Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields. The journal aims to explore and disseminate the intersection between art and neuroscience, a topic that has gained significant prominence in recent years thanks to the emergence of neuroaesthetics.

The visual identity of Nodes issue 26 is conceived as a visual soundscape, where music and rhythm take shape. Sound cones synthesized into gradients and circles of varying sizes evoke movement, depth, and resonance.

The visual language, inspired by experimental cinema, alternates between sharpness and blur in a continuous dialogue with typography: Blacker Mono, a contemporary monospaced serif typeface designed by Zetafonts, which becomes a form of musical notation. Within the space of the page and the flow of content, typography and graphic elements transform into rhythm, movement, and sonic memory. The typefaces in use furthermore include Blacker Mono’s proportional sibling Blacker, two type families from Atipo – Basier Mono and Geomanist – Ronzino from Collletttivo, Tinos by Steve Matteson and Monotype Baskerville.

For this issue, Dionigi Mattia Gagliardi was editor-in-chief and art director, with graphic design by Licia Masi. Printed in Rome by Risoma and Tipografare on two paper stocks: Favini Shiro Echo 120 g/m² (interior) and Favini Shiro Echo Raw Blue 250 g/m² (cover).

Hotel Love is a novel described as “a creepy love story with AI” written by Austrian author Petra Piuk and published by Leykam Buchverlag.

The design, full of editorial details, was carried out by Vienna-based Sellerie Studio, who developed a series of lipstick lettering, as well as the layout and typesetting of the book. The designers comment on the book design (translated from German):

It was clear from the very first pencil sketches that we wanted to package this dystopian love story in a way that was as toxic as possible.
Glossy lip service: Our design “Read My Lips” (or not ...) went through several stages of development before it arrived at the (forest) bottom of reality — fortunately without exceeding its best-before date.

The typesetting uses MT Baskerville for the main text, Violeta for titles and highlights, and Input Mono Compressed for the ISBN on the cover and the book’s sections.

In the context of the French legislative elections of 2024, Bye Bye Binary*, a French-Belgian collective for post-binary typography, organized a T-shirt printing workshop along with the communist queer collective Les Inverti·es. The phrase “I put the ASS in lutte des clASSes” (“I put the ASS in clASS war”) is set in the Lobular typeface by Ariel Martín Pérez, which was chosen by the T-shirt designer H·Alix Sanyas because of its voluptuous lettershapes. The additional typeface is some version of Baskerville.

Austrian author Jaqueline Scheiber – best known for her essay collections and cultural commentary – launched her fiction career with Dreimeterdreißig, a love-and-loss story set in a Viennese altbau, where the 3.30-metre ceilings become silent witnesses. The debut quickly climbed into the top 10 of Austria’s national fiction bestseller list.

Sellerie Studio’s cover artwork showcases two phospho typefaces: the title stretches along a spiralling paper ribbon in the reversed-stress sans Antipol Variable, while the author’s name stands out in the warm italic serif Gyst. A pink-blue hourglass backs the paper ribbon which doubles as both measuring tape and falling sand. The cover fuses Vienna’s typical ceiling height (3.30 m) with the idea of slipping time to create an immediately legible image. Inside the book, playful Antipol headings are combined with Baskerville body text.

The softcover (with flaps) is printed in Pantone neon green, with the title set in Baskerville Display PT.

Streif av fellesskap (“A touch of community”) is an anthology published by MUNCH Publishing, the editorial branch of Oslo’s Munchmuseet, in connection with the interdisciplinary festival Tekst på MUNCH, vol. 2: Former for fællskap.

The book was published in November 2023, with text contributions by Priya Bains, Oliver Lovrenski, Bjørn Hatterud, Lars Korff Lofthus, Rochelle Roberts, Glenn Bech, Daniel Mariblanca, 71BODIES, Ida Helene Benonisen, Asha Abdullahi, Brynjulf Jung Tjønn and Ihra Lill Scharning.

The typography features a range of typefaces, see the captions. In addition to the fonts shown in the images, there is also Adobe Garamond, Helvetica, Galliard, and Futura.

Stacked and staggered lines in Store Norske Jazz

ITC Founder’s Caslon, paired with headlines in Linotype Didot – including a custom outlined version

The text by Rochelle Roberts is set in Palatino, featuring small caps, old-style figures, and italic.

Glenn Bech’s contribution is set in Monotype Baskerville.

Detail featuring Univers Italic

More poetry featuring ITC Founder’s Caslon

The rotated text is set in two upright weights of Univers.

Us Fools is a novel written by Nora Lange and released in September 2024 by Two Dollar Radio. The premise revolves around the day in the life of Joanne and Bernadette Fareown – two sisters living on their family's farm in rural Illinois – who both find life in America rather hard to deal with.

