Cover and album design by Jaemin Lee for Elaine’s debut album titled 1, released with the Korean label Beatball Records.

Words from the designer:

Elaine’s debut album “1”, previously released only on CD, has been reissued on LP for the first time with a newly designed package. In place of images or artwork, I used a short line of copy to make a statement of debut—bold and direct, yet precisely typeset. The silver-foil element at the bottom catches the light like roots and a stem, hinting at a beginning and what may grow from it.

Herbus Serif is used for all display typography. The typefaces used for the lyrics are YMG Munche Gothic (Korean) and Atacama Extra Condensed Light (English).

Klaus Richter’s 300-page photographic documentary Yamakasa takes a look behind the scenes of the spectacular Hakata Gion Yamakasa Festival in the Japanese city of Fukuoka.

Yamakasa is not a classic photo book, but a tapestry of culture, closeness, and movement. The book was photographed by a renowned rock and metal scene photographer and designed by his son, and is all about a 785-year-old Japanese ritual. A German-Japanese font ‘spectacle’ carries and supports the book. Yamakasa documents the Hakata Gion Yamakasa Festival 2025 and translates its energy into a visual language that goes far beyond mere documentation.

The origins of the festival date back to 1241, when the Buddhist monk Enni was carried through the city on a festival float by the population in order to drive away the plague with prayers. Over the centuries, the ritual ceremony developed into a spiritual festival that is unique in the world. Every year from July 1 to 15, seven groups of men parade through the old town with their magnificent Yamakasas: richly decorated wooden frames weighing over a ton.

German photographer Klaus Richter, who has been a constant companion to the rock and metal scene with his camera since the 1960s, received rare permission in 2025 to accompany one of the teams during the festivities. His photographs document not only the procession itself, but also the preparations, the breaks, the sweat, and the audience. They show the pulse of a community celebrating its tradition.

The impetus for the book came from the photo platform LFI Gallery (Leica Fotografie International). LFI Gallery awarded five photographs by Klaus Richter as ‘Mastershot’, five additional images as ‘Selection’, and one photo as ‘Picture of the Week’ in 2025.

Yamakasa was designed by Klaus Richter and his son Gabriel Richter. They conceptualized the book as a spatial and movable object. The headlines and texts move across the pages like the Yamakasa carriers through the city. The open thread stitching is not only an aesthetic detail, but a deliberate reference to the ropes and cords that hold the Yamakasas together. With around 300 pages, the book has a physical presence that conveys the weight and power of the festival.

During the preparations for the festival, the men wear stylish Toban Happi coats. There are over 50 different types. The Nishinagare group, accompanied by Klaus Richter, wear dark blue toban happi coats with white characters.

In the German-Japanese typography, the typeface collection Tausend from Fontwerk plays a central role and Gabriel Richter was also involved in its development. Its compactness and slightly slanted ends correspond strongly with the structure of Japanese Kanji and their dynamic strokes. Tightly spaced letters create a feeling of density and cohesion, as exemplified by the groups of men carrying their palanquin. In combination with the Japanese typeface Hiragino Sans from Screen Graphic Solutions Co., whose subtle weight gradations could be precisely matched to Tausend, a captivating typographic dialogue was created – without striking effects or cultural simplifications.

Yamakasa is a book about community, trust, and movement. Tausend and Hiragino Sans are not neutral carriers of information, but part of the narrative: powerful, compact, rhythmic. The project exemplifies how type not only accompanies, but also carries meaning. And how typography can bridge the gap between form and content.

Just as the stretcher is carried through the old town of Hakata, the explanatory texts take up different positions on the double pages.

One of the five master shots awarded by LFI: At 38 degrees Celsius, the air shimmers, and water from the buckets of spectators provides cooling relief.

The fonts Tausend and Hiragino Sans engage in a typographic dialogue, either in positive or negative space.

On the morning of July 15, just before sunrise, the highlight begins: the Oiyama run. With rhythmic drums behind them, the runners storm through the alleys – a mixture of ecstasy, ritual, and pure devotion. After the run, the group ceremonially tears the stretcher apart in a kind of battle. If the participants manage to grab something, they can take it home as a trophy. Since this ritual is too dangerous, it is now only performed by the group that Klaus Richter accompanied.

