Rebel Patch is an independent, female-owned sustainable fashion brand based in Bristol, UK, that creates limited-edition, artist-designed patches for clothing repair and upcycling. The company aims to make textile repair accessible and fun by offering wearable art alternatives to traditional iron-on patches, using organic cotton and eco-friendly manufacturing methods.

The visual identity of Rebel Patch is a blend of raster and vector elements. The art direction draws heavily on nature-inspired imagery, grounding the brand in an authentic, organic aesthetic that underscores its commitment to sustainability. In contrast, the graphic elements introduce a layer of energy and optimism.

White Coffee is a Parisian specialty coffee brand founded by Etienne Ryckeboer and Jenny Martin, with shops across the 3rd, 4th, 9th, and 10th arrondissements of Paris. The brand positions itself at the intersection of architectural minimalism and street culture – raw, sharp and precise.

Bordeaux-based studio Abmo developed the identity and packaging in two phases. The wordmark is set in Cardinal Fruit by Production Type. Suisse Int’l Regular by Swiss Typefaces handles the deadpan neutrality of information, while Editorial New Ultra Light by Pangram Pangram brings tension to editorial accents.

Sterne im Garten des Himmels (“Stars in the Garden of Heaven”) marks the eight installment of the “Schauen” project: an ongoing series of poetry and photography books created by young immigrants in Switzerland. Published at the end of the school year by the Berufswahlschule (BWS) of Horgen near Zurich, the book is the result of a workshop led by poet Svenja Herrmann and photographer Thomas Keller. Each year, students open a window into their personal experiences through words and images, offering readers an emotional and deeply human insight into their lives, dreams, and reflections.

The 2025 softcover volume shows a collaboration between visual and literary expression with the student-created poetry and photography creating a moving collective portrait. The project is not only a celebration of artistic growth but also a gesture of recognition and empowerment.

For the second consecutive year, the book design was developed by Thomas Keller. The cover features a bold color gradient with Swiss Typefaces’ Euclid Mono set prominently for the title and the author credits on the back. Inside, the same typeface appears again for the contributors’ names, placed at the bottom left of each spread and paired with the author’s full-page portrait on the facing page. From the same family, Euclid Flex Medium is used for the foreword title, while Adobe’s Minion provides the serifed body text.

A notable detail is the all-caps subtitle on the cover set in Swiss Typefaces’ Only Extended. The font makes here its first documented appearance after its release in June 2025.

10th (and final) issue of Die Epilog, a German magazine that deals with the change of our society. By looking into the small things that are changing in our everyday lives, it wants to explore and welcome the bigger shift around us:

It’s going to get gross! Die Epilog is approaching an unpleasant concept: strength. The opposite of brains! Or is it? The raw, the crude! We set out to find the positive side of strength: how it moves, how it changes. How does political momentum arise? How do anabolic steroids work? Can we find it, this post-disgusting power? To do so, we’re taking the discourse to the gym and looking at the forces of our time: social, psychological, physical and magical forces that simmer, build up and erupt beneath the surface of culture, of things, of the earth’s crust. We look at mountains of muscle and beneath masks, and pull marble from its pedestal. A power-packed issue on the strength of parcel delivery workers, the power of anger, and the power of pumpernickel.

Die Epilog’s standard typefaces Tobias, Kern and Cardinal Short Italic were complemented by T1 Korium, TWK Everett and Generation Mono for this issue.

Le Grand Jeu is an independent Parisian bookstore, creative agency, and editorial platform located in the heart of the 11th arrondissement, between Oberkampf and Ménilmontant. It is known for its carefully curated selection of books, magazines and zines dedicated to street cultures. The bookshop is the place to go when searching for publications on graffiti, street art, skateboarding, surfing, sneakers, street fashion, photography and contemporary art. The team, guided by Christian Omodeo, sources titles from both major and independent publishers in France and abroad, and everything available in the shop can also be ordered on their website.

Beyond its physical space, Le Grand Jeu also works as a mobile bookstore and a cultural agency. Since 2015, the team has collaborated with institutions, brands and events across Europe, curating exhibitions, producing books, organizing events and contributing to international fairs such as Art Élysées, the Paris Surf & Skate Film Festival, and the Moniker Art Fair in London and New York. Guided by a strong passion for street culture and contemporary art, they continue to bring hard-to-find content and engaging cultural projects to a growing audience.

