“Head, Shoulders, Knees, and Toes” is a children’s educational video which uses a mix of playful and approachable typefaces to reinforce the clarity and rhythm of the classic nursery rhyme. The pink “Shoulders” label is set in Moulin Rouge FLF, whose soft curves and decorative personality give the callout a friendly, storybook feel. The lyric line at the bottom uses Arial Rounded, a familiar, highly legible choice often found in early‑learning materials because of its gentle terminals and simple geometry. The MagicBox logo seen at the top left uses Filmotype Accent.

The combination of these fonts supports the video’s purpose: guiding young viewers through body‑part identification with clear visual hierarchy and bright, inviting shapes. The rounded forms and high color contrast help maintain readability even against the busy illustrated background. Overall, the typography contributes to a cheerful, accessible learning environment typical of early‑childhood media.

Magik is a Marvel Comics character who first appeared in 1975. The current Magik logo seems to have been first used for the comic book Mystic Arcana: Magik #1 in 2007, and continues to be used for the 2025 Magik comic book series.

The logo uses Morpheus, except for the G, which is from Meath FLF. A sword has been added over the M, and the dot of the i has been omitted.

Mystic Arcana: Magik #1 (August 2007)

Magik #2 (April 2025)

Dimension 20: Fantasy High is the first season of the tabletop role-playing game show produced by and broadcast on Dropout TV. DM’d by Brennan Lee Mulligan, this season asks, “What if John Hughes ran a game of D&D?” In this coming of age story, six freshmen of the Aguefort Adventuring Academy try their best to get through high school, and encounter great dangers and mystery along the way. Fantasy High is the first multi-season long campaign produced by Dimension 20, dedicating one season to each year in high school.

Fantasy High uses the font Collegiate FLF for its title, and Proxima Nova for all other displays. This season uses Dungeons & Dragons fifth edition for its game system. It is also one of the very few seasons of Dimension 20 that is fully available to watch for free on YouTube.

After Fantasy High: Junior Year premiered with a new logo, new and current Fantasy High Season 1 related media was upgraded with the new logo. Two notable examples of this are the Fantasy High Webtoon Comic, and the Fantasy High Season 1 and Season 2 YouTube Uploads.

Fantasy High logo with an Owlbear peeking over the edge of the title

Banner for Dimension 20: Fantasy High featuring GM Brennan Lee Mulligan (top center), and art of player characters (from left to right, top to bottom) Kristen Applebees, Fabian Aramais Seacaster, Riz Gukgak, Gorgug Thistlespring, Adaine Abernant, and Figueroth “Fig” Faeth; played by Ally Beardsley, Lou Wilson, Brian Murphy, Zac Oyama, Siobhan Thompson, and Emily Axford respectively.

Screenshot of Episode 16, Prompocalypse. Pictured is Lou Wilson, Ally Beardsley, and Brian Murphy with their names and characters displayed below them in Proxima Nova.

YouTube thumbnail of the trailer for Dimension 20 Fantasy High season 1, featuring Brennan Lee Mulligan, and the Fantasy High logo without its usually seen glow effects

Thumbnail for the YouTube upload of Episode 1 of Fantasy High Season 1. Pictured is Brennan Lee Mulligan, with the text below reading “FRESHMAN YEAR” in Fairplex and “EPISODE 1” in Lev Serif

Promotional material for the Fantasy High Webtoon, featuring the Season 3 logo as well as characters (from left to right) Fabian Seacaster, Riz Gukgak, and Adaine Abernant

A flyer for Urban Forest Odyssey 2, a “doof” (outdoor rave) held in Melbourne, Australia, on 24 February 1996. The design is credited to 12th Planet.

“UFO” is in FF Dig. The 2 inside the O is unidentified. “Urban Forest Oddysey [sic]” and the date use stretched and slanted Volkswagen. The names of the organizers of the event use Fino (or, as the Y is different, maybe the revised Finessimo?).

At the top of the flyer, the black text is in Futura, the white text is in Eurostile, and the ampersand is from Dorovar FLF (or maybe Carolingia).

The word “DJs” is in Eurostile. The names of the DJs use the Lambrettista style of Laundry. “Friends of the Earth food stall” and the black text at the bottom right are in Digital Sans.

