Bad Head is a monthly event held every third Thursday at Pintology, a craft beer and whisky bar in Sasazuka, West Tokyo. The series features vinyl DJ sets, craft beer, and distinctive posters designed by Ian Lynam since the beginning. Many of them feature various Future Fonts fonts.

This poster seems to exist only on Instagram, but it’s an exemplary use of Superfluous. Ian goes all in, using, abusing, and overusing its features and emoji to turn the composition into a delightful postmodern mess. The supporting typeface appears to be a customized Copperplate Gothic.

Tru Calling is an American TV series that aired from 2003 to 2005. It was canceled after only a few episodes of its second season. The story centers on Tru Davies (played by Eliza Dushku), a young woman with a unique calling. Working at a city morgue, she has the ability to hear the pleas of the recently deceased. When one of them asks for help, time rewinds to the beginning of that day, giving Tru a chance to prevent their death and change the course of events.

The logo of the show was designed by using Copperplate Gothic. This version was used for promotional purposes only. The second version was created by using Rotis SemiSerif. This typeface was also used throughout the opening credits for the actors credits.

Opening credits with Rotis SemiSerif

I have developed the launch campaign for Biche, a luxury pet beauty brand based in New York City and founded by Alex Pauly. Centered on the tagline “Beauty for the Beast,” the concept reimagines 1980s masculine fragrance ads, with photography by Ryan Duffin. The campaign features men alongside their dogs, utilizing tightly spaced Goudy Oldstyle. This typographic choice references Ford’s 1984 “Forward Thinking” advertisement.

Designed by Miko McGinty and Rita Jules, and featuring Retina by Frere-Jones Type, Prospect 4. The Lotus in Spite of the Swamp by Trevor Schoonmaker was published by DelMonco Books/Prestel in 2017. The cover typeface is LTC Kennerley.

Accompanying the international triennial Prospect New Orleans, Prospect 4. The Lotus in Spite of the Swamp, the publication features work by 73 artists and arts collectives illustrating transcultural connections through contemporary art. The fourth iteration evokes New Orleans's natural environment–surrounded by bayous, lakes and wetlands near the mouth of the Mississippi River–and alludes to the city’s unique cultural landscape as a creative force.

The Mind of a Mnemonist presents the psychological case of Solomon Shereshevsky, a.k.a. “S.”, a man with highly advanced memory.

From the inner flap:

Written by Alexander Romanovich Luria (1902–1977) – often is credited as a father of modern neuropsychology – the book was translated to the English by Lynn Solotaroff. Shown here is the jacket of the first English edition, published by Basic Books with a foreword by Jerome S. Bruner. Loretta Li’s design uses Benguiat Montage Extra Condensed and Copperplate Gothic Extended.

The Bienal de Arte Flamenco de Málaga is a cultural gathering that celebrates flamenco as an artistic expression and living heritage. A space for exchange and visibility around cante singing, dance, and guitar playing, it highlights flamenco tradition and its connection to the city, bringing together artists, audiences, and diverse contexts around a deeply rooted culture. It took place in Málaga from May 27 to August 2, 2025.

To develop its visual identity, we began with a process of research and visual archaeology, diving into flamenco posters from the 1970s and 80s. We were interested in reviving their way of communicating: the typography, the abundance of text, the colors, and that distinctive style characteristic of popular graphic culture. With respect, we reinterpreted this tradition through a contemporary lens, preserving the authenticity, energy, and passion of flamenco.

For the main masthead, we opted for a combination of 20th-century typefaces, bringing together Umbra and Copperplate Gothic. The dialogue between Umbra’s expressiveness and play of shadows and Copperplate Gothic’s solid, classical character creates a headline with presence, personality, and a certain timeless quality. This pairing strengthens the identity’s character while connecting it to the graphic tradition that inspired the project.

For secondary information, we used Annonce and, for residual information, Futura. A project with a highly typographic character. A revision of flamenco aesthetics brought into the present day.

