For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

The unofficial IKEA Report is a self-initiated editorial series by Kai Kwong a.k.a. dollgirls, celebrating the good stuff from IKEA.

The title is set in City Boy TM and Recoleta Condensed, with Domino Mono and League Script. Text typefaces are Instrument Sans and what looks like a condensed version of Times New Roman.

Soundbeam is a podcast production studio dedicated to creating content that enhances every aspect of a brand’s marketing strategy. Whether the goal is to generate leads, engage existing customers, or establish thought leadership, their podcasts help businesses to participate in the most important industry conversations. They chose Ghost Bold by Sharp Type, made it tighter and used it for the titles. They paired it with the monospaced League Mono by The League of Moveable Type for the the paragraphs.

Dropout logo (2025)

Dropout TV—owned by Dropout, previously known as CollegeHumor—is an independent comedy-focused streaming service that hosts their wide variety of television shows and previous internet content.

CollegeHumor’s font is Saucy Millionaire, and Dropout’s earliest logo used a modified Transandina Ultra.

Dropout’s current logo uses Raleway Black, and their service uses Raleway for all of the UI.

First Dropout logo from around 2018, titled “CollegeHumor’s DROPOUT”

Screenshot of the dropout.tv browse page.

Someone & Others used ABC Diatype Rounded (Dinamo) and GT Pressura Mono (Grilli Type) as main fonts for the identity of skin care brand Starface. The logo is based on Haley Fiege’s Sniglet, with custom star-shaped counters.

From Margaret Andersen’s article for Wix Studio:

Starface […] takes a worldbuilding approach to brand development, and it’s become wildly popular among teens for its colorful star-shaped acne patches. Someone & Others, which developed the brand’s identity (as well as for other notable beauty brands, like Kosas and Good Weird), grounded the Starface branding with a bright yellow color palette, Y2K design elements, and an adorable, starry-eyed, smiley face character called Big Yellow that, like the Futurewise slug, serves as the main persona for brand storytelling.

Big Yellow anthropomorphizes the brand’s packaging: riding roller coasters, running a book club, buying a bouncy house on TikTok (to which one of the brand’s two million followers commented, “this is so random I’m obsessed”), and commenting on brand posts from its own account. (All things one hypothetically might do with the loud confidence provided by a Starface pimple patch.)

Birra Stout serves as the display font for Ralph’s Famous Italian Ices.

The company was founded in 1928 by Italian immigrant Ralph Silvestro, who sold his delicious product throughout Staten Island. Today Ralph’s has 83 outlets from Montauk, New York, to Lanoka Harbor, New Jersey.

Joshua Darden’s Birra Stout features for social media announcements and for headings on the website. It’s supported by the sans-serif Raleway. The menu uses Yellowtail and the Ralph’s logo is based on Baksoda.

Panaille is a bistronomic restaurant in Bordeaux. The logo is custom-made lettering designed by Arthur Alazard that embodies the joy and playful character and approach to hospitality and cooking of the two chefs. The mix of the bold League Gothic and elegant Instrument Serif bring balance to the cheerful wordmark.

Sign painting by Ici Marin, printed material by Atelier Bulk, and photography by Le Photographe du dimanche.

Mifood Miraisin is a restaurant situated in Geneva, Switzerland. It also acts as a wine cellar, and a grocery store. You can go there to taste dishes, buy wine or local products. Nuances Extended is used as the brand typeface, and paired with Metropolis and Raleway. For social media, another sans serif is used which is yet to be identified [edit: it’s Sora, see comments.]

From Steam:

Cyberpunk 2077 is an open-world, action-adventure RPG set in the dark future of Night City — a dangerous megalopolis obsessed with power, glamor, and ceaseless body modification.

Cyberpunk 2077’s branding perfectly encapsulates its own universe. A rapidly deteriorating, dangerous future only masked by its hypnotically bright neon lights. This is expressed through heavy usage of glitch effects, neon colors and a healthy dose of squared sans-serifs.