The simplified blackletter sans is Germania One, originally released in 2011. It’s paired with a slightly-tracked script, Altesse, and Monotype Baskerville.

The ABC of Fonts series is a trio of compact histories of three typefaces: Albertus, Baskerville, and Comic Sans. The books were written by Simon Garfield, the bestselling author of Just My Type. The series, with book jackets designed by Derek Thornton, was published by W.W. Norton & Company on October 22, 2024.

As part of the social media marketing campaign for The ABC of Fonts, New York City pedestrians were asked trivia on Comic Sans (pt. 1, pt. 2, and pt.3 are viewable online). The yellow “I LOVE COMIC SANS” and “I LOVE FONTS” (written in Comic Sans) signs greeted pedestrians and garnered mixed reactions. Sign designs and campaign by Grace Shum.

Photo by Lauren Chineme. Posted with permission.

Truth be Told is a new tavern on the University of Chicago campus, blending old world English pub atmosphere with the sophistication and elegance of the Chicago’s seminal academic institution.

One Design led the branding effort, from positioning and naming through visual and verbal identity, experience design, and execution. Truth be told nods to the rich editorial legacy of the University – a play on words intended to evoke curiosity and conversation.

The identity’s visual language is a nod to editorial publications, newspapers, and textbooks, supporting the rich legacy of the school and the communal atmosphere of the restaurant.

Octopus is a gin by beverage distributor Cozigou. This Breton gin with its iodine fragrance blends the flavors of heather and sea-stone, represented by a pencil drawing. This organic gin is simple, and perfect for the art of mixology. The transparent label reflects this purity, freshness, and simplicity that make the identity of this Breton gin committed to nature.

In The House Romantic. Curating Memorable Interiors for a Meaningful Life, Haskell Harris explores what makes a personal and meaningful home, revealing how designers and creatives authentically style their spaces, drawing inspiration from the important moments and people in their lives.

From rustic countryside homes to opulent urban spaces, the book explores a range of romantic design styles, offering inspiration for creating personal, lived-in environments. With its bold striped cover that draws in art and color lovers, The House Romantic is as visually captivating as the spaces it showcases. Beyond its aesthetic appeal, the book offers practical tips and tricks for incorporating bold, whimsical decor into your home in an authentic and meaningful way, helping you curate a space that feels special and tells your unique story.

Designed at Abrams Books, the book’s layout is set in Romie Regular and Italic (designed by Margot Lévêque) and Monotype Baskerville.

Publisher Atelier Éditions writes:

John Cage: A Mycological Foray draws readers across the idiosyncratic, mushroom-suffused, innermost landscape of celebrated American composer John Cage. Upon the remarkable journey with Cage, one encounters assorted photographs, compositions, and contemplations; all in the very same unexpected fashion one encounters various flora and fungi species while mushroom foraging. Volume I encompasses Cage’s mycological-oriented Indeterminacy stories, Diary excerpts, and essays; and the complete transcript of Cage’s 1983 performance, MUSHROOMS et Variationes. Volume II offers the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book; authored in collaboration with illustrator Lois Long and botanist Alexander H. Smith.

Text throughout is set in Monotype Baskerville, with headings in Traulha and Cage's own writings in Space Mono.

The colophon credits design director Capucine Labarthe and illustrator Katty Maurey.

The back cover features Traulha Regulara and Italica.

Every Mushroom is a Good Mushroom is a supplement to the book.

Winter 1967

West Coast Review is a Simon Fraser University literary journal edited by Fred Candelaria. Shown here are the covers of the first three issues. The cover design is credited to the printer, Morriss Printing of Victoria, British Columbia. It features hand-rendered American Uncial Initials for the title and all-lowercase Futura for the author names. The information about volume, issue and date at the top combines roman small caps and italics from Monotype Baskerville. The price is printed in Libra Bold.

Fall 1966

Spring 1966

Paris-based designer and illustrator Antoine Desfilis used Granblue on a book cover. It pairs beautifully with the illustrations on the cover of this French translation of The Cater Street Hangman, issued by Editions 10/18. The thriller by author Anne Perry was first published in 1979.

Adrienne Adams (1906–2002) was an American children’s book illustrator. Published in 1980, The Great Valentine’s Day Balloon Race is one of at least five children’s picture books for which she also wrote the text.

Bonnie and Orson, two young rabbits, build a hot air balloon to enter in a St. Valentine’s Day balloon race

The formal script used for the title and also for initials is Domingo Script. It originated at Photo-Lettering in New York, probably in the late 1940s (type sample courtesy of Tobias Frere-Jones). To my knowledge, there is no digitization. You might like Filmotype York or Shelley Script. While the author’s name is in Baskerville Old Face, text is set in Monotype Baskerville.

You can flip through the whole book on the Internet Archive.

