Sziget, one of the largest music festivals in Europe, is held every August in Budapest, Hungary. The campaign graphics for Sziget Festival 2026 feature Offset TM and Bootzy TM.

The contrast between rigid structure and loose rhythm reflects the festival’s scale and chaos: thousands of people, multiple stages, a wall of visuals.

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.

This children’s publication was created as part of the Primo! project by the Krupa Art Foundation. It’s an activity book inspired by works from the KAF collection, encouraging children to explore what collecting means and how diverse it can be. Printed using the Riso technique at the Effemera print studio in Wrocław – each copy is unique!

Published by Krupa Art Foundation in a limited edition of 400 numbered copies, this 14.8×20.8 cm book was conceptualised and written by Magdalena Kreis and designed by Paweł Mildner.

Since its inception in 1992, the Freundeskreis Haus Coburg e.V. and its members have supported the Städtische Galerie in Delmenhorst in real­ising a lively exhibition program of modern and contemporary art. They enrich the museum’s program with advice and assistance, offer financial support for art purchases and provide creative culinary delights.

An article on the Haus Coburg website quotes Annett Reckert, former director of the Städtische Galerie Delmenhorst, on the productive collaboration with the Freundeskreis: “One of the real specialties of the Freundeskreis Haus Coburg over the past decade has been the liaison between art and cuisine”.

For their 30th anniversary, a party was held under the motto “zusammen” (German for “together”). With the Empty style of HAL Vincent, we found the perfect match for the title design. The accompanying booklet is set in Space Grotesk and FK Grotesk Neue.

Huxley Vertical is used for the credits at the bottom of this poster for Attack of the 50 Foot Woman. The woman is question is played by Allison Hayes and appears in this poster as much taller than 50 foot, I reckon. It’s a curious choice to use a 1930s Art Deco style font in a 1958 movie that continues the decade’s sci-fi trope of particularly large (or sometimes small) people.

“ATTACK OF THE 50FT WOMAN” appears to be in Alternate Gothic No. 1. The word “starring” (left of the credits) may be in News Gothic Extra Condensed. The art for the poster is by Reynold Brown (1917–1991). No typographer is credited.

Wikipedia now attests to the movie’s cult status.

Detail from the credits

OpenAir Gampel is one of the biggest music festivals in Switzerland and takes place every August in the beautiful Canton of Valais. In 2023, Steiner Grafik redesigned the identity of the festival exclusively using RT Rondelle for all applications ranging from posters and animations, to the website and on-site signage. Since then, Steiner Grafik has refreshed the visuals every year while keeping the framework consistent, providing a sense of positive familiarity.

Not of This World, 1973

Two books by Peter Kolosimo (1922–1984), one of the founders of pseudoarchaeology who popularized ancient astronaut theories of contact between extraterrestrial beings and ancient human civilizations, published by Bantam Books in the 1970s.

The titles are set in caps from West Behemoth (1960), with contour and drop shadow. The author’s name and the teasers use the similar – but much older – Egyptienne Bold Condensed. Caledonia is used for the lists of topics, with ellipses for the first book and question marks for the second one.

Timeless Earth, 1975

Sonic Acts is an interdisciplinary arts organization based in Amsterdam presenting new developments in electronic and digital art forms. Their biennial international festival is an art, theory and technology gathering motivated by changes in the ecological, political, technological and social landscape.

The visual identity for Sonic Acts 2024 edition “The Spell of the Sensuous” was designed by Anja Kaiser and Knoth & Renner, who also programmed the accompanying website. The design pays homage to Georgia O’Keeffe, an artist renowned for her mythic and uninhabited landscape masterpieces. Channeling her distinctive palette, the visuals employ earthly and lively hues hinting at images beyond human senses – a mystical entrancement in O’Keeffe’s landscapes or the liquid interconnectedness of (non)beings.

In An American Place, 1941, remarking on the sensuously intimate and familial act of noticing nature, Giorgia O’Keeffe wrote: “in a way – nobody sees a flower – really – it is so small – we haven’t time – and to see takes time like to have a friend takes time.”