For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.

Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.

At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.

Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.

The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.

The new identity has already been rolled out to the company’s Instagram and Facebook profiles.

The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.

This catalog was published by GrandPalaisRMN on the occasion of the exhibition D’un seul souffle. Claire Tabouret at the Grand Palais from December 10, 2025, to March 15, 2026.

The catalog showcases the contemporary artist selected to create, in collaboration with the workshops of a master glassmaker, the stained glass windows of the Pentecost in Notre-Dame Cathedral in Paris, as part of its restoration. The history of this project is recounted from a humanistic and universalist perspective.

The graphic design of this book was entrusted to French graphic designer Lisa Sturacci. She used Goudy Oldstyle (ATF) for the titles and Immortel Infra​​​​ (Clément Le Tulle-Neyret, 205TF) for the body text.

This ad for Palmolive soap was published in the February 1928 issue of Photoplay magazine.

The tagline “Soap From Trees” is in Goudy Open. “Nature’s Gift to Beauty” is in ATF Garamond Italic, using the alternate swash N. Goudy Oldstyle is used for the body text. The subheadings use Cloister Italic.

ATF Garamond is also used for “Palmolive Radio Hour” and the following paragraph. The small text at the bottom right is in Goudy Italic.

Ragtime

From Paul Dini & Chip Kidd’s Batman Animated (1998):

These imaginatively rendered title cards were a high point of each Batman episode. While some (like “Harley’s Holiday” and “Time out of Joint”) were character portraits, most often the cards depicted an emotional impression of the given episode’s theme. According to Eric Radomski, who designed many of the cards, “Going with the overall retro-forties feel we were giving the show, we wanted to treat the episodes as mini-movies. The title cards allowed us to create great drama in a very subtle fashion. It was a process of trying to capture what the overall episode was, and not just show a scene or moment from it.”

Most of the title cards of Batman: The Animated Series’ first season (which first aired in 1992–1993) use fonts that were available from Letraset.

See also the post on the series’ logos.

Engravers Old English

Pendry Script

Rundfunk

Commercial Script and Compacta Italic

Pendry Script

Cable (Kabel) Light

Univers 49

Brody

Univers 49

Peignot Medium

Alpin Gothic

Plaza

Pendry Script and Compacta

Windsor Bold Outline

Compacta

Plaza

Peignot Medium

Brush Script

Microgramma Medium Extended

Mistral

Compacta Bold Outline

Univers 49

Goudy Handtooled

Mistral

ITC Benguiat

Brody

Univers 49

Plaza and Univers 49

Mistral

Laser

Univers 49

Stencil Bold

Univers 49

Univers 49

Papyrus

Berling Bold

Mistral

Mistral

Ragtime

Berling Bold

LCD Outline

Cloister Bold

Shatter

Helvetica Extra Light and Medium

Goudy Extra Bold

Freestyle Script and Flash

Plaza Inline

City Medium

Murray Hill Bold

Plaza and Univers 49

Ragtime

Tarragon

Compacta Outline

Titus Medium

Augustea Open

Cortez

Solid Air is the fourth studio album by English musician John Martyn. It was recorded at Sound Techniques Studio in London in 1972 and released by Island Records in 1973.

The picture was taken by John Webster using the schlieren photography process (see a video explanation), usually used by physicists to study airflow. (I’d suspect the picture was taken using a tricolor filter, with four candles behind a hand, and was rotated by 90 degrees afterwards)

The sleeve design is credited to designer Fabio Nicoli (sometimes credited as Fabio Nicoli Associates for other album covers).

Goudy Oldstyle is used with tight letterspacing for the artist’s name and album title. They are displayed on the same line, using the same font and color, the name being in uppercase and the title in lowercase.