In 2007, the University of Chicago in cooperation with the Hoover Institution and other benefactors issued this new, “definitive” edition of Friedrich Hayek’s The Road to Serfdom including extensive additional material for context shedding light on the profound impact of this work: two prefaces, two forewords, two introductions, six appendices, acknowledgments, and an index, though no Knopfesque “Note On The Type.”

The rear blurb copy is set in Hoefler Text with some DIN.

Body copy and footnotes are in Monotype Baskerville with lining figures.

Title and author are in DIN with its telltale capital M, possibly URW DIN Semi-Condensed Bold. Remainder of the text is in Hoefler Titling.

Source: www.abebooks.com Keoghs Books. License: All Rights Reserved.

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

The first British edition of Theodor Reik’s On Love and Lust was published by Souvenir Press in their Condor imprint in 1975, as the second volume in a series of works by the influential psychoanalyst.

While Farrar, Straus and Giroux used the lofty capitals of Michelangelo for their edition, Souvenir Press went for very different typographic direction. For his cover design, Mike Hasted specified Pump. This hefty follower of ultrageometric designs like Harry, Burko and Blippo Black was drawn by Bob Newman and issued by Letraset in 1970. It’s here used in all caps, with (too) wide word spacing.

The author’s name is set in all-caps Monotype Baskerville.

The name of the imprint appears to use Monotype Garamond Italic.

Various weights of Futura over a beautiful painting by Los Angeles-based artist Danny Heller

A groundbreaking and engaging explanation of the evolution of the homes we live in today - told through the stories of 90 iconic houses and the designers and architects who created them. A fresh and authoritative design drawing on mid-century influences to showcase this most iconic of design revolutions.

The Secret Life of the Modern House was authored by Dominic Bradbury and published by Ilex Press.

Contents page mixes serif and sans serif

Body copy elegantly set in Baskerville with Futura to set apart the captions

Chapter opening

Detail of how the two type styles sit together

Timberline is used for the lyrics video for “Follow Your Heart” by Scorpions. The script typeface is shown in a beige color against a dark background. Its sleek, modern design perfectly complements the video’s theme of determination and perseverance. The font’s brushy effect style make it easy to read, while also conveying a sense of grunge and calligraphy look. Overall, the font choice creates a visually striking and engaging viewing experience for the audience watching the video.

“Best of Rock Ballads” is added in all-caps Monotype Baskerville.

The fonts used for “Love” and “Hope” are unidentified. The latter is similar to Thirsty Rough.

This poetry anthology focusing on “Black speech & Black music as poetic references” was written by Stephen Evangelist Henderson (1925–1997) – who is not to be confused with actor and director Stephen McKinley Henderson (b. 1949). H. Rambsy comments:

Henderson devotes considerable energies to illuminating black components of black poetry in the extended introduction of the work. Rarely do popular anthologies go to such lengths to situate the poets and poetry in distinct cultural or racial contexts.

First published in hardback by William Morrow & Co. in 1973, this is the paperback edition that followed the same year. The cover is set exclusively in ITC Busorama, making use of some of its numerous alternates. Most notably, the subtitle features right-leaning A’s in the left half and a left-leaning one in the right half, creating symmetry around the central ampersand.

See also the cover for John Lahr’s Astonish Me. Adventures In Contemporary Theater, published by Viking Press in 1973, and the poster for Martha Graham Dance Company at the Royal Opera House, designed by Richard Bird and Michael Mayhew in 1979.

Title page with a pairing of Americana and Monotype Baskerville.

In the book Working On My Novel, Cory Arcangel lists re-tweets that he posted on the Twitter account @WrknOnMyNovel.

As a meta project based on tweets talking about a book release, the release of the book is ironic, even more so as the project started with digital information. Giving them a paper format is an interesting approach.

Arcangel plays with this clash of the digital and the physical, which can provide an in-between aesthetic. On the other hand, he made a cover that does not hint at the digital aspect of the project: the title is set in a classic typeface – in this case Monotype Baskerville (as shown on the publisher’s page) and Georgia (as shown on the author’s page – possibly a mockup?) – which is very common in the world of publishing.

Editing a digital project in this way is an interesting idea, as is the choice to go through a publisher like Penguin. It’s also ironic: to propose a digital project and to illustrate the cover with a pencil drawing and a title with a black serif typeface. Arcangel never uses this kind of design, he is known for digital works and not for pencil drawings.

From Penguin:

What does it feel like to try and create something new? How is it possible to find a space for the demands of writing a novel in a world of instant communication?

Working on My Novel is about the act of creation and the gap between the different ways we express ourselves today. Exploring the extremes of making art, from satisfaction and even euphoria to those days or nights when nothing will come, it's the story of what it means to be a creative person, and why we keep on trying.