From Wikipedia:

“Mis-Shapes” is a song written and released by English alternative rock band Pulp from their fifth album, Different Class (1995). Lyrically inspired by Cocker’s experiences socializing in Sheffield as an outcast, the song features lyrics that call for misfits to unite and take over. This lyrical theme would make Cocker uncomfortable with Pulp’s growing popularity with “townies” after the song’s release.

“Mis-Shapes” was released as a double-A sided single with “Sorted for E’s & Wizz”, the second single from Different Class after “Common People.” Like its predecessor, the single reached number two in the UK charts and has since seen critical acclaim.

[More info on Discogs]

Typography-wise, the single follows the choices made for the album, with Chromium One for the band logo (also by The Designers Republic) and Windsor Extra Bold Condensed. The palette is completed by italic Poster Bodoni and Helvetica.

The History of Rhythm & Blues vinyl record series is a 1960s compilation of various R&B records from various eras. The first volume covers the roots era (i.e., 1947-1952).

Two swashy typefaces from PLINC are used for the main title: PLINC Bookman Swash and West Behemoth Italic Swash.

[More info on Discogs]

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

Eydie Gormé’s The Look of Love is a 1968 album released on Columbia Records. It features her smooth vocal jazz and pop interpretations of standards and show tunes including those from Casino Royale, The Apple Tree, and The King and I. All text is set in Helvetica.

[More info on Discogs]

In December 2025, Barcelona-based activist streetwear brand Top Manta collaborated with designer Tania Marcial on a limited upcycling capsule collection. Comprising twelve one-of-a-kind garments, the project brings together reclaimed materials and hand-crafted processes to explore alternative models of fashion production and use.

The collection emerges from a shared approach to design. Marcial’s practice—centered on deconstruction, material memory, and experimental garment construction—intersects with Top Manta’s day-to-day reality, where fashion functions as craft, survival, and a tool for dignity. Each piece is developed without repetition, embracing irregularity and singularity as defining qualities, while rejecting the logic of fast fashion in favor of slower, more deliberate production.

Its graphic language extends Top Manta’s existing identity system. The fonts in use are Manter Black, a bespoke display typeface, HEX Franklin XCondensed XBold by HEX Projects, and Neue Haas Grotesk by Christian Schwartz. They are occasionally complemented by custom script and tag-inspired lettering, introducing a more gestural and informal layer.

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

In April 2026, the Artemis II lunar flyby mission brought four astronauts around the moon and set the record for human distance from earth. Its crew includes the first person of color, the first woman, and the first Canadian to travel beyond low earth orbit.

Jeremy Hansen, the Canadian astronaut, wore a special mission patch created specifically for him by the Canadian Space Agency. It was designed by Anishinaabe artist Henry Guimond of the Turtle Lodge. Its heptagonal shape and the animals shown on it reference to the Seven Sacred Laws, a traditional First Nations teaching that emphasizes Respect, Love, Courage, Honesty, Wisdom, Humility, and Truth. The agency’s webpage and press video go into greater detail about the symbolism of each element on the patch.

The Canadian Space Agency video about the patch and its symbolism:

Jeremy Hansen sharing the patch while in space, during a Space-to-earth connection event:

On the patch, Hansen’s name is typeset prominently on the bottom in the heaviest weight of my typeface Condor. (As far as I know, this is the first time a font of mine has traveled to space!) The agency’s name is typeset in Helvetica in both English and French.

Other styles of Condor have also been used extensively by the Canadian Space Agency for its mission poster, its space-to-earth connection events, and other video documentation of the mission.

Astronaut Jeremy Hansen (right), pictured with his mission patch on his torso, stands alongside American astronaut Victor Glover in Florida.

A still from the April 8 space-to-Earth connection event. Jeremy Hansen shares and discusses the patch and what it means to him while aboard the Orion spacecraft during its return flight to Earth.

Artemis II mission poster

An embroidered patch replica available for sale at Ingenium Boutique

The crew of Artemis II pose with the Space Launch System and Orion spacecraft. Jeremy Hansen is at far right, with the patch visible on his uniform.

