A beloved holiday classic, The Night Before Christmas by Clement C. Moore captures the quiet magic and anticipation of Christmas Eve. First published in the early 19th century, the poem follows a peaceful household as the arrival of St. Nicholas brings wonder, warmth, and festive joy. Its rhythmic verse and vivid imagery have made it a lasting seasonal tradition, passed down through generations. This edition features charming illustrations by Janet Samuel that enhance the story’s cozy, dreamlike atmosphere and invite young readers to experience the enchantment of Christmas night.

The cover typography pairs playful and elegant styles: the title is set in ITC Tapioca, lending a whimsical, handcrafted feel that matches the story’s tone, while the author credit appears in Malonia Voigo, offering a refined contrast. On the back cover, the opening capital N of the excerpt continues in ITC Tapioca, with the remaining text—“estle your children all snug in their beds…”—set in Malonia Voigo, maintaining visual continuity with the front. Additional publication details, including the copyright, imprint information, price, and printing line, are set in Gill Sans, providing a clean, modern sans-serif contrast to the decorative display fonts used elsewhere.

Jilkyway is the typeface used for the logo of Monkey See Monkey Do, “a colorful, upbeat CG animated series which encourages children to engage with the show’s characters through dance and song.” [Sprout] Created by Tamar & Yuval Levy, produced by Smartoonz and starring voice actor Nitzan Sitzer, the show first aired on PBS Kids Sprout on August 24, 2010. The Spanish dub is known as Mono ve, Mono hace.

The animated semi-slab is a design by Jakob Fischer a.k.a. PizzaDude, a type designer from Copenhagen, Denmark. Jilkyway is used with a contour – sometimes two contours – around the bouncy letterforms, in alternating word colors.

How can research findings, personal experiences, and complex ideas be translated into a concise visual identity?

45 Symbols—Clay to Code examines how emerging artists and designers develop systematic approaches to a visual language, inspired by one of the most enigmatic objects in media history: the 3,700-year-old, still-undeciphered Phaistos Disc, embossed with 45 distinct symbols. The works present a range from personal narratives to global themes and demonstrate how an original visual grammar can be constructed.

Over more than a decade, the internationally organized design seminar series The Phaistos Project—Forty-five Symbols has developed to a global community driven by open calls, workshops, exhibitions, and risograph publications. The present volume, 45 Symbols—Clay to Code, brings together over 2,000 symbols as the result of these joint efforts. It is not only a living archive of research inquiries but also a testament to collective experimentation, bold visions, and the expression of intercultural dialogue.

The book was edited and designed by Olivier Arcioli, Pascal Glissmann, and Andreas Henrich, and released by Slanted Publishers in January 2026. It has 320 pages measuring 21×28 cm and was offset printed on Munken Print White, 115 g/m². The Swiss brochure comes with flaps, black thread stitching and foil lamination. ISBN: 978-3-948440-95-4. Price: €32 (DE)

Geometry Dash is a mobile game created by Swedish game developer Robert Topala of RobTop Games. It was first released on 13 August 2013. The font used in this popular game is my Oxygene (Jakob Fischer, 2003). The official trailer for the game additionally uses Pusab (Ryoichi Tsunekawa, 2006).

Poster made as a personal project to commemorate the release of Beyoncé’s album Act II: Cowboy Carter. The design is inspired by Chitlin’ Circuit posters. Printed copies are available from my print store.

Tobar’s Smiler Giggle Stick is a squeaker powered hammer. The hammer itself has a smiley face on its head and makes sound with a donut-shaped squeaker that enables the hammer to make giggling sound when shaken.

The point-of-sale packaging used by Hawkin’s Bazaar features two fonts: Jim Parkinson’s Showcard Gothic (1992) with contour for the name, and Jakob Fischer’s Geek a byte (2003) for “Give him a wiggle and hear him giggle”.

Logo for the third season, 2008–2010

Hannah Montana is the story of Miley Stewart (Miley Cyrus) who lives two lives. During the day she is just a regular student but at the night, when she puts her blonde wig on, Miley becomes a superstar known as Hannah Montana. The TV show premiered in 2006 on Disney Channel and ran for four seasons, the final one being named Hannah Montana Forever.

The logo of the show was designed using several fonts: the initial H appears to be from Gillies Gothic Bold with the bar extended to the left. “ANNAH” looks like it’s AG Book Rounded Black with added weight. “MONTANA” uses a slightly modified Typography of Coop Flaired. “Forever” (season 4 only) is a beefed up Filmotype Honey.

Junegull was used for names of actors and creators of the show in season 1 and 2 opening credits. In season 3 the credits went through major update and Junegull was replaced by Arcade Black. In season 4, the final season, the font was switched once again and names appeared in Arial Rounded Bold.

Logo for the fourth season, 2011

Title from the first two seasons ft. Junegull

Title from season three ft. Arcade Black

Title from season four ft. Arial Rounded Bold

Jett is the kid on the left with a red shirt, and Jin is the cat on the right with blue fur. Jett and Jin are late for school after trying their new jetpacks, so they fly through the city trying to go to their school. Along the way, they break into a office, go down into the sewers, and eventually go to school. This film was released somewhere in 2006, but the exact date is unknown. This film was later re-used for the XD theater.

Eventually, Jett and Jin got their own motion simulator, called Jett Rider in 2009. You've might seen this at a Chuck E. Cheese or some arcade. Players can complete three rides, Tunnel Escape, Jetpack Adventure, and Toy Coaster for a secret fourth ride, Slot Cars.

The logo typeface is Ketchum, used in mixed case and with partly stretched and rotated letterforms as well as effects. The i dot was repleaced with a paw print.

The title card additionally uses Massive Headache.