The current identity for art center Kunsthaus Potsdam was designed by Onck West, using Affairs and FT Kunst Grotesk throughout. From the studio’s case presentation:

Kunsthaus Potsdam was founded in 2000 by the artists Hubertus von der Goltz and Frank Michael Zeidler in the former equestrian military hospital of the Garde-Ulanen barracks in Potsdam. The building now houses an exhibition hall and several artists’ studios. With the arrival of a new curator and a renewed focus on contemporary art, the Kunsthaus asked Onck West to develop a fresh visual identity. Our design was inspired by the extraordinary building and the time in which it was created.

What are the characteristics of a supernormal stimulus? Are works of art that we recognise as masterpieces of history to be considered superstimuli? Can works of art today promote behaviours such as empathy, a sense of aesthetics, and community, thus functioning as a critical tool that generates change?

Superstimolo. Come il cervello partecipa all’opera d’arte (“Superstimulus: How the Brain Contributes to a Work of Art”) opens up an initial interdisciplinary debate on the subject, reflecting on the importance of art and the effects it can generate on individuals, cultures, and societies and contains texts by Numero Cromatico (Dionigi Mattia Gagliardi, Giulia Torromino, Manuel Focareta, Sara Cuono, Federica Marenghi, Salvatore Gaetano Chiarella), Emanuele Arielli, Dina Riccò, Renata Gambino and Grazia Pulvirenti, Franco “Bifo” Berardi, David Freedberg.

The book is part of the INTRA editorial series by Numero Cromatico. Size: 13×19 cm, 152 pages, Risograph printed on recycled Favini paper. This publication was realised thanks to the contribution of the General Directorate for Education, Research and Cultural Institutes. The publication is part of the research project Art as supernatural stimulus. The work of art as superstimulus in the era of digitalisation of intersubjective experiences supported by the Italian Council program, Directorate General for Contemporary Creativity, Ministry of Culture (2021).

Published in 2024, Pink Chilli in a Bowl is a book co-written by Manuel and Isabelle Der Hagopian, archiving views, places and local cuisine of Singapore in the form of photographs, addresses or writings; challenging both imagination and senses of the readers. In the words of the authors:

Neither a tourist guide nor a work of historical records, Pink Chilli in a Bowl is a personal archive of forgotten places and time-honoured buildings that may someday be wiped out—some of which have already disappeared amidst the backdrop of a city that is constantly developing. These pages detail an intangible side of Singapore, encouraging readers to tap into their imaginations and reconstruct their mental map of the island nation in ways that inspire them.

For the design of the book, the authors collaborated with Singapore based branding studio Practice Theory. From the studio’s Instagram post:

Faced with the task of translating the contrasting raw material—Isabelle’s spontaneous observations and her meticulously organised list—what emerges is the palpable tension between chaos and structure that permeates form and content. This push and pull echoes that of the wandering flâneur and the cataloguing archivist.

Such dichotomy governs the flow of the book, the visual interplay amidst light, paper, and space traversing between its strong typography and structured layout. Readers may now envision themselves as flâneurs, navigating through the abundance of pages at their own pace.
This tension is mirrored in its grid-based design, juxtaposed with varying paper stocks, including translucent pages that engage with light and space through reverse printing. Subtle lines further demarcate the grid, forming tangible “stars” that interconnect throughout.

The book’s removable plastic sleeve features a “hidden” list of all the Stars and Constellations, symbolising the fleeting nature of Singapore's heritage. Upon unwrapping, the book’s credits are physically removed, allowing readers to assume authorship and reconstruct their mental map of the island-nation in their own creative vision.

A combination of Swiss Typefaces' Suisse Int’l and Suisse Int’l Mono are used for the book cover and contents, as well as the dedicated website co-designed with the web agency Good Work. Both in the book and online, Suisse Int’l appears set with tightened letterspacing.