From spring 2019, under the designer Eliot Valdejo in collaboration with the in-house team of Le Grand Jeu, the bookshop and agency used Swiss Typefaces’ BRRR and Riviera as the core of its visual identity. The two typefaces were applied consistently across the shop sign, printed ephemera, website, and social media posts. The pairing formed a typographic system centered on contemporary type as its primary expressive tool. BRRR, with its angled terminals, subtly echoed the chisel-tip markers associated with street writing, while Riviera provided clarity and a contemporary neutrality. Together, they balanced expressiveness, legibility and a contemporary tone that reflected the core character of the bookstore.

This identity was discontinued in fall 2025, following a rebranding led by Paolo Proserpio.

On the website, BRRR and Riviera are paired with Nunito for the navigation menu.

Anna & Günter Grass – The Paris Years (1956–1960) at the Goethe-Institut in Paris is a bilingual (German and French) exhibition that retraces the couple’s shared creative life in 1950s Paris—linking literature, dance, and visual art—while foregrounding Anna Grass’s own practice as a dancer and her role as Günter’s first reader during the writing of Die Blechtrommel (The Tin Drum), through three thematic “islands” (Life in Paris / Dancing / Writing).

The exhibition was designed by GfG, set in Romie Italic and Regular (designed by Margot Lévêque) for titles, paired with the sans-serif Boreal by Production Type for body text.

Gaya and Only Extended in use by Studio T&D for the exhibition Assemblée narrative – fragments de récits de roches et d’eaux at the Musarth, the Guadeloupean Departmental Museum of Art and History, presented as follows:

narrative assembly proposes to open up stories around a part of Caribbean and Guadeloupean heritage, which are the engraved rocks. Based on a will not to appropriate the signs, faces, and forms of the petroglyphs, these proposals were developed through dialogues with researchers who are currently working to understand and rewrite the tool, that is Guadeloupean archaeology.

Anchored in lands often bordered by water, engraved rocks often resist the museum space, so why talk about an exhibition?

The choice of the term “narrative assembly” seems more appropriate to what the engraved rocks convey to us and what they allow us to tell, say, and shape, in reciprocity.

An assembly to tell (ourselves) other poetic fabrications of reality and the significance of its stories, that have come down to us.

Industrie Africa started in 2018 as a platform to introduce the world to top-class fashion designers from the African continent. Developed further into an online marketplace in 2020, the website today includes the editorial blog section “Imprint” and allows to research for countries and designers’ profiles. In 2025 the first analogue concept store was opened inside the tourist resort of Bawe Island located in the Zanzibar Channel.

What developed so well is the work of founder Nisha Kanabar who was born in Tanzania to parents of Indian descent. After her Bachelor in Business Administration at New York’s Parsons School of Design in 2013, she pursued a career in communication and public relations in the field of fashion and luxury goods. Her path took her around half the globe to such prestigious workplaces as Vogue New York and Vogue Mumbai.

Industrie Africa’s website focuses on white as the main color. Apart from a few spots where earthy tones are used for emphasis, the colorful impact stems from the gorgeous fashion photography showcased. The typography follows two major lines: the use of generously tracked all-caps typesetting for headlines and straight-forward left-aligned typesetting for the reading text.

The font that coins the style of Industrie Africa is the seriffed roman Cardinal, designed by the team at Production Type under the guidance of Jean-Baptiste Levée. Cardinal is a complex design system encompassing the three basic variants Classic, Fruit, and Photo. While Fruit and Photo can be seen as two different display variants that share tight spacing, the Classic variant is a roman suitable for extended reading. Cardinal Classic takes references in the Garamont and Granjon styles without following the Renaissance pattern too strictly. As an extra, it offers ascenders and descenders in three different lengths, Short, Mid and Long, that enable graphic designers to pick the perfect style for a given purpose.

In use on the website presented here is Cardinal Classic Short, in Regular and Italic. For the running titles and functional elements it is complemented with Work Sans by Wei Huang, a rationalist (not geometric) sans serif inspired by the early Grotesque genre.

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

Shaping Atmospheres was a symposium and an exhibition concerned with geoengineering. It took place last November at the University of Toronto’s Daniels Faculty of Architecture, Landscape and Design, and brought together “technical, social-political, and philosophical perspectives to speculate on the significance and implications of shaping atmospheres”.

Source: www.daniels.utoronto.ca License: All Rights Reserved.

Raf Rennie’s identity for the event is based on a logo in tightly spaced caps from Shàngó, an uppercase-only typeface by CastleType. When additional formats like the schedule poster and the speaker slides required a more flexible typographic option, Rennie found it in Kessler by Production Type. Alaric Garnier’s typeface shares various stylistic traits with Shàngò (see the visual comparison below), but crucially offers lowercase characters.

