Ashbury Heights is a Swedish synth/electropop group formed in 2005 by singer, producer and songwriter Anders Hagström and singer Yasmine Uhlin (until 2008 and again since 2020). Three Cheers for the Newlydeads was their debut album released on the 5th October 2007.

The font used in the album cover and throughout the CD is Bleeding Cowboys, which was released just earlier that year.

[More info on Discogs]

Turnpike is a brand base in the Netherlands focused on selling barbecue tangent products: sauces, spice mixes, charcoal, etc. Agency Nattevingerwerk rebranded Turnpike mid 2025 and created a cohesive identity for their product line.

The logo is set in the textured brush script font Edo, echoing craft / grunge notes that are also present in the set of pig illustrations that serve as the backbone of the brand visual language. Then the whole languages uses the duo NaN Rage Poly and NaN Rage Slab in different weights and widths for all texts.

I have included a generative AI image created by the agency for their portfolio for the sake of documenting and archiving this use in the graphic design field today. Which leads to another question: are the pig illustrations maybe also generative AI?

Generative AI image created for the agency portfolio. Note the hallucinated brush script on the left character bra.

Every three years, each department at RISD gets to curate and design a triennial exhibition. For the 2024 Graphic Design Triennial, our small team had just three weeks to do just that with work submitted by over 100 students.

Expiration Date explores graphic design's ephemerality by showing the relationship between designed objects in their originally made contexts, and the work being stripped and placed into an art gallery setting. While reproduction and redistribution is what distinguishes graphic design from other art forms, what was always ephemeral to deterioration is now subject to obsoletion of digital infrastructure and limitations of technological compatibility.

Curation and exhibition design: Deborah Khodanovich (lead), Annabel Gillespie, Barbara Cutlak Soares, Chanya Vitayakul, Manna Patiparnprechavut
Identity design: Andrea Mato (lead), Hyelim Lee, Jeanie Yu, Jolin Chen, Seungeun Jeong, Siyuan Wang, So Jung Yoon
Web design: Avrie Allen (lead), Ashley Lee, Minah Kim, Xiyue Zou
Promotional team: Ammi Kira, Minah Kim, Nadine Hanah Macapagal, Rafael Mediodia, Roye Zhan

Poster artwork for Norwegian band Gold Celeste’s July 2025 tour celebrating the tenth anniversary of their album The Glow (accompanied by Vinyl Williams).

The poster was illustrated and designed by Thirst & Co, a studio based in Fort Worth, Texas.

Cowboy Hippie is used for the artist’s name and the tour title, featuring its V and W glyphs which are quite different from the inspiration, Sintex and Stretto. Fd Massive serves for the dates and locations.

Grand Theft Auto Online, likely more known as GTA Online, is a multiplayer game created by Rockstar North and published by Rockstar Games. Originally released on October 1, 2013, for consoles such as the PS3 and Xbox 360 first, and later on the PC platform. The game is available for free to all Grand Theft Auto V (GTA V) owners and can be accessed directly through the settings menu.

In a nutshell, the game revolves around the idea of creating a virtual criminal empire by owning and maintaining multiple businesses, doing heists, and at times, cooperation between players is involved

The main title is set in Pricedown, while the “ONLINE” part is what I suspect to be a modified Bank Gothic, thickened and rounder. I could be wrong; it might be another font

For comparison, Bank Gothic (the yellow text) was manually thickened and stretched to somewhat fit the “ONLINE” proportions. I'd like to point out how the stroke of the letter 'N' from Bank Gothic matches the angle of 'ONLINE'. Both subtext and Bank Gothic share a similar short arm for 'E'

The thickened Bank Gothic font on top of “ONLINE”

The UI is largely shared with GTA V, making use of Chalet 1960, House Script and Chalet Comprimé 1960.

Let's Dance featuring Charleston Jitterbug Swing is a 2004 four disc CD box set by Quality Audio, containing various “meticulously remastered” dance songs.

The main two fonts on the front are freebies by Nick Curtis: Anagram, based on lettering by Austin Cooper, and FashionVictim, which is a high-contrast take on Bernhard Fashion. It’s paired with Bodega Sans by Greg Thompson, with its alternate g activated.

The back uses more Bodega Sans plus Hamburger Heaven NF, the latter of which is also by Nick Curtis. The type in a band is set in what looks like Adage Script JF, a version of Morris Fuller Benton’s Adscript, designed by Jason Walcott.

Front

For Finnish rap artist Costi’s second Playmaker drop, the objective was to design a Western-and US-themed collection inspired by collegiate apparel, prominently featuring a distinctive collegiate-style with stretched Mesquite on a curve.

