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]

Justin Carder designed the cover for Joanna Howard’s novel Porthole, centered on a film director who may be responsible for an on-set death. Publisher McSweeney’s describes the book as “a portrait of an auteur at the peak of her powers and in the midst of an extravagant, albeit well-dressed, meltdown.”

Justin explained by email that he and co-art director Sunra Thompson paid oblique homage to film noir poster design, underscored by Sam Hadley’s atmospheric illustration. To simulate the angular hand lettering of the time period, Cortado’s curves are reduced to skittery straight lines, and Azo Sans takes on a rough finish.

Fonts from the Flea Market #1443

Georges Chelon (b. 1943) is a French singer-songwriter who released his debut album in 1965. In 1968, EMI Records brought out this compilation album to introduce him and his chansons to a German audience as well. Chelon’s name is set big and tight in caps from West Barnum, an exclusive by Photo-Lettering. Apparently it was important to the marketing department to make the singer’s country of origin crystal clear: not only was Chelon’s face colored in red, white and blue; a tricolore band was added to the sleeve as well.

Visual identity of the exhibition Process Work at the RISD Museum which uses Sprig with ATF Franklin Gothic as a support for body copy. The exhibition explores the development of photographic printmaking processes and traces its historical legacy into the present day. Starting around 1825, a widespread interest in reproducing visual information faster and more cheaply fueled an explosion of experimentation in photographic printmaking techniques, with wide-ranging effects across visual culture and the fine arts. This exhibition highlights those early experiments and innovations, as well as the culture of mass-market illustration and printed media into which they first unfolded.

Curated by Sarah Mirseyedi, Andrew W. Mellon Fellow for Prints, Drawings, and Photographs.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Bescheriel is the cousin* of the infamous Bescherelle. Like Bescherelle, it is both a guide and a book.

In this zine, you will find a non-exhaustive arsenal of weapons, all aimed at attacking the current grammatical order. The goal is to create a new non-order—fluid, inclusive, and neutral. Every weapon is valid, and every battle is a victory, even the defeats. But beware of the Immortals, the great conservators of what we will call the ‘old world.’ Their minions won’t hesitate to use trickery to better erase you and ban these weapons.

A pdf is available here. See also Issuu.

On June 14th we embarked upon a kayaking adventure that would take us across the entire Deh Cho river (also known as the Mackenzie River) in the Canadian Northwest Territories. The river begins on the Western shore of Tucho (also known as the Great Slave Lake) and flows all the way up to the Beaufort Sea (which is a part of the Arctic Ocean).

Our journey began on the beaches by the small town Xátł’odehchee (also known as Hay River) and for 54 days we would make our way towards our goal, a small Inuvialuit hamlet known as Tuktoyaktuk. During our voyage we visited small communities along the way, such as Zhahti Kue, Tthek'éhdélį, Łı́ı́dlı̨ı̨ Kų́ę́, Pehdzeh Ki, Tulita, Tłegǫ́hłı̨, Rádeyı̨lı̨kóé, Tsiigehtchic, Inuvik and Tuktoyaktuk.

The area we crossed during those 54 days was vast – the Northwest Territories are approximately four times the size of our home country Finland, but hosts a population of merely 44.000. (It is estimated that bears outnumber humans in the NWT.) The people who live on the land we travelled through are to the most part First Nations: Dene, Gwich’in and Inuvialuit.

Wherever we landed, we were met with warmth and kindness, and there was not a moment we didn’t feel welcome on the land. We learned a lot from the people we met and the discussions we had helped us gain a better understanding of what life was like in these remote areas.

Along us we naturally also brought our adventure flag – the standard underneath which we felt our journey to be blessed.

The design of the flag, as the journey itself, was a collaborative effort. Alone we are nothing. Christoffer designed the flag, Viivi did the caribou illustration, and Haije served as our seamstress.

On the obverse side the Dene name for the river (Deh Cho) is spelled out along with the year of our expedition. On the reverse side the abbreviated version of Tuktoyaktuk is written on top of a caribou. (The name Tuktoyaktuk can be translated into ”looks like a caribou”.)