Most the entire in-game user interface is set in Rajdhani using the Regular, Medium, Semi-Bold and Bold weight. Fittingly, Indian Type Foundry described the typeface as having an appearance that is "technical or even futuristic." Orbitron is used as a secondary typeface on non-important text.

The game websites are set using Refinery and Blender. The former is used for headlines while the latter is used for both headlines and long text. Blender, Rajdhani and Orbitron are also used diegetically in the game's world, reserved for physical digital screens and holograms. Either Night City's designers are obsessed with these typefaces or its the standard in 2077.

The in-game HUD displaying ammo, health and mission objectives.

Quest log

Stats screen

Pause menu

Orbitron used on small, decorative text

Main website page. Refinery is displayed in its full glory here.

Patch notes for the game’s most recent update, set in Blender

A wild Rajdhani and Blender rears its head on the traffic signs.

All you need is love... and haikus. Smitten with this format of poetry since the beginning of the year, we created a limited edition booklet filled with love-themed original haikus written by employees and curated love songs. We then mailed them out to friends, family and clients.

Visit lafayetteamerican.com/love to experience them all – from sweet to spicy – to help set the mood.

Suntup Editions is publishing a new limited letterpress edition of Richard Matheson’s seminal horror novel Hell House from 1971. The story was the basis of the 1973 film The Legend of Hell House, and was referred to by Stephen King as “the scariest haunted house novel ever written”.

The new edition, set for release in summer of 2024, features illustrations from William Basso (who sadly passed away shortly after completing the illustrations), introduction by R.C. Matheson, foreword by Mike Flanagan, and afterword by Nancy A. Collins.

The edition is offered in three states: “Artist” (750 copies, with dust jacket), “Numbered” (250 copies, ostrich leg leather binding), and “Lettered” (26 copies, full ostrich leather binding with goatskin headbands in quarter goatskin box). Five orders of the book will also be selected at random to win a copy with a unique red colored spine.

The book was designed by Michael Russem (who has designed several other books for Suntup Editions) using the Fanwood typeface (based on Fairfield) for body text, and my own Margo typeface (based on classic film and bookjacket lettering) for titling, headings, and initials. I was happy to see Margo’s contextual alternate stairstep ‘ll’ pair make an appearance in the title.

The novel is broken up between dates and timestamped sections following the events of the story. Russem used large initial caps of Margo for new sections, however the initials appear partway into their respective lines, preceded by the smaller timestamp text. Stylized brackets from Monotype Bell enclose the running headers, facing ]out[, and page numbers, facing [in].

The book is available for preorder from Suntup Editions.

Bird, a dynamic brand strategy firm, aimed to reflect their strategic depth in their brand identity. Inspired by the Bowerbird's purposeful creations, we conducted intensive research, leading to a unique brand identity that embodies Bird's essence and their aspiration to excel in brand practice.

Dave on Design is intended to give a pure reading experience somewhat like the ‘reader mode’ in browsers, with a focus on typography inspired by pre-WW2 print. Some complex CSS allows mimicking early 20th century style sentence spacing. Following the design theme, the logo is also an old print-style engraving.

EB Garamond is a natural choice for the main text, and Sorts Mill Goudy for the slightly old-fashioned but elegant headings that lean into the century-old aesthetic.

Spirax is used for the drop caps.

According to their About page,

The Electronic Frontier Foundation is the leading nonprofit organization defending civil liberties in the digital world. Founded in 1990, EFF champions user privacy, free expression, and innovation through impact litigation, policy analysis, grassroots activism, and technology development. EFF's mission is to ensure that technology supports freedom, justice, and innovation for all people of the world.

Since 2018, the EFF logo combines a custom drawn monogram with the name spelled out in caps from League Gothic. For text on the website, the EEF uses a mix of Montserrat, Merriweather and Josefin Sans.

