From publisher Victionary:

The Vibrant Artistry of the ’60s & ’70s
What comes to mind when one thinks of the vivid and exhilarating visual world of the 1970s? Is it attention-grabbing lettering and clashing colours, groovy paisley motifs and floral patterns reminiscent of hippie culture, or mind-bending psychedelic visuals that transport one to a different dimension? Funkadelic invites readers to step back in time and witness the audacity and dynamism of an era that embraced individuality and pushed artistic boundaries.

An homage to the graphic design trends and styles that embodied bold expression, cultural revolution, and free-spirited creativity, discover a handpicked selection of visual identities and branding design inspired by the iconic aesthetic of the '70s in a visual treasure trove of inspiration and nostalgia for designers, artists, and era enthusiasts alike.

The type and headlines in the book are set in Oakley by Mark van Leeuwen, accompanied by a yet unidentified typeface [edit: it’s BioRhyme by Aoife Mooney, see comments].

Wayfare is an award winning magazine (AIGA SLC 100 Show 2023; Graphis Design Awards 2025, Silver) that is creative directed by Cole Melanson with support from Doug Thomas. Zachary Davis is the Editor and Esther Hi'ilani Candari is the Art Editor. Wayfare magazine proudly stands as a publication of the Faith Matters Foundation, reaching its audience through biannual print issues and a weekly newsletter.

Wayfare magazine seeks to be a guide on the journey of faith. The publication showcases original content, encompassing essays, interviews, poetry, art and more, underpinned by the belief that divine truth awaits those who seek it earnestly.

Wayfare’s design is a reflection of the readers’ quest for spiritual enlightenment. Each cover features an alluring map, evoking curiosity. Alluding to the map maker, the masthead, titles, pull quotes, and other text elements are meticulously crafted using Hoefler & Co.’s Surveyor and Decimal, thoughtfully complemented by Joshua Darden’s Freight Text to create beautifully legible columns of type. Intuitive wayfinding details, including arrows in the footer, constellation section breaks and the Wayfare Star as the end mark, serve as guides for readers embarking on their faith journey.

Soulful Sessions is a Belgian event organisation focused on “soulful music” as they call it: Dangerous Disco, Sweet Soul, Brazilian Boogie, Adventurous Afrobeat, and Holy House. “Soulful Sessions brings you a fine selection of artists from all over the world to different and unique locations”.

Tijsje Revalk is “a one-woman graphic design studio based in Antwerp, Belgium.
Specialising in illustration and animation, she creates original and colourful designs for use across print, digital or blended for both.” She rebranded Soulful Sessions in 2021, using CoFo Chimera to make a perfect match between the bold colours and shapes and text. The logo uses BioRhyme by Aoife Mooney, sometimes extended with a wordmark set in Coustard by Vernon Adams.

Clube Share is a learning platform/community focused on helping workers from the “creative economy” to better organize their business.

The main brand typeface is Graúna. It’s supported by a number of other fonts, including Sofia Black, Freestyle Script, Syne Extra, and BioRhyme Expanded. Work Sans is used for most text on the website. The logo appears to be custom drawn.

Sunny Sound is a DJ event in Fortaleza (Brazil), focused on bringing people to the street. They believe that music should be shared and that the street should be occupied. It aims to bring a disruptive but at the same time friendly and sunny language. All three typefaces were used to compose a bold and welcoming layout.

Dolija is a producer of extra virgin olive oil from southern Istria, Croatia. Oleg Šuran designed the visual identity. For the logo, he made early use of Punta (Hot Type), set in tracked out caps, with a superscript “08” in Nota (Typotheque). Punta is also used for the bilingual product description on the labels, here featuring its Black weight for “Dolija”, and again supported by the sans-serif Nota.

The label material is quite thick and absorbent, so that it can soak up any oil drips. This paper was a bit more expensive, so for budget reasons the labels were printed in a single color. In order to avoid a dull look, a colorful typographic stamp is added to the label by hand. Each of the seven flavors got a distinct stamp design. The fonts in use are:
• Schmalfette Fraktur (Dieter Steffmann) with Punta Black for Karbonaca,
• a mix of styles from Knockout (Hoefler & Co.) for Istarska Bjelica,
• Mostra Nuova (Mark Simonson Studio) for Leccino,
• Surveyor (Hoefler & Co.) with ornaments from Marlene Display (Typotheque) for Rafe,
• Thema Moderato (Typotheque) with Peleguer Ornaments (Tipo Pèpel) for Rošinjola,
• Turquoise (Resistenza) with alternates for Buža,
• Brioso (Adobe) for Pendolino.

The wrapping paper features text set in Surveyor, paired with Poem Script and Horizontes Script (both by Sudtipos).

My Karrot Jar offers fresh and funny salad jar delivery in Saudi Arabia.

The design of this logo recalls fruit stickers and the freshness of the market. It is playful and evolutive thanks to the animal illustrations that invite kids to enjoy their meal. The typeface combination lends a garden-and-country spirit to the brand, with a friendly touch.