In 2019 NYCEDC engaged Frere-Jones Type to design a custom typeface for the new facility that reflected the Essex Market’s unique history. In collaboration with Lite Brite Neon, Via Collective, and Lower East Side Partnership, the resulting logo typeface – Essex Market – was inspired by the original Orchard Street Meat Market signage recovered from Essex Market Retail Building D (restored for the new facility), as well all canopy signage and supplemental test incorporating Mallory by Frere-Jones Type as well.

Essex Market is a historic, vibrant public food market on Manhattan’s Lower East Side (LES), a community hub since 1818, now in a 37,000-square-foot modern facility at 88 Essex Street, featuring diverse local vendors selling fresh produce, specialty foods, and prepared meals, plus hosting cooking classes and events, blending NYC's immigrant history with contemporary culinary delights.

Read more about the making of New York’s most historic market on Frere-Jones Type’s blog.

Visual identity for Dòte, a Milan-based hand-weaving collective active since 2022. Run by Caroline Donaldson, Elena Meneghini and Giulia Pils, Dòte is a workshop dedicated to the production of fabrics and textile objects, a space committed to the study and teaching of hand-weaving, and a research platform focused on textile culture in the broadest sense.

Dòte’s visual identity, curated by Michele Galluzzo in collaboration with Meneghini, is based on a custom typeface designed by Fantasia Type (Franziska Weitgruber + Galluzzo), inspired by the rediscovery of the Svezia typeface produced by Xilografia dei Verona in the first half of the twentieth century. The resulting font, Dote, is currently available on the Future Fonts platform.

Eight years after the first English edition by Basic Books, A.R. Luria’s The Mind of the Mnemonist was reissued by Chicago-based publisher Henry Regnery. Roger Harvey’s jacket design uses Harry Obese, the heaviest weight of Harry, alongside Univers. The layered text snippets in pink and red additionally feature Helvetica, Times New Roman, and Bookman – but those are likely repurposed from existing material.

Vi Ser Mønstre Overalt. Tekstiltryk som håndværk, tradition og kunstart / We See Patterns Everywhere. Textile Print as Craft, Tradition and Art Form explores the rich tradition and contemporary relevance of hand-printed textiles – both as a living craft and as an artistic practice in constant evolution. The bilingual publication accompanies the exhibition Trykkraft / Printing Power at the Designmuseum Denmark and serves as both a scholarly exploration and an aesthetic experience, and contributes to highlighting the continuing significance of textile printing in Denmark. Featured are eight living Danish female textile artists: Anne Fabricius Møller, Bitten Hegelund, Else Kallesøe, Janne Wendt, Josefina Enevold, Lisbet Friis, Trine Tronhjem and Liv Marie Rømer.

The book was designed by Spine Studio using the typefaces Monopol by Nguyen Gobber for titles and Maligne by Maxitype for running text.

Beer mats

For this project, Another Kind Studio wanted to craft an identity that felt fitting for a site with such a massive legacy. Situated on the grounds of what was once the largest brewery in the world, we designed a new pub brand for Ninety One to honour that heritage while carving out its own modern space on Brick Lane in East London.

From the deep greens and warm oranges to the period inspired typography, we designed the brand to live and breathe in physical spaces and feel totally at home in its surroundings. Explore the new visual identity in action below across tactile menus, custom tap badges, wayfinding signage, and matchboxes.

For the full project please visit the Ninety One project page on our website.

Stacked logo

Logo animation

Drinks menu

Heavy weight team T-shirts and branded pint glasses

Branded matchboxes

Custom beer tap badges for the Ninety One house lager

Hand-painted wayfinding signage by Rayment Signs

In-house poster templates

Brand guidelines

Ninety One website

Victor Verhelst and Corbin Mahieu worked on the visual identity of Abrupt festival’s 2025 edition, using AC Visual for the typography. From the festival’s Instagram:

Carrying forward their visual dialogue with the festival, the duo translate rhythm into form: weaving glitches, sparks, and restless motion into a design that pulses with intensity.
A visual journey, echoing the energy of moving between spaces, sounds, and moments, always with an abrupt twist at its core.

About the festival:

Abrupt unfolds across a series of distinctive venues in Brussels. The festival presents a curated selection of live performances, club nights, talks, and gatherings, each one tuned to the shifting frequencies of a hyperdiverse musical landscape.