Canadian Space Agency President Lisa Campbell onstage at a space-to-Earth connection event with astronaut Jeremy Hansen, with tightly-tracked Condor in French and English

Cassette inlay ft. Data 70

Galactic Nightmare is a concept album self-published by Alan Jefferson in 1986. From Trunk Records:

Six years in the making (1979– 1985). A unique 90 minute space epic adventure made in a bedroom in Hull on limited and slightly dodgy equipment. A true labour of love and only previously available on C90 Cassette (with Dolby) via Sci-Fi and computer magazines in the mid 1980s. Totally unforgettable, joyous and full of extraordinary detail and ideas. 2 LP set, matt varnish, full colour artwork, printed inner sleeves with complete storyfile, lyrics etc.

The title on the original cassette release uses Data 70 with a gradient fill. In 2015, independent record label Trunk Records reissued the album on vinyl for the first time. Rather than reusing the original logo, Trunk used the similar Moore Computer for the title and track titles.

[More info on Discogs]

Front cover of the 2015 Trunk reissue ft. Moore Computer

Inner sleeve

A page of concept art and ephemera from the liner notes of Trunk’s reissue. Early designs for the title logo can be seen in the centre, both typeset in Data 70 and as custom lettering.

Promotional poster for Mes Pants de Queer, a thrift and self-publishing bookstore by, for and about LGBTQ2SAI+ communities in Montréal.

Promotional leaflet for Blue Accounts, a provider of tax advice and accountancy services. The typeface Neo is in use here alongside Helvetica.

From Wikipedia:

“Asia Minor” is a 1961 instrumental recording by Jimmy Wisner (operating under the name Kokomo so as to not alienate his jazz fans). It is a rock and roll adaptation of Edvard Grieg’s “Piano Concerto in A Minor”, using shellac on the hammers of a cheap piano so as to induce a honky-tonk sound.

Felsted Records released an album with “Asia Minor” plus eleven other tracks.

[More info on Discogs]

Mochi (by Typeverything) is used on the packaging for Plant Based Planet as part of the brand identity by Studio Spoke. The typeface’s soft, rounded forms support an approachable tone aligned with the brand’s focus on small, everyday shifts toward plant-based living. The sans used for secondary information is Neue Haas Grotesk or similar. On the website, it’s substituted by Work Sans.

Pump Bold is a typeface I would normally never consider using. I created this logo in the early 1970s when I was first becoming a self-taught designer. It was done with Letraset rub-down lettering. I liked that the d’s and the p’s were the same letterform, and that the lines could interlock up and down in an interesting way.

Source: jellobiafrasays.tumblr.com License: All Rights Reserved.

Barcelona Step By Step by Bert and Frances Strauss

Barcelona pam a pam is a city guide written by Alexandre Cirici Pellicer (1914–1983) and first published in 1971 by Editorial Teide, with photographs by Oriol Maspons (1928–2013) and drawings by the author. Bert and Frances Strauss translated the book to the English, as Barcelona Step By Step (1974). A version in Castilian Spanish, Barcelona paso a paso, followed by 1975.

Source: en.todocoleccion.net Maria28MM (edited). License: All Rights Reserved.

Barcelona pam a pam (original Catalan version), with Cirici’s name in Akzidenz-Grotesk

Source: srabsenta.blogspot.com Cosas de Absenta (edited). License: All Rights Reserved.

Barcelona paso a paso (Castilian version), with Cirici’s name in Helvetica

All three editions feature the same cover design by Victor Rahola – with the title set on a curve, in A.M. Cassandre’s Bifur – albeit it with different colors for the hat of the man peering in from above. The interior pages are set in Folio and two typefaces by Simoncini: Karlgeorg Hoefer’s Permanent and Francesco Simoncini’s Aster.

Source: archive.org License: All Rights Reserved.

Title page with Folio halbfett and Permanent

Source: archive.org License: All Rights Reserved.

Table of contents in Permanent. The colophon on the left is set in Monotype Grotesque.