The similarities aren’t coincidental: both designs have their roots in titling alphabets that originated in the book arts movement of the early 20th century, and can be described as period interpretations the classical Roman capital. Garnier’s primary inspiration was an alphabet designed by Eric Gill* in 1905 for the bibliophilic editions of Harry Kessler, founder of the Cranach Press in Weimar, initially published in cooperation with the Insel Verlag in Leipzig. Shàngó, on the other hand, is a revival of Schneidler Initials, drawn by F.H. Ernst Schneidler, proprietor of the short-lived Juniperus Press in Stuttgart, and first cast by the Bauer type foundry in Frankfurt in 1937. A precursor was included in the Wassermann, a voluminous portfolio of sheets for teaching lettering and type design started by Schneidler in 1925.

Production Type. License: All Rights Reserved.

Shàngó (top) and Kessler (bottom, here the Display cut) exhibit various similarities: both feature classical proportions with a narrow E and S, W is made from two overlapping V’s, J descends but has no full hook, and U is stemmed.

Other aspects are different: in Shàngó, the A has a lower bar and no top serif, the leg in R doesn’t meet the stem, and M has splayed stems. Shàngó offers swash caps, three weights, and Gothic, Sans and Chiseled variants. Kessler crucially has a lowercase – as well as optical sizes, italics, and a monospaced companion (not pictured here).

The typographic palette for Shaping Atmospheres is completed by Octave, Josh Finklea’s reconsideration of Frutiger’s Univers, released with Sharp Type.

*) Production Type is conscious of the contentious aspect of publishing a work that is in some way connected to child rapist Eric Gill. Proceeds of Kessler’s licensing are transferred to L’Enfant Bleu, an association providing protection, care, and information to children victims of ill-treatment.

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Animation by Daria Khazova

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

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Co-curator and organizer Ala Roushan of OCAD University presents the Shaping Atmospheres project.

Hublot’s Big Bang Book is a 126-page chrome monolith, conceived as a spatial object, retracing 20 years of innovation, know-how and vision for this high-end watch collection.

The famous Swiss manufacturer of high-end watches Hublot (LVMH Group) chose Agence LaPetiteGrosse to produce the book celebrating the twentieth anniversary of its iconic Big Bang model, to be revealed at Watches and Wonders Geneva 2025.

It offers an exciting immersion into the brand, beyond the watches, through a history of visions, passion and know-how. Our challenge was to transcribe all this journey into an exceptional publication. Our basis was a common thread running through the history of the Big Bang, the Lab Tech visual universe.

We opted for strong, assertive typefaces: Euclid Mono by Swiss Typefaces and Gotham by Hoefler & Co., accompanied by MVB Sacre Bleu. The layflat binding allowed the creation of a full chrome block by Nava Press. Four stacked copies equal a perfect cube.

Art direction by Pauline Pierre & Jefferson Paganel.

Chicken and Egg Films is a nonprofit organization based in New York City. It was founded in 2005 by prize-winning documentary filmmakers Julie Parker Benello, Wendy Ettinger, and Judith Helfand with the aim of promoting women in this area of the industry. To this day, Chicken and Egg has provided over $14 million in grants to over five hundred filmmakers, both in the US and abroad.

In 2024 the organization underwent a renewal. On the programmatic side, funding and mentorship was extended to other groups underrepresented in documentary filmmaking, namely LGBTIQ+ and gender-expansive people. On the design side, Chicken and Egg was provided with the new visual identity shown in this post. It is the work of Pentagram’s London branch.

The centerpiece of the design is the pictorial logo of a hen with a counter shape in form of an egg, which leaves the question open what to look at first. The principal colors used are black, white, and a fluorescent, greenish yellow. The additional secondary color palette shows bright, friendly tones akin to the rainbow flag without mimicking it. On top of that comes a selection of two typefaces of distinct quality: Marr Sans and Cardinal Fruit.

Marr Sans Condensed Bold was chosen as top-level headline font with all-caps typesetting. The Marr Sans family was designed by Paul Barnes and Dave Foster on the basis of Scottish metal types from the 1870s, and released by Commercial Type in 2014. The typeface chosen to accompany it is Cardinal Fruit, a serifed roman of very narrow proportions. Cardinal Fruit is a variant of the larger Cardinal family designed by Jean-Baptiste Levée of Production Type. Apart from some references to the Garamond and the Granjon romans, the major inspiration for its design lies in the tight typesetting of 1980s photojournalism.

