Front cover featuring the boys hitching a carpet ride - with their group name and the album title set in Photo-Lettering's Green Buzzard, released earlier in 1970.

Get Into Something (1970) is the Isley Brothers’ eighth studio album and their third on T-Neck, the label they founded six years earlier (at the time, it was distributed by Buddah Records). The album followed the double whammy of It’s Our Thing and The Brothers: Isley, both released in 1969.

The album’s title track includes some very impressive breakbeats (someone should sample them!) by George Moreland, and the track “Keep On Doin’” was interpolated without credit by James Brown into “The Grunt” by the JBs the same year.

[More info on Discogs]

Back cover featuring the group name and album title (still set in Buzzard) in a significantly larger size – group name in purple, album title in black. Track list and credits set in Helvetica Medium.

Inner gatefold featuring the Isleys (although… two-thirds of them are seen in this photo, Ron unfortunately isn’t). Names and availability notice set in Helvetica Medium.

Champ is used in Self-titled’s branding for Hoopla to bring a playful, versatile voice to the family entertainment centers. The typeface is scaled and adapted across the logo, communications, and digital platforms, helping express the brand’s promise of “Entertainment Unlimited” while remaining clear and engaging on mobile devices. Secondary text is in Degular and Degular Mono.

Do Princesses Wear Hiking Boots?, Rising Moon Books (Muddy Boots Books), 2003

Do Princesses Wear Hiking Boots? is a 2003 children’s picture book written by Carmela LaVigna Coyle and illustrated by Mike Gordon with Carl Gordon. The book presents a young girl asking her mother a series of imaginative questions about what princesses can and cannot do, ultimately reinforcing the idea that being a “princess” is about inner qualities rather than strict rules or appearances.

The visual style combines soft watercolor illustrations with expressive, playful typography that complements the childlike tone of the story. The title lettering has a whimsical, hand-drawn appearance that reflects curiosity and imagination, while the lighter, more decorative text elements enhance the gentle and reassuring mood of the narrative. The type helps communicate themes of self-acceptance, individuality, and breaking traditional stereotypes, aligning with the book’s message that children can define themselves freely.

The title and credits are set in Randumhouse, whose irregular, slightly uneven letterforms reinforce the informal, storybook feel and visually echo a child’s handwriting, making the design feel approachable and personal.

Subsequent books in the series use likewise use Randumhouse for the title, now paired with Fairfield – which is also the typeface used for the interior (not shown).

Do Princesses Scrape Their Knees?, Rising Moon Books/Muddy Boots Books, July 2006

Do Princesses Have Best Friends Forever?, Taylor Trade/Muddy Boots Books, December 2010

Do Princesses Make Happy Campers?, Taylor Trade, February 2015 

Marcia Seligson’s debut book about “America’s way of wedding” was first published by William Morrow in May 1973. This is the cover of Bantam’s paperback edition (Y8255) from June 1974. The cover art is by Eldon Dedini, the title typeface is Didoni. This follower of Pistilli Roman was issued by Phil Martin’s Alphabet Innovations in 1969. It’s used with many of its distinguishing swash forms.

From the back cover:

Peek through the keyhole—you are an uninvited guest, taking a look at America’s continuous parade of weddings, the $7-billion-a-year satin, lace and orange blossom jamboree—from coast to coast, from pink mashed potatoes to heart-shaped swimming pools.

Letterpress poster in 70×100cm printed from traditional wood type (Dalmazia Serie C by Xilografia Italiana) in 50 Cicero (225 mm). Since I only have the set in uppercase, it is a bit hard to identify. Oh boy, how I would love these lower case sorts! But since I bought it from Italy, it makes sense that is by Xilografia Italiana.

The smaller written info cast from hot-metal is Ludlow Condensed Gothic. And all over and between are many historic and a few new photo plates. 

Made for Salomon Départ, Annecy. In celebration of “Post Park Skiing”, these kids really ski everything. ♥

Miss May Does Not Exist, by Carrie Courogen, with cover design by Danielle Christopher, photograph by Bill Ray from The Life Picture Collection, and typeface Nobel by Frere-Jones Type.