Art direction, branding, logo design, packaging, and animal illustrations by Célia Grandhomme. The new brand identity is in the process of being rolled out and can already be seen on the Twitter and Instagram profiles.

Chiara Schwarz. License: All Rights Reserved.

“This is the new mimeo revolution!” — installation with the 100 pamphlets plus protest signs at the HBKsaar.

This is my graduation project made at HBKsaar, titled New Mimeo Revolution. In addition to writing a thesis, I printed one hundred pamphlets on the mimeograph and set up an exhibition. For this, I created a visual identity with Hobeaux as display typeface and Pitch for text uses. I combined those with a very direct and emotional language of forms and symbols.

Chiara Schwarz. License: All Rights Reserved.

Invitation to the exhibition of graduation projects, printed on paper of various colors. Hobeaux is used in all caps and paired with Pitch for the smaller text.

This post shows several images of the project as a whole, followed by a selection of the individual pamphlets. From the project website:

The Mimeo-Revolution was a movement of young American artists during the 50s and 60s, who spread their art and thoughts amongst the people through personal commitment and the use of a stencilprinter, also called a mimeograph.

The mimeograph was invented at the end of the 19th century, when ever-increasing bureaucracy also intensified the demand for copying documents. Shortly after the mimeograph revolutionized office work, the cheap and simple process also conquered the streets: schools, churches, subcultures and parties printed their own documents independently from professional printers or major publishers. This led to the rise of student groups like “Weiße Rose”, which allied itself against the Nazi regime during the Second World War; or students during the ’68 Revolutions, who resisted rigid structures, oppression, the Vietnam War, and conservative sexual morality all over the world.

Nowadays, I choose to print pamphlets with this traditional technique, because I want to continue to build upon what the generations before me have been able to achieve. It’s important for me to engage myself and get my hands dirty during the process of making a difference.

I am currently interested in topics related to environmental protection, democracy, gender equality and human rights. In addition to political topics, I also deal with artists who use words in a particularly eloquent or emotional manner, or who criticize or speak from the heart.

During my final year at the Hochschule der Bildenden Künste Saar, I printed 100 different pamphlets on the previously mentioned and other topics, on a 1967 ideal stencilprinter and a Gestetner printer from the 1950s.

Chiara Schwarz. License: All Rights Reserved.

View of the exhibition.

Chiara Schwarz. License: All Rights Reserved.

Leaflets are being flung from the top of the building.

Source: newmimeorevolution.smvi.co Chiara Schwarz. License: All Rights Reserved.

Project website.

Chiara Schwarz. License: All Rights Reserved.

“We buy things we don't need, with money we don't have, to impress people we don’t like.” The featured quote by Chuck Palahniuk is shown in caps from Obviously, with a psychedelic distortion effect.

Chiara Schwarz. License: All Rights Reserved.

Route barée means “road closed” and is the perfect metaphor for the hopelessness of the situation and the French people during the strike of the yellow vest movement. The rotated lines are set in Combat.

Chiara Schwarz. License: All Rights Reserved.

Das Wasser stieg (“The waters increased”) is a quote from Genesis 7:17, here referring to the implications of global warming.

Chiara Schwarz. License: All Rights Reserved.

Chiara Schwarz. License: All Rights Reserved.

Chiara Schwarz. License: All Rights Reserved.

Contrary to what one can usually read on plastic bags, the text (in Bookman) here says “Thank You for NOT Using Me!”. The small text below explains that the bag will stay around in the environment for twenty years.

Chiara Schwarz. License: All Rights Reserved.

This pamphlet with an excerpt from Ronald Reagan's famous speech held in Berlin in 1987 is more actual than ever; a response to Trump’s plan to build a wall between the USA and Mexico. The font on this is Sporting Grotesque.

Chiara Schwarz. License: All Rights Reserved.

The “Hymn to the Mimeograph Revolution” from Ed Sanders, set in ITC American Typewriter Condensed Bold and Pitch.

Chiara Schwarz. License: All Rights Reserved.

Treffen sich zwei Kinder mit Interkontinentalraketen … (“When two children meet with intercontinental missiles …”) could be the beginning of a good joke, but it was reality. Friendly Gooper, set on a wavy line, on a pink background, underlines the comedy of this meeting between Donald Trump and Kim Jong-Un.

Chiara Schwarz. License: All Rights Reserved.

The European Union is tolerant and diverse just as this draft of the Second Article of the Treaties of the European Union. The fonts used (from top to bottom) are: Folio Condensed Bold, Tango, Vulf Mono Bold and Pitch Regular.

Chiara Schwarz. License: All Rights Reserved.

“Macht kaputt, was euch kaputt macht” is a famous song from Ton Steine Scherben and a great reminder to fight all our inner and outer demons! The message is set in historical Eckmann, which fits perfectly with its slighty psychedelic feeling.

Chiara Schwarz. License: All Rights Reserved.

I always loved the Refugees Welcome illustration of the running family with its roots in 1990. But the font could use a makeover: How about Cooper Black? Maybe it is that simple.

Chiara Schwarz. License: All Rights Reserved.