Natascha Vavrina was born in 1992 in the Suisse town of Burgdorf, in the picturesque Emmental valley. After a preliminary design course in Lucerne she went on to study film at ZHdK. Her 2018 graduation was quickly followed by the first international prize, the 2019 Young Talent award by Deutscher Kamerapreis. Currently Vavrina lives in Zurich and works on commercial as well as on artistic projects, mostly behind the camera but also as editor and director.

The visual identity for Natascha Vavrina was designed by Feldman.Studio from Paris, with web development by Florent Biffi. In contrast to the many colorful films that you can watch on the site, the basic ingredients of the identity are black and white – and two typefaces in a pleasant tension. On the top level there is Kessler Super Display by Alaric Garnier, available from Production Type. It is the variant of the larger Kessler family that explores the extremes, with regard to fine hairlines and details in the stroke endings.

Garnier’s work on Kessler started as a study of Roman capitals designed in 1905 by Harry Kessler. In this application featuring exclusively its caps, Kessler resembles ancient inscriptions on Roman monuments. The large size and the mid-word linebreaks (and maybe also the two V’s?) in the logotype further support this association.

Kessler is combined with Fraktion Mono by Juri Zaech, a monospaced typeface of technical appeal that creates an interesting opposition to the pure elegance of Kessler. The picture of the business card produced by Atelier Bulk (shown further down in this post) sums it up perfectly: Kessler blindly embossed into uncoated paper with a black layer of printed Fraktion Mono on top, like heaven and earth, or art and engineering.

Hungarian fashion brand AERON is using Neureal (Laura Csocsán) extensively throughout their branding, including in the process book, for in-store signs, and online. On the website, Neureal is paired with Cardinal Classic Mid (Production Type). The logo appears to be custom.

The serif used alongside Neureal is Yuptown.

With marine-derived ingredients like giant sea kelp, Apotheanic sought to create an identity and packaging system that celebrates nature. The brand’s signature golden yellow, inspired by the way seaweed changes colour when held up to sunlight, is a subtle nod to the transformative nature of their products.

Creating a fully recyclable packaging system that supports small batch production to minimise waste was essential. By partnering with UK-based production companies, we ensured the brand was able to further reduce its overall carbon footprint.

From the Provinces to Outer Space: A new Datashock record landed in August 2023. Geltungsbereich Universum is the follow-up to Kräuter der Provinz and marks their second album with Krautrock specialists Bureau B. In the words of Holger Adam, taken from the Bureau B press release:

All the herbs have been smoked. Datashock deliver a new album: Geltungsbereich Universum. Their second for Bureau B and the eighth in a career as an internationally active collective of musicians which has spanned two decades (so far). Space is the place, as the moonstruck sparrows sing from the rooftops, or is the Earth the most beautiful place in the universe? Some say yes, others no. Datashock say nothing at all.

The album artwork features Void by Malte Bentzen, a typeface released through Optimo in 2022. Void is the sole typeface used on the album cover, while the inner sleeves and vinyl labels pair it with Suisse Int’l and Suisse Works from the Swiss Typefaces team. Small details are set in SWTY’s Euclid Mono. According to Optimo’s type specimen, Void “combines a range of references from science fiction to 90s visual culture”, setting the tone for the album.

The front cover is centered around the oscillographic artwork of Datashock member Pascal Hector. He routes audio signals through various processing tools and creates vector graphics on a green-screen XY-monitor. After digitization, the graphics were color-corrected and printed in pitch black on bright white cardboard.

The typographic composition on the back cover is inspired by circuit diagrams and abstracts Pascal’s artistic workflow. It displays the album title, tracklist, and all the information typically found on the back of album covers. Both sides are visually connected by the use of UV spot varnish, which emphasizes the circuit layout and illustrations, creating a striking effect when light hits at the right angle. Shine on you crazy!

Geltungsbereich’s inner sleeve juxtaposes the certificate of ownership for a star that Datashock purchased, along with a star map showing its approximate location. A futuristic spaceship waits for launch to that solar system.

To celebrate the album release at our local arthouse cinema, we designed A2- and A3-sized Riso prints in gold and silver inks on Sirio Black paper stock. Special thanks to Drucken 3000 for making it happen!

The herbs of the province have done their work, and the universal scope of application is signed... what’s next for Datashock? Let’s look at the stars and find out together! ?

