letters or a typeface – Basuto is similar.

The booklet and website for the University of Oregon Department of Art’s 2023 MFA Terminal Projects Exhibition are designed by creative studio FISK, using Tifo Palermo by Romain Tronchin and Graphik by Christian Schwartz.

Description of the project by the University:

Each year the terminal creative projects from our MFA candidates elevate and activate discourse and pleasure in the Art Department and across the College of Design with an ethos of fearless possibility. Their creative research of this year marks the 100-year anniversary of the University of Oregon Department of Art’s MFA degree program, making it the second-oldest MFA program in the country. To commemorate this significant moment in our program’s history, the 2023 Terminal Project Exhibition returns to the Jordan Schnitzer Museum of Art to be celebrated on the UO campus. The five artists showcased in this exhibition represent a diverse range of media and practices, spanning eco-feminism and social practice, to speculative fiction, fundamental joy, and ideas about representation through the materiality of painting.

October 29, 1923 marks the start of regular entertainment radio program in Germany. For the 100th anniversary a special stamp was released by the German Postal Service.

The stamp features the typographic message “Achtung Aufnahme! Bitte Ruhe” (the German equivalent of the “On Air” sign) on a bright red background. The sign stands as a strong symbol for the radio studio and the recording of a radio show. The typeface Guida is reminiscent of an original illuminated sign that can be found in the Deutschlandradio broadcasting center and served as a model. In addition to the stamp, two postmarks for Berlin and Bonn were created, as well as the border of the sheet of ten stamps. Printed in fluorescent red.

Mazzetti d’Altavilla celebrates 100 years of the famous Negroni cocktail with a special recipe based on Bitter, Gin, and Amaro Gentile all rigorously Mazzetti, wishing you “100 of these Negroni”.

To contrast the traditional design seen on the labels, Adore You has been used on the cardboard packaging. This handwritten script font with a big character adds a human touch and grants this case with a fresh casual look.

The Mazzetti d’Altavila logo is based on Trajan, which is also used for “Negroni Tasting Experience” inside the box. The three labels use a range of different fonts, the primary ones being Just Old Fashion and Selfish for Gin, HKF Gold Queen DLC for Bitter, and Mk Latino for Amaro Gentile.

This festschrift celebrates one hundred years and five generations of Anderson Concrete, a family business from Columbus, Ohio. From the foreword by Jessica Anderson, President:

It’s my distinct privilege to recognize and celebrate our first century of business at Anderson Concrete. From our humble beginnings as a sand and gravel hauling company in 1921, we have innovated, adapted, and sustainably grown to become a prominent and successful family business in central Ohio.

As our 100-year milestone was approaching, my family and I wanted to do something special to honor this accomplishment. We decided to create a commemorative book, which resulted in a 194-page culmination of our rich history, showcasing the family legacy, the lifelong relationships, and the generational grit and determination that got us where we are today.

The publication was designed by Zach Wilke and Neil Wengerd at Nonfiction. Copywriting by Brit Eaton, printing by Pressworks Inc.