[More info on Discogs]

Album cover for the soundtrack by Ernest Gold, composer of Exodus [More info on Discogs]

Judgment at Nuremberg depicts a fictionalized version of the Judges’ Trial of 1947, one of the twelve Nuremberg Military Tribunals conducted under the auspices of the U.S. military in the aftermath of World War II. Stanley Kramer’s 1961 film about the trial of 16 Nazi jurists and lawyers is based on a courtroom drama written by Abby Mann. It featured some of the best actors working in Hollywood at the time, including Spencer Tracy, Burt Lancaster, Richard Widmark, Werner Klemperer, Marlene Dietrich, Judy Garland, William Shatner, Montgomery Clift, and an Oscar winning performance by Maximilian Schell. The film won three Academy Awards in total and was nominated in nine more categories.

Both the theatrical release posters and the cover of Ernest Gold’s soundtrack feature the compressed Inserat-Grotesk as the primary typeface.

One Sheet (27″×41″) poster

Six Sheet (79″×80″) poster

An advert from the early 1940s places the Bonmatí pharmacy at the upperside of the Rambla in Figueres, in the Catalonian region of Girona. Although the pharmacy moved to a new address few years ago, the old signage is still preserved at its original location. At the new address, the Bonmatí family preserves a ceramic sign and the cabinet that was used to store the labels for the pharmacy’s products. Typography and lettering, letterpress and lithography. A few millimetres of paper were used to create small graphic universes to organise the categories of pharmaceutical products.

“Para tomar a cucharadas” and “Jarabe de savia de pino”: Neo Futura (Neufville’s name for Futura Black), Grotesca ancha nueva (Gans), and Antigua Mercedes (Neufville’s name for Tages-Antiqua)
“Uso indicado” and “Uso interno”: Romana estrecha negra (Fundición Tipográfica Nacional)
“Veterinaria” (and also “Fricciones”, “Inhalaciones” etc.): Cleopatra negra (Iranzo)
“Alcohol 96”: Futura (Neufville/Bauer)
“Tintura de Yodo” (and “Alcohol alcanforado”): Futura chupada, Neufville’s name for Futura Condensed
“Agua picrica”: Predilecta (Iranzo’s version of Kristall-Grotesk)
“Limonada purgante”: Grotesca Mercantil (Gans; see Longina)

“Agua de azahar”: unidentified typeface

“A toques”: Bernhard-Kursiv fett (Bauer)

Rows 1–3: Romana estrecha negra (serif) and an unidentified sans
Row 4: Predilecta
Row 5: “Bicarbonato de sosa” is in an unidentified typeface that has several glyphs in common with Roundhead and is also very close to Runic Grotesque (but with asymmetrical T). “Una cucharadita cada 2 horas” is in Venus Bold (Bauer).

Row 1: Fresko a.k.a. Cartoon (Bauer) with Predilecta
Rows 2–4: Antigua Mercedes, Futura, and Cleopatra. The labels in the last row additionally features Grotesca ancha nueva (“Puncem”) and Futura Condensed.

Top left (“Timol”): a local version of Zeitungs-Grotesque (Grotesca ancha by Gans, Grotesca negra by FTN, or Fette Grotesk by Bauer), Venus, Futura chupada negra, Bodoni, and a local version of Copperplate Gothic (Helénica ancha by Gans or Espartana estrecha by FTN)

Top right (“Callicida”): an unidentified wide grotesk, Futura, Venus

Bottom left: both weights of Cleopatra, Futura Italic, Grotesca ancha nueva, and a fine Bowl of Hygieia

Bottom right: Venus and Futura

Lithographic labels by J. Garcia printing house, Barcelona. Most text on these is lettering. The address is added in Cleopatra.

Different styles of lettering

FC Lourdais is a French rugby union club from Lourdes in Hautes-Pyrénées, formed in 1911. This honorary membership card for Monsieur Laurent Cami for the season 1926/1927 depicts the club’s name in a typeface that originated under the name Ancient Gothic.