The typefaces on the flag are three digital revivals of type from the late 1800s/early 1900s. Mark Simonson’s Etna (a revival of Aetna, William Hamilton Page, 1871) is used for the words Deh Cho, with the year being ATF Wedding Gothic (originally released by ATF as Wedding Gothic in 1901), created by the design team at ATF, and the name Tuk is set in Cottonwood – based on Gothic Tuscan Italian, Wells & Webb 1854. Adobe’s version was designed by Barbara Lind, Joy Redick and Kim Buker Chansler.

The resulting flag brought a smile to the faces of everyone who saw it, and the people we encountered were clearly impressed by our humble effort. The first photo with our flag was taken just when we were about to cast away, the final one when we had reached the end of our journey. The pictures that are in-between these two shows the land we paddled through but they cannot begin to tell all the stories, encounters and events we experienced.

Whatever the photographs lack in artistic quality they more than make up for as memories of a summer well spent.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

Motion campaign developed for National Arts Centre English Theatre’s Season 2024–2025. While using their already existing visuals, I was asked to develop a visual language encompassing typography, layout design and animation style that would span across six animated vignettes. The horizontal vignettes would be featured in the promotional campaign video, while the vertical vignettes would be shown on social media. I wanted the campaign to be bold, with each production being presented in a memorable and impactful way; the layout of each animated vignette resembling a movie poster.

Creative direction by no hands

Confidence by Rafael Frumkin is a novel about “scams, schemes, and the absurdity of the American Dream,” hence the book cover’s shifted and shadowed treatment of the “con” in “confidence,” set in ITC Franklin Gothic. The author’s name is set in Cortado.

Ichigo is a Japanese comfort foods cafe with a casual Americana atmosphere situated in Glasgow. Local design studio Everything Will Be Fine (EWBF), led by Kerr Vernon, configured a playful mix-and-match brand identity that ties the conceptual, visual, and experiential elements of the fusion concept together. As EWBF explains in their project overview,

Ichigo offer an expansive range of Japanese comfort foods. Sushi is made fresh daily in-house and can be ordered by the set or by the individual piece — allowing for creative mixing and matching to each individual’s taste. Our brand identity is inspired by the streets of Tokyo, Japanese minimalism and mid-century Americana. Mascots, Ichi and Igo play a central role in defining the visual language with hidden ingredients in their hairstyles.

The typography is neatly composed with moments of verve, putting it in play with the minimalist yet fun illustrations and colors. The wordmark is set in Borough Grotesk Regular, a revival of a 19th-century grot that also recalls the bold sans serif typography of Tokyo signage. The sturdiness of Borough Grotesk contrasts with a dynamically set Cortado, a brush script with mid-century flavor. Monotalic Medium, used for smaller copy, complements the blocky rhythm of Borough Grotesk while incorporating beats of cursive flair. The Japanese typeface used for “美味い” is Hiragino Kaku Gothic W8.

Learn more about the design at Creative Boom.

Cover for a re-release of Otis Redding’s Pain in My Heart on ATCO Records, using West Barnum Block with square dots, in all lowercase letters.

Pain in My Heart marks the first album of soul singer Otis Redding, who recorded the album for Volt Records, a subsidiary of Stax Records headquartered in Memphis, Tennessee. The album was originally in 1964 on ATCO Records, with a different cover designed by Loring Eutemey, using Grotesque No. 9. The image shown here is from a late 1960's reissue also credited to Eutemey on the back.

[More info on Discogs]

Deus ex Machina is a lifestyle brand rooted in Sydney, Australia. It was founded by Dare Jennings in 2006 and, at first, revolved around motorcycling, surfing, music and fashion. The mothership in Sydney, baptized with a wink “temple of boyish enthusiasm” still exists and plays a major role, but since the majority of the business went to a group of mainly Italian investors in 2017, the company meanwhile took its official seat in Milan. The shift behind the scenes had to do with the will to expand the business globally. Apart from uncountable points of sale, Deus ex Machina, in 2024, runs thirteen flagship stores called temples, either directly or under license, from Tokyo to Cape Town and Los Angeles. Far from being standardized, these stores each offer their own mix of products, services, food and community events.

