Dimension 20: A Court of Fey & Flowers is the 15th season of the tabletop role-playing game show produced by and broadcast on Dropout TV. DM’d by Aabriya Iyengar, this season follows the politics and relationships of six archfey from various faerie courts as they prepare for and attend a social event known as the Bloom.

A Court of Fey & Flowers the font Vatican for its title, opening credits, and character information, and this particular season uses Dungeons & Dragons 5th edition for its game system.

Banner for Dimension 20: A Court of Fey & Flowers featuring GM Aabriya Iyengar (center) and cast (clockwise order) Brennan Lee Mulligan, Oscar Montoya, Omar Najam, Surena Marie, Emily Axford, and Lou Wilson.

Screenshot from the opening credits sequence of episode 1. The text reads “AABRIA IYENGAR as The Game Master”, set in Vatican.

Screenshot from episode 1. Pictured: Brennan Lee Mulligan (left) introducing his character, Captain K.P. Hob (right), with character stats, name, and pronouns displayed center, all set in Vatican.

Giulia Julss is an aesthetician who decided to open her own beauty salon in 2023. Her dream has always been to create a place where people can feel at home, take care of their bodies, and relax. This is how Giuly Julss – Un momento per te (“A Moment for You”) was born. The project was conceived by combining visual elements in a way that might seem inconsistent at first glance; in fact, the real goal was to create a cohesive style suited to a local, personal business without disrupting the surrounding context.

We used a combination of four fonts— Apfel Grotezk, Park Lane, Pinyon Script, and Molle—to further enhance this balance. Specifically, we chose a refined aesthetic (cooler colors, more formal fonts) for the first customer touchpoints, such as gift vouchers and business cards, while opting for a warmer, more informal, and spontaneous style (warmer colors, friendlier fonts) for touchpoints experienced within the salon itself. The logo is custom drawn.

Park Lane with swash alternates

La morte è un'esperienza comune non solo tra gli uomini, ma a tutte le cose del mondo. Democratica ed inevitabile, è simbolo controverso tanto di ciò che finisce quanto di ciò che inizia.

The focus of the book is the funeral ritual of the Tana Toraja, an Indonesian tribe. The ceremonial has been analysed and divided into its main stages, each accompanied by Domenico Barile’s photographic documentation. Other traditions related to death were then juxtaposed to each of the ritual’s phases, in a process of similarity that is as much ideological as it is practical-performative.

Made as student project in the Progettazione grafica dell’immagine course at ISIA Urbino, supervised by Mauro Bubbico.

The main logo on the window shop is hand painted, adding smooth corners to Proto Grotesk. This is especially visible in the ‘A’.

Grain Traders is a restaurant that wants to feed people right. Everything about the brand and space had to tell this story in the quick moments people are there for their workday lunch.

We drew inspiration from a variety of places and sources : Anthony Bourdain’s food trips into the Bronx and Queens, alongside flour sacks from the Mid-West and old Puerto Rican posters were key in providing a base for the Grain Traders visual and spatial universe.

Because this concept essentially puts users through a queue, choose and pay process our brief for the space was to make these activities disappear by immersing guests in a authentic atmosphere. This led to special touch points higher than eye level so wherever you are in the space you would not feel left out of the experience. [Parable Studio]

Parable Studio built the logotype and main identity of this Singapore restaurant with Proto Grotesk. Even if the menu on the actual location is hand-painted to add a bit of cachet to the atmosphere, Proto Grotesk is used for everything else, from shop window to stationery and coffee cups. On printed menus, it is paired with a bunch of typefaces from Hoefler & Co. to add an American flavor. Klim Type’s Pitch makes an appearance, too.

As always, Parable are playing with glyphs included in the font that most designers underestimate or forget, and their layouts are full of such typographic details: circled digits, arrows, alternate number set, ornaments …

Detail from the hand-painted menu. Some of the styles might be modeled after fonts, see e.g. House Industries’ Signpainter Collection, and especially House Script for “Black” / “By Hand”.

Proto Grotesk is used alongside Knockout, Pitch and Leviathan on this menu. Note the circled digits.

The menu features a plethora of additional fonts, including Page No. 508 (“Bowls”, with upside-down ‘M’ for ‘W’), Kestrel Script and Local Gothic (“The Beebop”), Vitesse and Neuland (“Mr. Pirom”), Bureau Grot (“Add Ons”), and more.

Kestrel (Letraset, 1984) by Alan Meeks served as model for this sign of a men’s outfitter in Flensburg, Germany. The ‘H’ has been customized to resemble the form also found in the German school script model.