This booklet was published as a debriefing and contemporary document for the PEW PEW PEW art festival, organised by the Austrian artist group edition: between 2021 and 2022. The folded event poster on glossy paper serves as the cover, the core is printed on slightly greyish, uncoated paper – which creates a wonderful tactile experience.

The assemblage of mobile phone photos, cut-outs and strictly continued monospaced typography combine to create an exciting mix of impressions around the festival. The back of the magazine is to be understood as a subordinate mini-poster that documents the evening of the zine’s release once again.

About the festival, from the artist group’s website:

The highlight of our annual program is the PEW PEW PEW festival. The festival’s name illustrates laser-beam sounds and sets the pace. Artist groups (two or more people) are invited to stay for mini-residencies (4–5 days long) in Linz, in which they collaborate on a show of their work, which will be presented on the mini-residency’s last day.

Flyer for a techno event at Húrra Reykjavík, with live visuals by Studio23.

A flyer for open decks at Bravó (Iceland) where anyone can come and DJ. “Open Decks” is set in distorted Lightning Punch PG (2021) by Teh Andeh. The informal handwritten-looking caps are from Flicker by Jakob Fischer. “Free entry” uses the similar Haven’t Slept in Two Days by Kimberly Geswein.

Poster for an event with Xwife, Kosmodod and Draugabani at Húrra, Reykjavík, with live visuals by Studio23.

A flyer for a gig by Draugabani, Xwife and Sleazy at Bravó, with visuals by Studio23. The informal handwritten-looking caps are from Flicker by Jakob Fischer. “Free entry” uses the similar Haven’t Slept in Two Days by Kimberly Geswein.

Artwork for the single “Todo Bien” by Habla de Mí en Presente, the technorumba party collective based between Berlin and Barcelona. Guillem Chesa took the picture of the matchbox fail.

The title typeface is Arcade 2003 by Jakob Fischer, but the pixels have been ironically replaced with little thumbs-down-hands from Apple Color Emoji by Willen Van Ecker. The band name in the matchbox is written in Akzidenz-Grotesk BQ Extended by Berthold.

These same fonts (and a handful more) were used for the ticket that appears in the intro of the “Todo Bien” music video directed by Celia Giraldo.

This is my Popfork font in action! The hand-drawn serif appears for the line “from MULI-MILLION bestselling author” at the top of the cover. The lettering of the author’s name is by Quentin Blake (©2010). The title in the yellow caps and small caps appears to be lettered, too. The “Free” stickers seems to use Stempel Garamond. Illustrations by Tony Ross. The cover design is credited to HarperCollins Publishers. From the World of David Walliams:

When Elsie, an orphan on the streets of Victorian London, hears about the mysterious Ice Monster – a woolly mammoth found at the North Pole – she’s determined to discover more… A chance encounter brings Elsie face to face with the creature, and sparks the adventure of a lifetime – from London to the heart of the Arctic!

“You Will Be Found.” The official poster for the Broadway production of the Tony Award-winning musical, Dear Evan Hansen. Poster design by Serino Coyne.

A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in.

Both deeply personal and profoundly contemporary, Dear Evan Hansen is a new American musical about life and the way we live it. — DearEvanHansen.com

Akzidenz-Grotesk is the typeface used for the musical’s official text logo, introduced with the world premiere production at Arena Stage in 2015 (with the letters almost clustered together). The font has now become the official typeface associated with all major productions of the show on Broadway, the National Tour, Toronto and the West End.

The font used for "#youwillbefound" on Evan's arm cast is Rabiohead, a script font that resembles the kind of handwriting written with a sharpie (as the character of Connor Murphy is the only one that signs Evan's cast in the show).

Various ads in the New York Times.

Silky Way is a magazine which allows the reader to understand the vibe of the place and encourage to experience it, rather than just see it.

The 2nd issue discusses and explores Europe's youngest capital; Cardiff, the capital of Wales, UK. It explores Cardiff from a local's point of view and utilises a number of script and bold typefaces to represent the scruffy nature of the city. It has been released in April 2018, following the 2017 release of the 1st issue, ‘Tokyo Experience Guide’.

Magiel is being used as the main font, present in the logo and also used as title type. Avenir Next in both Regular and Bold is used as a main body type. Olympic is used for subtitles.

Lombard and Quentin are used for Welsh, while Good Foot is used for the English translations.

Summer Hearts and Cyklop (as well as Pops, not pictured) are also occasionally used across the issue to emphasise the names and phrases specific to Cardiff.

Profilic UK underground music label Hyperdub have since their inception in 2004 kept pushing the boundaries of electronic music. Helmed by label boss Kode9, they are one of the founders of dubstep, later branching out into all the more experimental club sounds.

Hyperdub singles mostly use the same layout, dating back to their first release, Kode9 + Daddi Gee's ‎ Sign Of The Dub/Stalker. The iconic logotype shares the 12″ space with all but the essential release information set in Futura Condensed. Each release is then given a unique two-color scheme, setting the mood for the release.

During certain periods, Futura made way for first an unidentifed sci-fi typeface [edit: it’s Nonfiction, see comments] and later FB Agency, but it seems like they keep falling back to this trusty German friend.

“Club Penguin is a massively multiplayer online game (MMO) involving a virtual world containing a range of online games and activities. It was created by New Horizon Interactive (now known as Disney Canada Inc.) using SmartFoxServer.

Players (the game is specifically designed for children aged 6 to 14) use cartoon penguin-avatars and play in a winter-set virtual world. Club Penguin was made available to the general public on October 24, 2005. New Horizon was purchased by The Walt Disney Company in August 2007 for the sum of 350 million dollars.” — Wikipedia