The item featured in this post is a functional jacket named “Plenty“ from the Deus Customs series. Black and of a no-nonsense straight cut, it was designed at the Deus House of Simple Pleasures in Camperdown, Sydney. Its highlights are purely typographic and feature Brush Script (“Plenty Good”), an American classic from the 1940s, and Enfantine (“Deus Customs”), a script typeface designed by Jean-Baptiste Levée from Production Type. While the calligraphic idea behind the first is that of a pointed brush used in sign painting, Enfantine distinguishes itself by monolinear strokes, a wide rhythm with open counters, and by standing upright, a feature seldomly found in script typefaces.

Source: madoaparis.com Mado à Paris. License: All Rights Reserved.

When you close your eyes and think of Paris, three things will come to your mind immediately: the Eiffel Tower, madeleines, and upright cursive handwriting. We will show all three of them in this post.

Flour, powdered sugar, eggs, butter, and lemon zest are the basic ingredients for a madeleine. In France’s everyday life the madeleine is popular to accompany the morning coffee, but even more so for short breaks in the afternoon, for example the goûter children earn upon leaving school mid-afternoon.

A beacon of French pastry, many stories hover around these sponge cakes, from their scallop shape linking them to the pilgrimage to Santiago de Compostela, via a Polish king exiled in Lorraine who might have called these cakes madeleine in honor of his servant, to Marcel Proust’s seminal In Search of Lost Time where the dipping of a madeleine into tea ignites involuntary remembrance of childhood days.

Source: madoaparis.com Mado à Paris. License: All Rights Reserved.

Spread from the brand manual

The reference to the first name of its presumable inventor is paralleled in the name of the business portrayed here: Mado à Paris draws its title from the nickname of the owner’s beloved aunt Madeleine who passed her love for madeleines on to her niece. Promising to serve “the best madeleine of Paris”, the boutique-restaurant is placed in the very center of the city, just across the Tuileries Garden and – no joke – in direct vicinity of the Madeleine Quarter.

The art director responsible for the visual identity of Mado à Paris is Bastien Bouvier. He chose yellow as the principal color, evoking both eggs and lemon. The recurring illustration of a scallop-shaped madeleine is the second element of the design. What most coins the visual identity, though, is the lettering “Mado à Paris” in an upright cursive script. It is set from the typeface Enfantine. Designed by Jean-Baptiste Levée, it’s available from Production Type. Enfantine is complemented by the geometric sans-serif Maax, designed by Damien Gautier and published at 205TF.

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Box design featuring the logo in Enfantine and the claim and URL in caps from Maax

Enfantine is an intriguing typeface. On one hand, it combines script-like lowercase characters with “normal” capital letters which allows for all-caps typesetting. Secondly, it is cursive but upright – which might seem unusual to many but is perfectly common for French people: in their handwriting tradition the Ronde calligraphic style played an eminent role deep into the 20th century, largely influencing school scripts. You can see a typographic reflection of this style in Typo Upright, which is a variation of the tellingly named French Script. And to conclude with, the whole concept plus the monolinearity of the stroke clearly roots Enfantine in the 21st century.

All of the above makes Enfantine an excellent choice for this project: it alludes to the afternoon goûter, it conveys French tradition, but it also embodies innovation just as much as Mado à Paris in the field of madeleine bakery.

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Source: www.facebook.com Mado à Paris. License: All Rights Reserved.

Jar and label design for Trocadéro intense tea

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Jar design for Printemps de Paris tea

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Enfantine can also be found in raised letters on the chocolate bars.

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Assorted products including a jar of confiture de framboises (raspberry jam)

Source: madoaparis.com Mado à Paris. License: All Rights Reserved.