[More info on Discogs]

LP back cover with track listing and other information designed as a circuit diagram.

Inner sleeve: certificate of ownership

Inner sleeve, with spaceship and star map

Detail of front cover: the approximate location of Datashock in the universe

On the back cover, diagram elements are finished with UV spot varnish

Riso printed, A2-sized gig poster in silver

Cover for the 2024 festival program with art by İnci Eviner

”I call ‘Whole-World’ our universe such as it changes and endures through exchange…” This line by Martiniquan poet and philosopher Édouard Glissant (1928–2011) was chosen by the Maison de la Culture Amiens as the guiding star of a festival held annually since 2019. The term Whole-World (Tout-monde) can be understood in correspondence to Glissant’s concept of multicultural creolization in which all individuals and societies can profit from cultural exchange, leading to completely new, otherwise nonexistent cultural phenomena.

The Maison de la Culture Amiens (MCA) is the major cultural hub of that Northern-French city. It is a multi-partite house showcasing exhibitions, theater, dance, cinema and many other forms of visual and performative arts. In earlier posts we presented Julien Lelièvre’s redesign of MCA’s visual identity and his work on program brochures and advertising material.

While these are usually very colorful, Lelièvre takes a whole different approach in the design for the Festival Amiens Tout-monde. It is exclusively black and white and uses a single typeface collection: Cardinal from Production Type. Cardinal Classic is a roman of normal width but available in three different variations with regard to the length of its ascenders and descenders. Cardinal Classic Short is in use here for all reading texts. On the headline level you can see Cardinal Fruit in different weights. This branch boasts condensed proportions and an expressive italic.

In some way this reduced design concept seems to counteract the spirit of the festival whose aim it is to bring artists from around the world together and in touch with the local scene. At a second look, the omission of color can be read as an invitation to discover the actual event in full color in person. The reduction also offers a stage for the different artists and illustrators that were invited over the years to spark the crowd’s curiosity.

2024 festival teaser clip

Spread from the 2024 festival program

Spread from the 2024 festival program

Cover for the 2023 festival program with illustration Louise Druelle alias Loup Blaster

Announcement of the 2023 festival

Cover for the 2022 festival program with art by Amélie Fontaine

2022 festival teaser clip

2021 festival poster with art by Elsa Abderhamani

2020 festival poster with illustration by Zeina Abirached

Cover and back cover of the 2019 festival program with illustrations by Edmond Baudoin

Spread from the 2019 festival program

Spread from the 2019 festival program

The project featured in this post can serve as an example of how your possibilities multiply when you are both a graphic and a type designer. Hélène Marian designed the book shown here and as well one of the typefaces used in it.

Chroniques du Bruit (“Chronicle of Noise”) is some sort of documentary of the Parisian scene for noise music and experimental composition in the years 2011 to 2012. It was compiled by author Sarah Benhaïm who herself witnessed the twenty-nine performances, took concert notes, listened to the audience, and chalked down details of the locations, the stage productions, and the gestures combined with the music. Benhaïm is a lecturer at the department for Cultural and Discursive Interactions (ICD) at the University of Tours, France. She specializes in popular music, noise music, and the DIY practices surrounding them.

It is at that point that Hélène Marian picked up with her concept for the graphic design. She starts on the cover with the lettering piece “Bruit” that shows distorted contours and is based on her typeface Brake. Brake is one half of a sans-serif duo, the other half being Starter. Influenced by the letterforms found on car license plates, they represent design alternatives that allow to consciously work on the length of a given line. In Chroniques du Bruit, Brake is used for the gig dates, the dialogues, and the index. Starter & Brake still await their release for the general public.

As a roman companion you see Cardinal, designed by the team of Production Type under the auspices of Jean-Baptiste Levée. The book typography uses Cardinal in three variants of the collection: Classic, Photo, and Fruit. In a DIY attitude that matches the topic, Marian made them all a little noisier: she beefed up the letterforms and drastically reduced the letterspacing and linespacing in all titles, to a point where it might hurt.

Chroniques du Bruit is completed by photographs that artist Steeve Bauras took at the musical events. It also includes a CD with an experimental sound piece by DJ Fusiller constructed from superpositions of recordings of noise music artists. Voilà what you could call a Gesamtkunstwerk.

When renovation works started in the courtyard of the Prince’s Palace of Monaco in 2014, restoration experts discovered antique decoration under crumbling layers of old paint. The resurfacing of these late-Renaissance frescos led to further examination of other parts of the castle and more scraping off paint inside the edifice – about 600 square meters in total.