The book is the riveting biography of comedian, director, actor and writer Elaine May, one of America’s greatest comic geniuses. May began her career as one-half of the legendary comedy team known as Nichols and May, the duo that revolutionized the comedy sketch. Published by St. Martin’s Press in 2024.

An early use of Spring from July 1970, for the Fall/Winter 1970 edition of Spiegel’s mail order catalog. The claim reads “great things are happening at SPIEGEL”, in red letters, set right-aligned with one word per line.

In his latest book Macht im Umbruch (“Power in transition”), political scientist Herfried Münkler weighs in on the challenges facing the EU: internal power struggles, external threats, and Germany’s role in all of this. First published by Rowohlt, this is the book club edition by Büchergilde Gutenberg. For the jacket design, Kosmos went with a variation of the stacked and interlocked approach: to visualize the theme of disruption, they aligned select lowercase glyphs to the cap height.

Mother Design created the new brand identity for Brooklyn Org, formerly known as Brooklyn Community Foundation, the first and only public foundation solely dedicated to Brooklyn’s charitable community. Community Gothic—a typeface created by Frere-Jones Type—was a perfect, serendipitously named fit for type, with its diverse styles and human qualities.

From Brooklyn Org:

Inspired by the density of Brooklyn, the visual direction created by Mother Design, which worked on the project pro bono, pays homage to the close-knit, diverse community that makes up the borough and feeds its sense of ambition and confidence, both at an individual and collective level.

From the Victoria and Albert Museum:

‘Work Buy Consume Die’ is the slogan of the imaginary Pho Ku Corporation invented by The Designers Republic, a Sheffield based graphic design agency. Disenchanted with corporate driven consumerism in the 1990s, but acknowledging their role as a brand agency in the process, The Designers Republic devised an anti-corporate identity to counter the forces of global branding. The design is inspired by Japanese graphic design and also subverts the Pepsi Cola logo as a comment on the force of global branding.

The primary font on the poster is Amalgamation, which can also be seen on The Designers Republic’s covers for Pop Will Eat Itself and in the Wipeout series of games. The smaller text uses Helvetica. Below the barcode in OCR-B is the text “NO47H OF NOWH343” — leetspeak for “north of nowhere”, referencing The Designers Republic’s location in Sheffield.

The Japanese text, which reads “Wasu Cola”, may be custom lettering. “Wasu” (ワス) is meaningless, but was chosen for its resemblance to the letters DR.

Another version, with slightly different text

On display in the Ginza Graphic Gallery in 2011

Mallory by Frere-Jones Type is the typeface used for Yayoi Kusama: Infinity Mirrors, designed by Miko McGinty. Published by the Smithsonian’s Hirshhorn Museum and Sculpture Garden and DelMonico Books, this is the first publication to focus on Yayoi Kusama’s Infinity Mirror Rooms.

Yayoi Kusama: Infinity Mirrors was the companion guide to the Hirshhorn Museum and Sculpture Garden’s exhibition which celebrated the legendary Japanese artist’s 65-year career and was one of 2017’s essential art experiences.

From DelMonico Books:

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with Phalli’s Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama’s “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Front and back cover for the 11th issue of Mosaïque magazine entitled “La fabrique du silence”. The artistic direction behind the covers and the magazine is realised by Alexandre Créquer, the 3D work for the padlocks and keys are created by Valentin Gaubert and Yann Genty. The title is set in Mosa Thin, while the subtitle and additional information appear in Neue Haas Grotesk. The logotype is a custom lettering designed by Alexandre Créquer.

From publisher William Collins:

“An accessible and crystal-clear portrait of this discipline’s breadth, largely told through its history” — Phil Ball, Physics World

Einstein’s Fridge tells the story of how scientists uncovered the least known and yet most consequential of all the sciences, and learned to harness the power of heat and ice.

The hardcover (2021, see last image) uses the same image but with smaller type.

Alias Ano is used throughout.

Hardback cover design

As a long-awaited rematch to their July 2024 clash, former champion Kazuto Ioka once again stepped into the ring with Fernando Martínez, fighting for the WBA Super Flyweight title. After twelve hard-fought rounds, Ioka fell short, with Martinez securing a unanimous victory and the belt.