The logo above the entrance and on the floor of the restaurant-boutique at 252 Rue de Rivoli

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

And there it is: the other big star of Paris!

Source: www.instagram.com Mado à Paris. License: All Rights Reserved.

Mado à Paris logo on a pastry label and the shirt of a mobile vendor

Source: www.facebook.com Mado à Paris. License: All Rights Reserved.

Mado à Paris tricycle with the illuminated Eiffel Tower in the background

The Other Merlin (Emry Merlin Book 1)

Robyn Schneider’s young adult series Emry Merlin is a humorous, fantastical, and romantic take on the myth of King Arthur.

The first book in the series, The Other Merlin, originally launched with a different cover. With the launch of the second book, The Future King, designer Tony Sahara created a cohesive visual system for the series and redesigned the first book’s cover. The covers feature Cortado set at angle for the titles and Zen Kurenaido for the supporting text. The lighter color palette of the new covers and illustrated characters combined with the free spirit of the title font better reflects the series’ jovial and imaginative content and establishes a uniquely identifiable look.

The Future King (Emry Merlin Book 2)

Original cover and redesigned cover

Christopher Brian King designed a comical cover, with illustration by Andrew Rae, for Thank You for Your Servitude. In this journalistic account, Mark Leibovich follows the Republican Party’s culture of submission, sycophancy, and degradation of integrity surrounding Donald Trump’s presidency.

The cover depicts a cast of Republicans such as Mike Pence, Sarah Huckabee Sanders, Mitch McConnell, Ben Carson, and Sean Hannity bestowing Trump with their infamous expressions and the classic American offerings of ice cream and burgers. The on-the-nose ridicule compounds with Ivanka Trump shilling to the viewer a can of beans, crisis vacationers Chris Christie and Ted Cruz donning souvenir headgear, Lindsey Graham lap dogging, Rudy Giuliani demon-eyed and wined, and Jeff Sessions suited up as an elf.

Fist pumping Capitol insurrectionists riot in the distance, with QAnon Shaman Jake Angeli in the foreground wielding a flag of the subtitle, set in an orderly Gotham Condensed and free-flowing Cortado. The title on the large flag is also set in Cortado; the personality of the font paired with the language of the title reiterate the unironic and unsettling reality of this era of U.S. politics. “This Town” is added in House Slant, visually quoting the cover of that book from 2014.

This One’s for You is a young adult novel by Kate Sweeney, published by Viking, an imprint of Penguin Random House. The book follows the relationship and personal development of two ex-best friends as they embark on a road trip after their high school graduation.

Theresa Evangelista designed the book jacket by creating a narrative interplay with the composition of the illustration (by Nicole Rifkin) and text. On the left side of the cover, the character’s upward line of sight follows the angle of the title, set in Cortado (with an apostrophe customized by Evangelista). The italic movement of the title flows with the right side character’s wind blown hair and leads to her downward stare. The author’s name is set in caps from Trend Rough Sans One.

Designers John Gall and Madeline Partner designed the cover for the paperback edition of The Fortune Men, by Nadifa Mohamed. They evoked the novel’s early 1950s setting with the pairing of Cortado and Volta.

Thomas Brussig’s 2001 German-language novel Am kürzeren Ende der Sonnenallee is described as “a moving and miraculously comic story of life in East Berlin before the fall of the Wall.” For the first English translation, published by Picador as The Short End of the Sonnenallee, Cecilia Zhang designed a cover she describes as being influenced by the work of Paul Bacon. The strikingly sparse cover pairs strong use of Ballast with Zhang’s hand-drawn illustration and handwritten treatment for “A Novel.” Art direction by Alex Merto.

The Fairytale Life of Dorothy Gale by Virginia Kantra is a novel about personal and independent growth after heartbreak and humiliation, to be published by Berkley, an imprint of Penguin Random House. The yellow road, blue dress, and red shoes on the cover nod to the book’s inspiration, The Wizard of Oz. To match the illustrated background, the title is rendered in a painterly version of Cortado. The supporting text and author name are set in Brandon Grotesque.