Organised by the non-profit behind Reset, the temporary brutalist cultural space in central Brussels, Abrupt reflects the organisation’s broader commitment to independent artistic creation.

Built in 1921, Florette is a tall ship and one of the last operational wooden brigantines in the world. It has been to more than 30 countries and has made multiple journeys across the Atlantic. It is captained by Ron Haynes, who grew up on the ship, and run by his family and a small crew. Visitors can book passage on a leg of its journey and get hands-on experience being a part of a working crew.

Daniil Sergeev designed a new identity for the ship, and says about the design:

The brand idea draws from the meaning of Florette—“flower” in Italian—using a floral motif as the foundation for the new symbol. This form is combined with a wind rose, linking growth and beauty with journey, navigation, and direction at sea. The color palette balances deep navy blue, inspired by open water, with the light, sail-like tones of canvas and wind-filled cloth, creating an identity that feels both poetic and purposeful.

The new identity uses Roslindale for titles and Graphik for text throughout. This has to be one of my favorite uses of Roslindale’s Deck styles at large sizes. It feels solid and unshowy in a way that Roslindale’s Display wouldn’t have, but still carries a lot of style and a sense of history.

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta (August 1975). The small type (and the text typeface) is De Vinne.

West Nouveau Didot is a typeface drawn by Dave West and added to the catalog of Photo-Lettering by 1971.

In August 1975, it was used in all caps for The Fantastic Art of Frank Frazetta, an album with assorted works by the “Godfather of fantasy art”, with an introduction by Betty Ballantine and book design by Robert Blanchard. The book was published by Rufus Publications and Peacock Press, an imprint of Ballantine Books. Scribner’s issued a hardback edition in September 1975.

The typeface subsequently became the backbone of the typographic identity of Frank Frazetta (1928–2010). It was used for all five volumes of The Fantastic Art of Frank Frazetta, as well as calendars, catalogs, jigsaw puzzles, and other items featuring the iconic works by the Brooklyn-born artist.

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta. Book Two (1977). The secondary typeface is ITC Souvenir.

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta. Book Three (1978)

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta, Book Four (1980). Betty Ballantine’s name now is set in all-caps West Nouveau Didot, too.

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta, Book Five (1985)

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

Assorted Frank Frazetta calendars from 1977 to 1982

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Frank Frazetta Calendar 1977, designed by Robert Blanchard

Source: historical.ha.com Heritage Auctions. License: All Rights Reserved.

The Frank Frazetta Calendar 1978

Source: comics.ha.com Heritage Auctions. License: All Rights Reserved.

The Frank Frazetta Calendar 1979

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

The Frank Frazetta Calendar 1980

Source: www.that70sshopyakima.com License: All Rights Reserved.

The Frank Frazetta Calendar 1982 with box

Source: www.ebay.com dtown comics. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta jigsaw puzzle, “The Death Dealer” (1973). The text in red caps is in ITC Korinna. The title uses another PLINC face, Staudel Xenotype P.

Source: www.facebook.com Morgan Cooper. License: All Rights Reserved.

A collection of 1970s and 1980s Frazetta puzzles from American Publishing Corporation

Source: www.ebay.com 13comicbuyer. License: All Rights Reserved.

The Fantastic Art of Frank Frazetta, Catalog No. 2 (1981)

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The Fantastic Art of Frank Frazetta, Catalog No. 2 (1991)

This is the fourth issue of La petite collection, designed by Bureau Roman Seban. As with every issue, the number is printed on the cover and the colophon on the back cover, typeset in Bertin (here in Square style), the body text is set in Basetica, the captions in Muoto, all available from 205TF. The film titles and subheadings that punctuate the text are set in Nosferatu.

La petite collection is a series of texts dedicated to writing, typography, and book design, produced entirely by hand (from design to offset printing) within the Association Presse Offset in Paris. Each issue publishes one illustrated text in French. It is available for purchase on Association Presse Offset.

Film posters for the feature documentary Shelf Life – observing the parallels of the cheese aging process and the human experience of growing old.

Source: archive.org License: All Rights Reserved.