The snaking text at the left uses Handel Gothic. The tiny “Designed By” and “Printed on Recycled Paper” use Futura Condensed.

A selection of pages from the A4 handouts printed for each exhibition

ISSUES is a contemporary art gallery in central Stockholm, initially set up as an ambulancing space in 2014 by Oscar Carlson, Johan af Geijerstam, Julia Eriksson and Peter Ström.

Between 2014 and 2021 the gallery produced thirteen shows around Stockholm, where the geographical location was of equal importance as the artist. For Issues #3 in 2015, Ryan Trecartin’s work CENTER JENNY was shown in the local Mediamarkt store on all 196 TV screens simultaneously. For Issues #4 in 2017, a group exhibition took place in an (at the time) empty space on Södermalm shaped like a display window, where the artworks were rotated every fifteen minutes in order to let that specific space come to its fullest.

Because of these new physical and geographical locations, the visual identity for the gallery was changed each time, adopting different typographic references to the current space.

In 2021 a more permanent space on Vattugatan 13 was found, turning the gallery into a commercial one in a fixed location – at least for the time being.

A permanent design system was introduced with the new space, where the location was less important – almost the opposite, as the new space was in a location almost unheard of even for the most hardcore Stockholmer, in an area filled with governmental buildings.

The design system takes its starting points in concrete poetry and early computer art (mainly ASCII) using Vincent Chan’s Quadrant Text Mono, complemented with the addition of a typeface and treatment picked for every artist – giving each artist their own visual identity connected to the space. Each typeface and treatment picked either refers to the artist’s practice or is connected to the idea of a place in downtown Stockholm – or in some cases, both.

The grid is based the word “ISSUES” written 16 by 10.5 times on an A4 sheet — because, you know, too many ISSUES…

The visual identity for ISSUES 4 took its typographic starting points in the typeface Eurostile found at the logo of a left over vacuum cleaner in the space.

The new space at Vattugatan 13 uses Quadrant Text Mono on all its signage and printed matter, as well as on the website and social media.

Insta stories using frame-by-frame tap animations, mixing ASCII and logo typography in ABC Honeymoon

Selected front and back covers from the A4-sized catalogue that comes with each exhibition.

Covers featuring Brush Script, Crowbar, Horizontal, and Jannon

Insta stories featuring P22 Arts and Crafts, Antique Olive Nord, Purple Haze, and PC Myungjo

For most of the shows, merchendise has been made in order to promote the shows with and to the local community and scene that ISSUES is part of. Reflective wests for Henning Hamilton using ABC Maxi Round, gym bottles for Hampus Wernemyr in Jannon, hats for Zoe Barca in Monaako, and candy, T-shirts and mugs in Quadrant Text Mono.

For DOWNTOWN ISSUES 2 in September 2023, one T-shirt with a typographic identity was designed for each participating artist printed in a single copy only. Seen here is a selection of the almost 70 T-shirts in total.

A few examples: The typography for Elis Monteverde Burrau with Tesla references the big amount of Teslas in the neighbourhood (and indicates where this Swedish poet might be heading in the future?). The typography for Georg Nordmark in Amsi references local pet food chain Arket Zoo because of Georg’s interest in animals in his art. The typography for Militza Monteverde Burrau uses Dinamo’s ABC Honeymoon and connects to her organic sculptures in glass. The typography for Ilja Karilampi links to his meme lord status via its use of Impact. Siri Carlén was treated with the never-to-be-released Småländsk Antikva by Konst & Teknik – which started around the same time Siri was a student of Konst & Teknik at Konstfack. Viktor Fordell got a Ford logo knockoff typeface because of... you know... Ford.

The non-personal T-shirts come with one front cover and three different back versions: The big 2 is based on the most downtown building Stockholm offers, parking house Parkaden and its beautiful brutalist numbering system and fascade. “DOWN TOWN” refers to local clothing brand Our Legacy WORK SHOP that is often seen on T-shirts around town. A version of the T-shirt with all the artist names overprinted was made in an extra limited edition of only five copies. All T-shirts printed in white ink on black fabric by Everynight Studios.

Fonts in USE!