We created the key visual and poster design for ABEMA, the major Japanese streaming platform that broadcasted this event. The campaign title, “The Great Revenge,” captured the intensity and anticipation surrounding the showdown between these two world-class fighters.

The poster design leaned heavily on Big Caslon but also incorporates STIX for the date (12.31) as deliberate cohesive accent . A customized Sloop Script for “The” introduces contrast while simultaneously tying the composition together, giving our work a distinct and artistic, yet unified, design.

Lillian and Madison were unlikely roommates and yet inseparable friends at their elite boarding school. But then Lillian had to leave the school unexpectedly in the wake of a scandal and they’ve barely spoken since. Until now, when Lillian gets a letter from Madison pleading for her help.

Nada para ver aqui (“Nothing to see here”) by Kevin Wilson is the fifteenth publication by TAG Livros, a Brazilian surprise book subscription service / publisher. The cover typography by Túlio Cerquize is set in BadTyp by Zavier Leslie Cabarga.

Terza Display in use by Yotam Hadar for the Soloviev Foundation Gallery – part of the Soloviev Foundation which in turn is part of the Soloviev Group, “dedicated to supporting the efforts of those working across humanitarian, environmental, and educational causes”.

From The Soloviev Foundation Gallery’s accompanying essay by Samuel Allen:

Materials that flow, blend, and morph have the power to unsettle familiar distinctions: this merges with that, here moves there, inside unfolds into outside, singular becomes plural. something you cannot hold presents a selection of artists who have cultivated working methods and modes of description characterized by fluidity.

The exhibition is organized as a sequence of dialogues between photographic work by four contemporary artists and artworks from The Soloviev Foundation spanning multiple eras and media.

The essay is set in Terza Reader, and the gallery logo uses Founders Grotesk.

The Kandy Kolored Tangerine-Flake Streamline Baby is the first book by Tom Wolfe, originally published in 1965 with a jacket design by Janet Halverson featuring colorful script lettering. The paperback edition by Pocket Books initially used script lettering, too, albeit in black and in a less elaborate rendering.

Starting around the 10th printing from 1973, it was superseded by a typographic solution using Bauhaus Prisma. Ed Benguiat multiline extension of his Bauhaus Geometric comes in sixteen variants. The one used here, Bauhaus Prisma N, has bold solid letterforms decorated with a pair of hairlines. The latter were separated and printed in tangerine red, thus resembling the stripes on candy canes.

The new Broadway production of Othello, directed by Kenny Leon, features Denzel Washington as Othello and Jake Gyllenhaal as Iago. Set in a modern military environment with minimalist staging, the play blends contemporary elements like fatigues and suits with Shakespeare’s original text. Washington portrays Othello as an older, seasoned leader, while Gyllenhaal makes his Shakespearean debut as the manipulative Iago. The merchandising T-shirts and hoodies featured the Ceraph typeface, designed by Emma Piercy.

The communication of the 2023 edition of the Mart Stam Preis, designed by Vreni Knödler, uses a mix of Self Modern and TWK Lausanne for the texts and headlines

Since 1997, the Mart Stam Society has awarded prizes annually for the best final projects at the Weißensee Academy of Art and Design in Berlin. Students from all disciplines can apply for the Mart Stam Prize, and the selection is made by a jury composed of external experts and members of the Mart Stam Society. The prize consists of a joint exhibition and the publication of a bilingual catalog.

The 2023 selection included Sara Hassoune, Birgit Kunz, Jung A. Lee, Marie Lempelius, Nicolas Papayannis, Belen Resnikowski, and Johannes Schmidtner. The catalog was published in June 2024 by Verlag Kettler.

The Saddest Summer of Samuel S is a novella by American-Irish author J.P. Donleavy (1926–2017), first published by Delacorte Press, New York, in 1966. Harry Willock provided the typographic cover design for the British paperback edition from 1968 ( Penguin Books 2832) shown here, featuring contoured caps from Cooper Black, filled with a rainbow gradient.