The typographic gesture assumes the roles of observer, chronicler, and perpetual traveler, traversing the linear notes of monospaced typography. Intertwined with the typography, asemic writing plays the role of silent companions. These signs defy conventional decryption methods, evading semantic clarity. Instead, they beckon us to embrace subjective, inquisitive interpretations, inviting us to delve into uncharted territories of understanding.

The visual identity combines the open-source typeface Geist, used for title typography, with CMM Coda in Proportional, Proportional Normalized and Mono Serif cuts, used for body copy and small print.

From Wikipedia:

Ruth Alston Brown (née Weston; January 12, 1928 – November 17, 2006) was an American singer-songwriter and actress, sometimes referred to as the “Queen of R&B”.

On the cover of her 1962 album Along Comes Ruth, there are two main typefaces. Her name and the title are set in different colors and all-lowercase italic letters using Matterhorn. The sans used for the list of song names at the top are set in Gothic Condensed No. 529.

[More info at Discogs]

The Théâtre Olympia, Centre dramatique national de Tours is a national public theatre in Tours, France. When Bérangère Vantusso was appointed director, she commissioned Cylindre Studio to design a new visual identity. Cylindre used Rillus and Self Modern throughout the visual communication system.

Visions is an ongoing periodical published by the Los Angeles-based wine store Psychic Wines. Each issue features reviews of selected wines and other written contributions by guest writers. James Anderson is responsible for the magazine’s design. Volume 66 was released in February 2024 and typeset in HAL Timezone – as well as HAL Twins for the cover’s masthead, both published by HAL Typefaces. The sans is Dinamo’s ABC Monument Grotesk.

The album title’s typeface is Filmotype Rodgers with a rare sighting of its lowercase letters, while the track list is set in Vogue Extra Bold. Cameo’s catalog number is added in Venus Bold Extended.

Theodore “Teddy” Wilson (1912–1986) was a jazz pianist and band leader. According to Wikipedia,

[h]is style was highly influenced by Earl Hines and Art Tatum. His work was featured on the records of many of the biggest names in jazz, including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday, and Ella Fitzgerald. With Goodman, he was one of the first black musicians to perform prominently alongside white musicians.

[More info on Discogs]

Auf den Schultern von starken Frauen (“On the shoulders of strong women”) is the title of an anniversary brochure on 40 years of the Bundesarbeitsgemeinschaft kommunaler Frauenbüros und Gleichstellungsstellen (BAG), the German Federal Working Group of Municipal Women's Offices and Equal Opportunities Centres.

The brochure presents the historical development of the BAG from 1984 to 2024, coupled with personal experiences and adventures as well as an outlook on future work. It describes the work of the BAG from its inception to the present day. How did the association come about? How was it possible to build a network? How did East and West grow together? How could gender issues be brought into the mainstream?

studiokwi was in charge of project management, barrier-free conception, design and typesetting using Marund and Atkinson Hyperlegible, as well as pre-press of the print publication and screen reader optimisation of the two PDFs.

Published by the Bundesarbeitsgemeinschaft kommunaler Frauenbüros und Gleichstellungsstellen.
Editorial team: Dora Busch, Lilian Schwerdtner, Maja Loeffler, Elke Quandt, Sonja Reese-Brauers, Anke Spiess, Christel Steylaers, Silke Tamm-Kanj.
Print: Hinkelstein

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]

Groovin’ with the Soulful Strings, Cadet LPS-796, 1967. Photography by Don S. Bronstein. [More info on Discogs]

From Wikipedia:

The Soulful Strings were an American soul-jazz instrumental group formed in Chicago in 1966. Predominantly a studio band, the project was created and led by Richard Evans, a staff producer and musical arranger with the Chess Records subsidiary Cadet Records. […] Between 1966 and 1971, the Soulful Strings released six studio albums, all recorded at Chess’s Ter Mar Studios, and one live album.

With the excption of the 1966 debut, Paint It Black, and the last album from 1970, The Soulful Strings Play Gamble-Huff, all albums feature Bulletin Script Two for the cover typography in one form or another. The left-leaning, bottom-heavy script is used in all caps, with various amounts of stretching. In most cases, the secondary typeface is News Gothic (see the captions for exceptions). Jerry Griffith is credited with the design of all shown covers.