Designed by William W. Jackson for the Keystone in Philadelphia, Ancient Gothic was patented March 17, 1891. The all-caps design features letters with open top and solid bottom halves. On the card, it was overprinted in red in a solid style, for a two-color effect. The same design was offered in Germany (by Krebs as Allegro) and in Italy (by Augusta as Beatrice). Some version also found its way to southwestern France.

The sticker by the Fédération Française de Rugby (F.F.R.) features the bold condensed style of Cheltenham. The years at the top are in some Clarendon variety. “Membre honoraire” is in inclined caps from a typeface with tiny serifs. It’s a version of Copperplate Gothic, possibly FTF’s Antiques Litho No. 4. The other typefaces are yet unidentified.

A ___ Design Show showcases the work of fourteen designers from Concordia’s 2025 Master of Design cohort, spanning fields from graphic and architectural design to sustainability and interaction. The visual identity reflects the exhibition’s theme of concept and craft, featuring each designer’s handwriting to create a collective typographic language. This mix of structure, shown through Goudy Oldstyle, and expression, captured in the handwriting, reflects the diversity of the work itself, human and deeply collaborative.

Bordonaro Vampire (Photo-Lettering, by 1971) is the godfather of all drippy horror typefaces. Lewell Bordonaro’s design can here be seen in use on the jacket of The Magic Power of Witchcraft. First published in 1976 in largely identical design, the images show a 1982 printing. The book was written by Gavin & Yvonne Frost, founders of the Church and School of Wicca.

The spine lettering taps into another trope of eerie typography. The blackletter used here is Goudy Text.

This album with music composed by Johann Sebastian Bach and performed by German lutenist Walter Gerwig was released on Nonesuch Records in 1966. The cover design is by William S. Harvey, with art by Donald Leake.

Phanitalian Ornamented No 2 was first shown by wood type manufacturer William Hamilton Page in 1879, more than a century after Bach had lived. Still, Harvey deemed the Tuscan with its bulbous terminals baroque enough to be used for the composer’s name. Its mid-stem decoration was a tad too much, though: the designer simplified the letterforms by cutting away the lateral knobs. The only letters to keep their decoration are those where the “rivet heads” connect to a structural element on the other side of the stem, see B E H. In the process, Harvey also made the letters a little wider.

[More info on Discogs]

Detail of Phanitalian Ornamented No 2, widened and minus the mid-stem ornamentation. Compare to the unmodified letterforms in Solotype’s phototype version, Bohemia.

Posters for Sergio Leone’s epic 1968 spaghetti Western, with spectacular cover art by Frank McCarthy. The names of the actors are shown in bichromatic Sans Serif Shaded while the tagline is set in Goudy Heavyface.

There were three men in her life. One to take her… one to love her—and one to kill her.

In memoriam Claudia Cardinale. The Italian actor died last week at the age of 87.

Half Sheet (22″×28″)

For this Australian Daybill (13″×30″) poster, the text was drawn by hand. The letterforms are clearly based on Goudy Heavyface and Sans Serif Shaded.

An early use of Ed Benguiat’s appropriately named Jumpy Latin, for an album by the George Wallington Quintet, which at the time included Donald Byrd, Jackie McLean, Art Taylor, and Paul Chambers. It was recorded at New York’s Cafe Bohemia seventy years ago, on September 9, 1955, and released by Progressive Records the following year.

Photography (and cover design?) by Carole Reiff Galletly (1934–1984).

[More info on Discogs]

CD release, front cover

Roots and Wings is English pop singer Sheila Chandra’s fifth solo album, released in 1989 (or 1990? sources differ). The cover design is credited to Swedish design company Ermalm’s Egenart.

The artist's name and the album title on the front cover use the faux-Devanagari font Papirtis Taj Mahal. Other text, including the track listing and credits, uses Goudy Oldstyle.

The album was reissued in 1995, 1999, and 2000, each time with a new cover design.

[More info on Discogs]

CD release, back cover

CD

Vinyl release, front cover

Vinyl release, back cover