Digestive

Maple is a Canadian jewelry company specialized in recycled sterling silver, either as such or plated with 14k gold. A distinctive trait of this brand is their recurring use of type as an ornament through the years. The fonts are either embossed (and oxidized) or debossed in the surface of the jewelry, or can even serve as a full 3D object for the base of some pieces, like the M or Freak rings and bracelet. Note that the Freak ring is not a simple extrudation of Cheee but a properly sculpted inflation of the letter shapes.

Among the fonts they used, we can name a few occurrences of Digestive by Jérémy Landes, Cheee by James Edmondson (both released through OH no Type Co.), Victor Moscoso by Keith Bates, Hendrix by David Nalle, Blackmoor by David Quay, Collegiate FLF by Casady & Greene, and at least two more unidentified ones.

Digestive

Digestive

Victor Moscoso

Digestive

Digestive

Cheee

Cheee

Cheee

Cheee

An unidentified slab serif with similarities to City

Hendrix (outlined)

Collegiate

Blackmoor

Unidentified typeface

Alba is a multilingual literary magazine. It promotes cultural exchange between Latin America and Germany and contains different literary genres such as poetry, theater texts, prose, and interviews in German, Spanish, Guerrero-Nahuatl, Portuguese, and Wampis.

Issue 14 is typeset in Chaco by Rubén Fontana and in Andada ht and Weg by Carolina Giovagnoli (Huerta Tipografica). It was published by alba.lateinamerika lesen e.V., Berlin, in May 2023. Design, layout and typesetting by Carolina Giovagnoli. Printed and bound by Lieblingsdrucker. 17×24 cm, 180 pages. The subtitle and the spine text are in Vertigo FLF.

A remarkable outdoor advertising campaign by KFC, using images of the shopfronts of imitating fast food chains, paired with the barest version possible of the KFC logo and an ironic phrase “Guys, we’re flattered” using a yet unrecognized sans serif.

If others are copying your brand you can send a cease and desist letter, or you can use it in an advertising campaign. Kentucky Fried Chicken must have thought the latter. — Erwin Hauër, Knijff Trademark Attorneys

KFC’s own logo is custom. Each imitation pairs a KFC-like acronym with its own lettering or font choice. It appears that there were some different approaches to making an imitation. Some approximated the 1991–1997 KFC logo – either by using its letters when possible, or by using the similar Friz Quadrata: CFC, IFC, LFC, NFC, OFC. Some simply used Cooper Black, as it is a widely available typeface and much used by fast food shops/chains: BFC, DFC, HFC, ZFC. There’s ITC American Typewriter, which approximates the 1978–1991 KFC logo: GFC, TFC. Others use FB Agency with added stroke and outline: EFC, MFC, SFC, XFC; or what looks like Clarendon: FFC, JFC, PFC; or a grotesk (Helvetica?): QFC, UFC, WFC, YFC.

The most unique one in my opinion is clearly RFC, followed by AFC and VFC.

AFC: lettering or type? [edit: it’s Collegiate FLF, see comments]
BFC: Cooper Black
CFC: based on the 1991–1997 KFC logo (C repeated)
DFC: Cooper Black
EFC: FB Agency
FFC: Clarendon
GFC: American Typewriter
HFC: Cooper Black
IFC: based on the 1991–1997 KFC logo (I created by cutting the F)
JFC: Clarendon oblique
LFC: seems based on Albertus [or Friz Quadrata, see comments]
MFC: FB Agency
NFC: seems based on Albertus
OFC: based on the 1991–1997 KFC logo (O is a circle with a chicken in it)
PFC: Clarendon
QFC: similar to Helvetica Black
RFC: Revue
SFC: FB Agency
TFC: American Typewriter
UFC: Helvetica
VFC: similar to Rockwell Extra Bold
WFC: Helvetica
XFC: FB Agency
YFC: unidentified
ZFC: Cooper Black

Posters and promos for Dear White People, a Justin Simien film. Really nice use of Cooper Black. The supplemental type appears to be set in Varsity a.k.a. Collegiate FLF.

I love Chicago and I love design. I decided it was about time to mash those two loves together, and the logos you see here are the result.

Some of these logos are based on personal experiences and intimate knowledge of certain neighborhoods (such as Beverly, where I grew up), but in most cases these logos come from inspiration gleaned from various sources, including online research and conversations with current and past residents.

— Steve Shanabruch