McNeil Bros. was a San Jose printer specializing in labels. Their 1885 catalog, Specimens of Druggist Labels…, is an explosion of eccentric type and ornament in fancy frames, offering hundreds of examples of artistic printing from the real world. This label combines seven very different display faces. The shaded ornaments pair well with the title type, Italic Copperplate, a design so elaborate it could be mistaken for custom engraving.

Source: archive.org License: All Rights Reserved.

Italic Copperplate shown in MacKellar, Smiths & Jordan’s 1891 catalog.

Most of the type in the McNeil Bros. shop was likely procured from the largest local foundry, Palmer & Rey in San Francisco. The company didn’t originate many (if any) type designs of their own, but they did supply the West Coast with novelties from Cincinnati, New York’s Conner, and Philadelphia’s MacKellar, Smiths & Jordan, all of which are represented on this label.

Source: archive.org License: Public Domain.

Pen Text, as shown in Palmer & Rey’s 1884 catalog (printed the year before the McNeil Bros. book that features the above label). In this copy of the specimen book held at the University of California, someone tried sketching a few characters in the ronde script style.

Illyricvm is a European historical-adventure film, co-written and directed by Simon Bogojević-Narath. From IMDb:

The year is 37 BC. A young Liburnian Volsus is taken by a Roman unit to help in what at first seems a simple task of collecting taxes, but the encounters with local Illyrian tribes soon lead to unexpected turns of events, as they show more resilience to subjugation than meets the eye. We see their archaic, emotional world of quaint and brutal laws and traditions through the eyes of this youngster, regarded by the Romans as a primitive barbarian, and gradually come to understand that their world is not all that different from our own.

Design for the film was done by Andro Giunio who used Rector for everything from the poster to the title credits.

The visual identity for Staatsballett Berlin, designed by Eps51, combines expressive typography with a restrained contemporary layout system. As one of Germany’s leading ballet companies, Staatsballett Berlin plays a central role in the development and preservation of ballet, both locally and internationally.

The identity translates the grace, energy, and emotional intensity of dance into a graphic language that balances movement and structure. The typographic palette pairs Similar with NT Zeu, whose proportions and rhythm complement the geometric character of Similar while introducing a contrasting voice across editorial materials, posters, and digital applications.

Developed in close collaboration with the team at Staatsballett Berlin, the system reflects both the tradition of classical ballet and the company’s contemporary cultural presence in Berlin.

The publication New Contemporaries 2026 was conceived as a continuation of the eponymous exhibition at South London Gallery rather than a record of it. Structured as an A–Z, it brings together 26 entries, one from each artist, forming a shared vocabulary of ideas, concerns, and positions emerging from this generation. Part reference book, part collective artwork.

The design follows this A–Z logic throughout. Two typefaces, Artistik and Zénith, were chosen to embody the span typographically: one expressive and unfamiliar, the other stable and readable. The idea of A–Z is also resolved through colour. The book is printed in registration black, using 100% of each C, M, Y and K plate. For New Contemporaries, where colour is usually prominent, this produces a deliberate shift: all colours present, but resolved into black.

The format sits between A5 and A4, giving the publication a familiar scale while allowing it to feel more substantial than a typical zine. Letters replace page numbers, the contents move onto the cover, and the typography carries the structure across the book.

The result is a publication that functions as index, object, and artwork at once, extending the exhibition while standing on its own.

Phonk and LL Bradford in use by JMMP for the book Jaw Filler by Max Murray and Charlie Markbreiter, published by Montez Press. In Macy Rodman’s words:

Jaw Filler strikes a rare and clever balance: it lampoons its genre while flawlessly exemplifying it. Filled with femme fatales, hard-boiled detectives, and corrupt corporate supervillains, Charlie and Maz have crafted an immersive, twisting neo-noir that surprises to the very last word. Hilarious as it is riveting, Jaw Filler exploits the most exciting themes of the classic crime thriller, like mistaken identity and lovers’ scorn, and applies them to contemporary queer life in a way that feels surprisingly natural and profound. It’s like The Sluts meets Double Indemnity but everyone is trans. I had an absolute blast.