Grundgesetz für die Bundesrepublik Deutschland Art. 20a set in Ouroboros, Octopuss Outline, Cooper Black Italic and Pitch Regular.

Chiara Schwarz. License: All Rights Reserved.

Good use of VTF’s Résistance for Article 5 of the German Grundgesetz: “There will be no censorship”.

Chiara Schwarz. License: All Rights Reserved.

Rhetoric of the evil: Hate (Old English), Sex (Cooper Black), Fear (Combat).

Chiara Schwarz. License: All Rights Reserved.

This pamphlet featuring BioRhyme Light, Gill Sans Ultrabold, Gooper in various styles, and Protocol is about the sexism in German football between 1955 and 1970.

Chiara Schwarz. License: All Rights Reserved.

My grandpa says “In the past there was meat only once a week”. Meanwhile he eats it every day. The font used is Plaktur (a modern and groovy interpretation of a fraktur font, still in progress, by Max Holl).

Chiara Schwarz. License: All Rights Reserved.

This is the 100th pamphlet of the series which draws the conclusion from the project. It is made with Letraset in Bookman. “Jan Norling” is added from ITC Bookman Italic [thanks, Jay].

Fazenda Fortaleza dos Borges is a specialty coffee farm in Minas Gerais, Brazil, run by a third-generation producer. The graphic solution is inspired by tile patterns, illustrating the coffee production steps. The silk screen printing with special paper and finishing materializes the quality of the handcrafted specialty coffee handling.

The logotype uses BioRhyme by Aoife Mooney, with some adjustments. The font is also used in titles, always in all caps. It’s paired with Guanabara Sans by Rodrigo Saiani/Plau for long texts.

As result, the visual identity positions the farm in the specialty coffee market expressing its personality and presenting the family history and the quality of its beans to roasters from Brazil and abroad.

More about this project in the case study page.

All Over the Map. A Cartographic Odyssey is a demonstration of the potential of typefaces with optical sizes. The book utilizes all three subfamilies of Halyard, each of which was purpose built to perform optimally at its intended size.

Halyard Text is used for the body copy. It’s distinguished by large apertures, modulated strokes, and an open spacing optimized for long reading. Halyard Display, in contrast, has compact shapes and a low stroke contrast for maximum impact, making it a prime choice for the striking decks. Halyard Micro appears for the small print, in labels and captions. Thanks to the letters’ wide proportions, strongly tapered joins, and ink traps, text set in the Micro stays crisp and readable even in sizes below 7pt. While starkly different in appearance, when seen together, the Halyard superfamily maintains a consistent personality at their intended size creating the impression of a single type design. This is true not only on screens, but also on paper, as this book impressively shows.

Darden Studio’s sans serif Halyard is paired with the serif Surveyor and its decorative display companion Obsidian by Hoefler & Co., which adorns the cover and the chapter beginnings.

In this visually stunning book, award-winning journalists Betsy Mason and Greg Miller – authors of the National Geographic cartography blog “All Over the Map” – explore the intriguing stories behind maps from a wide variety of cultures, civilizations, and time periods. Based on interviews with scores of leading cartographers, curators, historians, and scholars, this is a remarkable selection of fascinating and unusual maps. — National Geographic

The book was designed by Noel Núñez-Caba, Gail Anderson, and Joe Newton at Anderson Newton Design, with creative direction from Melissa Farris.

The table of contents is presented in a multi-column layout set in Halyard Text.

The headline in red Surveyor Italic with swash initials is contrasted with a deck set in black caps from Halyard Display.

Text set in Halyard Text, justified with indents. Halyard is used with its default lining figures.

All three optical sizes of the Halyard superfamily at play: Halyard Display for the deck, Halyard Text for the body copy, and Halyard Micro for the small data labels. The drop cap is from Surveyor Fine; year and name are set in Surveyor Text Italic.

Marginal note in Halyard Text, set ragged right. The heading is in Halyard Display caps, with origin info in Surveyor Italic.

The captions pair Halyard Micro Medium (with ink traps) and Halyard Text Light.

Detail from the index. Halyard Text is used with italics for titles and boldface for illustration references.

Alphabet dividers in Surveyor.

Picture credits in Halyard Text.

Title page featuring a bichromatic setting of Obsidian Italic with swash caps.

Front cover. Subtitle and author names are in caps from Halyard Micro. The Micro cut here was chosen for its graphic qualities, namely the extreme thinning of joins and the eye-catching ink traps.

Sweden has a surprisingly sophisticated history of advertorial publishing, especially in the food industry. Leading retailer ICA have a classic in Buffé, so now that German Lidl are trying to make a serious push into high end food, they obviously had to get their own magazine.

As for the design, Käk serves as a notable example of contemporary foodie trends. We have the geometric sans in Verlag, often taking a back seat to the Surveyor superfamily. Headlines stand out as a swash fiesta, because stylistic sets are there to be used.

Illustration by Josephine Graucob

Fantastic use of Hoefler & Co. fonts in this new site for recording duo Palaxy Tracks.