Source: archive.org License: All Rights Reserved.

Folio mager for the chapter title “How To Use This Book”, Aster for the text

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Aster

Source: archive.org License: All Rights Reserved.

Chapter opening with the number from Folio’s extrafett and the title in the mager.

Source: archive.org License: All Rights Reserved.

Text is interspersed with bits of history that are presented in a smaller size, also from Permanent.

Source: archive.org License: All Rights Reserved.

Spread from chapter 11 on Antoni Gaudí, with one of the photographs by Maspons. The caption is in Aster Italic.

Source: archive.org License: All Rights Reserved.

Detail with text set in two weights of Permanent

Source: archive.org License: All Rights Reserved.

Glossary of special terms

What was design? is a quick starter to one of modernity’s most contested terms. In its brief but meteoric career, “design” was subject to vast controversy. Celebrated as an engine of change, denounced as a driving force of commercialization, and regularly lamented as overused, design remains a concept whose true meaning is still being sought. While answers to the question “What is design?” are constantly shifting, the time has come for a retrospective. This book looks back, presenting a century of design thinking in its most compact form: a collection of bold quotes.

What was design? pits seventy-eight historical one-sentence answers from practitioners, theorists, and philosophers against one another. The result is a web of radical short-form definitions that remain strikingly contradictory in their references. This selection is accompanied by an essay from Florian Walzel, exploring the deeper reasons behind the conceptual ambiguity of design.

Published by Slanted Publishers, edited by Florian Walzel with editorial advice from Jurek Werth. The book, measuring 12×19 cm and counting 152 pages, was designed by Paul Jürgens, using Roumald and Neue Haas Grotesk. Hardcover with round spine, thread-stitching, offset printed with spot colors. ISBN: 978-3-69202-005-1

A.R. Luria’s The Mind of the Mnemonist was first published in English by Basic Books in 1968. This is the cover of the first paperback edition, issued by Discus Books in September 1969.

The exciting and bewildering inner world of an ordinary man endowed with extraordinary mental powers
“Haunting … vividly and touchingly real.” — Scientitic American

The uncredited design uses tightly spaced Helvetica caps for the title and the author’s name. The smaller text including the blurb is in Helvetica, too. “Recall” is staged as a type size gradient in Egyptienne Bold Condensed. The text snippets used in the collage feature two more serif typefaces, including Palatino for the one on red background, but those probably weren’t actively chosen by the designer.

OT Jubilee and Neue Haas Grotesk are the typefaces used by Elias for the identity of DARC. The logo uses all-caps Cirka. From the studio’s case study (translated):

Darc is a next-generation agency that combines influencer marketing with video production. The agency excels in both areas. It identifies the right influencers, designs campaigns, and then produces high-quality content. This dual expertise ensures creative consistency and exceptional execution. Darc doesn’t outsource anything—it controls the entire value chain. […]

Darc takes its name from Joan of Arc—a symbol of bravery, authenticity, and purpose. The quest for the right images, the quest to elevate French heritage, the quest for growth. We built the brand around these values: authenticity versus artifice, creative courage versus timidity, elegance versus visual clutter. The quiet heroism of one who knows where she is going. A positioning that avoids the industry’s pitfalls—superficial coolness, forced youthfulness—to assert substance and ambition.

おおきな口がまっている (The Big Mouth Is Waiting) is a Japanese novel written by Jiro Ichijo (一條次郎) and published in January 2026. The designer is Jun Kawana (川名潤). He used Momochidori for the front and back of the book jacket, as well as on the obi. He also used a Clarendon for the English text on the front.

Poster for the feature documentary Observer directed by Ian Cheney, anchored by the typeface Herbus.

Trevor Dearing (1933–2023) was a Charismatic Anglican priest who wrote eighteen books, including this one about miraculous healing through faith. For the cover, designer Cynthia Sahlman build a wall of type from the Heavy and Regular weights of ITC Serif Gothic. The display typeface by Herb Lubalin and Tony Di Spigna is used in all caps, featuring the alternate uncialish E.