The collection includes two shirts in black and white and a crewneck with fitting track pants, all showcasing the same artwork in different styles. The track pants, as shown in the video, feature various college-type logos from up to down, inspired by several sport apparel from the NBA, incorporating the initials P and M for Playmaker. Additionally, the U-shaped horseshoe serves as a subtle reference to “University.”

For the logo on the track pants, we chose Vivaldi for its subtle and nostalgic feel. Its understated design ensures the logo blends in without standing out too much. In between the prints you can find a little quote – “There’s gold in the river” – written in the font used in his latest album cover for Coast to Costi, Celtic Garamond.

The “Sheriff” badge pairs Bernard Condensed with an unidentified slab serif.

Finnish rapper Costi, also known as Tuomas Kostiainen, released his second studio album, Coast to Costi, under PME Records. He began his musical journey in 2016 and officially launched his career in 2021,

In late 2021, Costi introduced his debut EP Safari through PME, offering melodic drill and emotionally resonant lyrics. Notably, the singles “Movie” and “Robben,” the latter named after the Dutch soccer legend, have collectively garnered over a million streams and numerous radio plays, showcasing Costi’s confidence in his unique style.

Costi’s recent album covers, such as for Limbo, are a reflection of his inspiration drawn from the captivating realm of fairytales, entwined with artistic aesthetics reminiscent of Michelangelo's masterpieces and the whimsical clockwork of Alice in Wonderland. Yet, for his forthcoming album, he is embarking on a creative shift, delving into the enduring narrative of David versus Goliath, while infusing it with a unique Western twist.

When selecting the typeface for this cover and the track list, Celtic Garamond the 2nd emerged as the ideal choice, both in appearance and resonance, seamlessly infusing a medieval ambiance into the world of the cover art.

Main game’s logo, with the familiar Pricedown. “V / FIVE” is added in what looks like custom drawn letters, with similarities to Barclay.

Excerpt from Wikipedia:

Grand Theft Auto V is a 2013 action-adventure game developed by Rockstar North and published by Rockstar Games. It is the seventh main entry in the Grand Theft Auto series, following 2008’s Grand Theft Auto IV, and the fifteenth instalment overall. Set within the fictional state of San Andreas, based on Southern California, the single-player story follows three protagonists—retired bank robber Michael De Santa, street gangster Franklin Clinton, and drug dealer and gunrunner Trevor Philips—and their attempts to commit heists while under pressure from a corrupt government agency and powerful criminals. The open world design lets players freely roam San Andreas' open countryside and the fictional city of Los Santos, based on Los Angeles.

The entire UI uses both Chalet 1960 and Chalet Comprimé 1960, while on some UIs, such as locations and vehicle names, texts are rendered in House Script.

Title screen, all written in Chalet 1960 London (regular)

Alert dialog, written in Pricedown

Pause menu. Chalet Comprime 1960 was used on the game’s title as well as the player's profile on top right.

Character Creator, where the House Script font is used

The cover features a grunged Fette Fraktur with a modified A for the title, Mesquite (Adobe) for the subtitle and Birch for the names of the editors. “Lemmy” is in Ironwood.

The Art Of Metal: Five Decades Of Heavy Metal Album Covers, Posters, T-Shirts And More is a book showcasing the finest examples of metal posters, cover and artwork. It was edited by Malcolm Dome and Martin Popoff with a foreword by Lemmy and published in 2013 by Omnibus Press in the UK and by Voyageur Press in the United States. Paul Palmer-Edwards of the award winning Grade Design in London provided the design of the book, including the cover illustration.

The book covers five decades of work and ten genres of metal displaying the diversity and similarity in design between the genres. Each chapter showcases a different display blackletter typeface. For chapter two A Gothique Time by Bonez Designz was selected. See the image captions for more fonts used in this publication.

Chapter 2, “New Wave Of British Heavy Metal”, in A Gothique Time

More A Gothique Time in chapter 2

The headline in A Gothique Time is paired with text in Trade Gothic.

Half-title page, featuring the grunged Fette Fraktur with the romanized A

Title page

Table of contents with Fette Fraktur and Trade Gothic

Chapter 1, “Origins: Traditional Metal”, ft. Bayreuth

Chapter 3, “Hair Metal”, in Kingthings Spike

Chapter 4, “Doom & Stoner Metal”, ft. Blackmoor

Thumbnail for the 10th anniversary trailer, with the 10th anniversary logo using Pricedown, Sinaloa and Twentieth Century

In 2012, Rockstar re-released GTA Vice City, its popular 2002 game set in the 1980s, to celebrate the tenth anniversary of the game. A special logo commemorating the anniversary has been included as well, using Sinaloa for “10th”, whilst “ANNIVERSARY” is added in caps from Twentieth Century. The script for “Vice City” is custom drawn, possibly loosely based on Rage Italic.