Another Exposure, Cadet LPS-805, 1968. Photography by Ruyell Ho. [More info on Discogs]

The Magic of Christmas, Cadet LPS-814, 1968. Photography by Ray Klein. [More info on Discogs] The song names are set in News Gothic Extended.

The Soulful Strings in Concert, Cadet LPS-820, 1969. Photography by Jerry Griffith. [More info on Discogs] The small type again uses News Gothic Extended.

String Fever, Cadet LPS-834, 1969. Photography by Jerry Griffith. [More info on Discogs] The second line (in purple) is in Mercator Cursief, the italic style of Mercator. Amsterdam Continental integrated this typeface into the Standard series – the export name of Akzidenz-Grotesk – and sold it in the US as Standard Italic. See this post on FontID.co for more information.

Via a suggestion by Javi Gonzales

The cover of this 1975 reissue of Music for Voice and Guitar from 1965 (LSC-2718) features a painting by Texas artist Tony Eubanks – and the elusive Bookman Meola.

The swash-laden Bookman interpretation was made in a single upright style and advertised by Berthold Fototype in September 1970. Initially listed without source information, a later catalog from 1982 credits the design to Robert Trogman’s Facsimile Fonts. In the first line, all but one letter (u) use swashy alternates. In the second one, the uncredited typographer showed more restraint and swashified only the caps and the f.

[More info on Discogs]

Crazed Hipsters is the only studio album released by Finnigan and Wood, a band formed by keyboardist Mike Finnigan and guitarist Jerry Wood. The gatefold LP was released by Blue Thumb Records in 1972.

Designers Ruby Mazur and Alan Sekuler combined photography by Charles Bush with two similar typefaces: band name and title on the front cover use a light weight of Syncopation, with the appropriately tight letterspacing including overlapping and nested glyphs, and the alternate e with diagonal bar. The song names on the back and the credits on the inside are set in Slenderella Refined, another extralight geometric sans from 1970.

[More info on Discogs]

The painting on the right side of the gatefold is by Californian artist Burt Shonberg (1933–1977).

Radiowa Akademia (The Radio Academy) is an open, experimental, and engaged urban school, organised by Radio Kapitał and funded by the City of Warsaw. It serves as a space for exploring and discovering new areas of culture, including both common grounds and points of tension, through sound and radio practice.

From the Radio Kapitał website (translated from the Polish):

Radio Kapitał is a community-driven, online radio station broadcasting 24 hours a day, 7 days a week. It is a modern platform for social and artistic dialogue, offering original programs on culture, society, history, literature, art, and music in a wide variety of genres. Radio Kapitał also responds to the need for creating an independent and non-commercial space for expression and grassroots initiatives—not for profit, but for personal satisfaction and social benefit. It is an innovative cultural project on a national scale that, while rooted in the rich tradition of radio broadcasting, sets new horizons for the radio medium.

The identity for the 2024 edition was designed by TEKIO using their own typefaces, Dioda and Tekio Grotesk.

Hot Jazz: The Guide to Swing Music is the English-language translation of Hugues Panassié’s Le Jazz Hot (1934) – which discusses the music genre of swing music and its differences from Jazz music – originally translated from the French by Eleanor & Lyle Dowling for M. Witmark & Sons in 1934. Shown here is the the dust jacket of the rare British 1936 print by Cassell in London.

The purely typographic design exclusively uses typefaces from Rudolf Koch: the multiline Prisma for the title, supplemented by Kabel with the italic and Black styles.

Original Goodies is a doo wop compilation put together by Diane Dadaian and Harry Ringler for Time Records and released as TIME 52082 in 1963.

The purely typographic cover was designed by Murray Stein and typeset at The Composing Room, Inc., making the most of Filmotype’s library. In addition to nine originals by the phototype pioneers from Illinois, including Quick for the title and Falcon for the artist names, there are three foundry typefaces which were adapted to Filmotype’s two-inch film strip format: Latin Wide, Cooper Black, and Microgramma Bold Extended. These are listed in Filmotype’s catalog as LW, COP6, and MM56. Wand is the only typeface to appear twice in the song names, for “Sherry” and “Lullaby”.

[More info on Discogs]

Text on the back cover is set in Alternate Gothic and News Gothic.