With an exponential growth in players of all ages, Winchester City Flyers needs a permanent home to continue to support the vision of girls and women’s development and participation in playing and coaching football.

Following their ethos – Every girl has a chance. No girl turned away. – Winchester City Flyers and strategic consultancy Well Thought approached Ana Bea Studio to create a brand identity for their fundraising campaign Get Behind The Goal, which is looking to create the home for female sports in Winchester.

Central to the brief was the idea that the campaign needed to represent and address people of all ages and the strong sense of community that is felt by all involved in the project and in the Winchester City Flyers.

The logo and brand aesthetic take cues from the football universe, making it clear and recognisable. The colour palette draws from the Winchester City Flyers colours making the brand relatable and familiar to the existing supporters, whilst the combination of typography used in the logo is playful and cool, capturing the attention of new audiences.

French graphic and type designer Inès Davodeau designed the book Une Nuit by sports photographer Alexis Berg for Éditions Mons. She describes the project as follows:

The SaintéLyon, created in 1952, is a legendary race, a monument of running and trail running every year by nearly 15,000 people. In 2021, in a snowy setting, photographer Alexis Berg captured these 78 kilometers through the Lyon mountains. This book is a visual tribute to the “Dean” of French races, a testimony to the singular beauty of SaintéLyon.

The editorial design show a nice combination between League Gothic for the main titles and Area for the text and the legends of the images.

Packaging

Modular sofa company Allform utilizes Bungee for a reconfigurable logo. Serving as the primary font in the branding with square proportions and rounded edges, Bungee echoes Allform’s sofa designs.

A casual lowercase setting of Cortado contrasts the all-caps logo while complementing its playful tone. In longer text, Raleway maintains the friendliness in a subtler way.

FriedWald is one of the largest providers of funeral forests in Germany. For more than twenty years, FriedWald has been offering burials in the forest as an alternative to the conventional cemetery.

Made in’s task was to design inspiring and at the same time reflective communication solutions that take up the existing corporate design and consistently develop it further. With a focus on a holistic impression across all components – typography, color systems, icons, and imagery concepts were optimized and redesigned for all templates and printed matter. Throughout the entire corporate design Raleway is used for all texts while the logo itself remains in Rotis Sans Serif.

With the new and redesigned visual identity, FriedWald achieves its key objective – a higher emotional identification with the target group and a stronger perception among general public.

Home page

Call On Courage is my website where I offer hand drawn illustrations about courage, unique portraits, a podcast, and more.

The main font is Ziclets which has a really spongy 70s playful feel and informs the whole website. I chat to people about their overcoming stories but with a good deal of hope and humour. I think Ziclets embodies this. I’m biased but I’ve not seen many sites use this typeface, it’s an unsung headline typeface with a psychedelic vibe. On the website it’s supported by Goudy Bookletter 1911 and Apple Color Emoji.

Podcast

Fearless Friends

Earn with me

Charm School front cover

Tyler Finck’s Blackout 2AM (2009) is the typeface used for the album art of Charm School. Designer Pär Wickholm used a slanted version of the reversed and counterless all-caps font throughout.

From Wikipedia:

Charm School is the eighth studio album by Swedish pop duo Roxette, released on 11 February 2011 by Roxette Recordings and Capitol. It was their first studio album since 2001's Room Service, and their first since vocalist Marie Fredriksson's brain tumour diagnosis in 2002. […] On 28 November 2011, the record was re-released as Charm School Revisited, with a bonus disc containing demo versions of every song from the album, plus remixes of “She's Got Nothing On (But the Radio)” and subsequent single “Speak to Me”. […] Deluxe CD editions of the album included a bonus disc of 12 live tracks, recorded in Saint Petersburg, Halmstad and Stavanger during their 2010 tour.

[More info on Discogs]

Charm School back cover

Charm School back cover (Deluxe Edition)

Charm School Revisited front cover