The figurative key visual in this post depicts a minor character of the grand Ulysses fresco that adorns the ceiling of the throne room. It is part of a campaign held in 2022 when the freshly restored frescos were first presented to general public. This campaign and the general visual identity of the Prince’s Palace are the work of studio Guénola Six.

On the posters and in the logotype, there is a mix of two typefaces. “Palais de Monaco” (or “Palais Princier”, respectively) is typeset in capitals from Mars Wide, designed by Alaric Garnier and released by Production Type. The remaining parts show Neue Haas Unica, a revival made by Toshi Omagari at Linotype. The same strategy reappears in the brochure where Mars serves for the headlines and Neue Haas Unica for the reading text.

While Neue Haas Unica can be described as a calm sans-serif of narrow proportions available in a wide range of weights, Mars is exactly the opposite: it deliberately comes in only one weight and three widths (Condensed, Standard, Extended) and calls for attention as much as for clear decisions.

Christopher Anderson (b. 1970) is an American photographer and member of Magnum Photos. Two-time winner of the World Press Photo award, he first got known for his pictures from zones of armed conflict like Afghanistan and Iraq. The project shown here, however, stems from a different, artistic vein of the author. The series Odyssey takes us on a poetic ride through black-and-white images on the threshold between the real and the imaginary. While depicting human figures and landscapes, they take a step into graphic abstraction.

On the occasion of their exhibition, Stanley/Barker, a London-based publisher specializing in photo books, issued the pictures in a limited edition of 750 hand numbered copies. It is luxurious in its format, the printing quality, the paper and the layout: each spread is only used on one side. This way each photograph gets its own, ample space.

The whole book only contains few words and thus little typography. But the choice is remarkable. The typeface used is Kessler, designed by Alaric Garnier and published by Production Type. Its name refers to Harry Count Kessler, a pivotal figure around 1900 who linked the British Arts and Crafts Movement to the part of the German scene that strived for artistic renewal. It was Kessler who gave the 23-year-old Eric Gill* one of his first commissions, the calligraphic design of titles for his Großherzog Wilhelm Ernst Ausgabe of German classics.

Alaric Garnier stumbled upon Gill’s first sketches for this alphabet in a 1958 issue of the Monotype Recorder (pdf) and picked up on it in 2013. Over the course of four years, he amended the Kessler typeface with lowercase letters, extended it into different size-specific cuts, and added italics. Today, Kessler is a comprehensive serif family with sixteen styles for applications ranging from Text to Super Display.

*) Production Type is conscious of the contentious aspect of publishing a work that is in some way connected to child rapist Eric Gill. While we believe Production Type addresses design needs for discerning users, we also want to be held accountable for our choices. For this reason, proceeds of Kessler’s licensing are transferred to L’Enfant Bleu, an association providing protection, care, and information to children victims of ill-treatment. Creating a virtuous cycle, both chronologically and economically, is what we aspire in making Kessler available for licensing.

Deus ex Machina is a lifestyle brand rooted in Sydney, Australia. We recently featured a no-nonsense jacket from their collection. This time we’d like to share two apparel prints that are undoubtedly about having fun – fun with content, and fun with fonts.

The first one is a T-shirt titled “Pipes”. In it, a cartoon from the Andy Capp series, very famous in Great Britain and Australia, stands central. It depicts a man playing a phantasy instrument reminiscent of bagpipes. The punchline below reads “loud pipes save lives” which is a famous excuse among motorcyclists to justify the noise of their machines. This line as much as the brand name above the drawing displays Cardinal Fruit, a sub-family in the larger Cardinal collection designed and published by Production Type under the guidance of Jean-Baptiste Levée. Cardinal Fruit is a condensed roman style referencing the advertising aesthetics of the 1980s, especially in the field of personal computers. “Deus Recs and Publishing” is added in Grilli Type’s GT America Mono.

The prints on the “Nimbus” shirts and longsleeves feature Cardinal Fruit, too. It’s used for the brand name, combined with Deerfield JNL, a boxy all-caps sans designed by Jeff Levine, for “Worldwide Service Manual”. Here the “meaning” of the message goes deliberately bananas: “We’ve tipped the cap to the modern day grovers and gone all out on the logo-heavy, non-sensical slogan vibe, added a few flashes of color and voila: a long sleeve set to lift even the most pessimistic of outlooks.”

To be complete, additional fonts visible in the images are Cal Fraktur Modern, Windsor, and Eurostile.