Otherwise, the game uses the same fonts used in the original game: Rage Italic for the menus, Pricedown for the time/money/armor status in the HUD seen on the top left, and SF Arborcrest for dialogue.

The main menu of the mobile version

The in-game HUD

Still from the trailer

Still from the trailer

From Wikipedia:

Grand Theft Auto: Chinatown Wars is a 2009 action-adventure game developed by Rockstar Leeds in conjunction with Rockstar North, and published by Rockstar Games. The game was released for the Nintendo DS in March 2009, PlayStation Portable in October 2009, iOS in January 2010, and Android and Fire OS devices in December 2014.

For this edition, the game logo (set in Pricedown), is accompanied with the subtitle “Chinatown Wars” in red letters with golden outlines, based on Bruce Mikita – a design from the 1860s originally known as Rustic Ornamented Shaded that was digitized by Harold Lohner in 2000.

In-game, Helvetica is used for dialogues, time, date, and some information screens such as the pause menu. Osaka Sans Serif by Vic Fieger, 2004, is the most recent typeface used in the game’s typography. It is used for headlines throughout the game.

The Flatliner cutscene.

The weapon wheel menu

The pause menu

Information about the menu on the Replay board

Mission Passed screen

Wasted screen

From Wikipedia:

The Hits – Chapter One, also known as Greatest Hits – Chapter One internationally, is the first greatest hits album released by American boy band the Backstreet Boys. The album features 15 songs by the group, as well as a new song, “Drowning”.

The band name is set in an artificially italicized Pricedown in lowercase letters, with a halo effect. ITC Black Tulip is used with severe horizontal stretching for the title. The track list is set in caps from what looks like Neue Helvetica 53 Extended, recklessly justified.

[More info on Discogs]

Source: freiheitsfonds.de Freiheitsfonds. License: All Rights Reserved.

Freiheitsfonds, or Freedom Fund, is an initiative started in December 2021 by journalist and activist Arne Semsrott. The aesthetics borrow heavily from the visual identity of the GTA series of video games. While Freiheitsfonds is also concerned with crime, it’s not about fast cars, guns, and violence, but rather about subways, buses, and missing tickets.

The initiative aims to abolish the criminal offense of fare evasion. The fund pays the fines of people who were imprisoned for transport fraud, because they weren’t able or willing to pay the fine themselves. Funded by donations from individuals, the initiative has collected more than 500,000 euros already, and used the money to free more than 500 people who were in jail solely because they couldn’t afford a ticket for public transport. As jails are very costly, this translates to savings for the German state of 5.8M euros.

The logo uses the freebie Pricedown – just like GTA – with a contour, some of the font’s interlocking alternates, and a euro symbol (€) in place of the second E, to underline the monetary aspect. “Raus aus der JVA” / “Get out of Jail” is set in Streamster, with a pink glow effect (cf. GTA Vice City). The supporting sans is Poppins. For the graphics announcing the recent Freedom Day on October 5, 2022, the designers selected Caslon-Gotisch (cf. GTA San Andreas).

Source: freiheitsfonds.de Freiheitsfonds. License: All Rights Reserved.

From the bilingual Freedom Fund website:

Riding without a ticket is a criminal offense in Germany. Thousands of people end up in prison every year because they can't afford a ticket for public transport. People spend up to a year in jail. Those affected are predominantly unemployed (87%), without a fixed address (15%) and suicidal (15%).

The offense was introduced by the Nazis in 1935. To this day, people are often punished more severely for riding without a ticket than, for example, people who drive drunk. Drunk driving is usually only punished as a misdemeanor.

No one should end up in jail because of a missing ticket! Therefore we demand that §265a StGB of 1935 be overturned. Riding without a ticket must be decriminalized and free use of public transport must be made possible over the long term! In addition, transport companies must stop prosecuting people who ride without a ticket. More info on the current research at FragDenStaat.

But we are not waiting for politics. The Freedom Fund initiative frees people from prison throughout Germany who are behind bars for "riding without a ticket". And because each day of detention costs taxpayers around 150 euros per prisoner, our initiative even saves the state money.

Source: freiheitsfonds.de Freiheitsfonds. License: All Rights Reserved.

When Rockstar Games released GTA Online in 2013, carnage ensued. The open-world game, opened further to the interactions of players, has been an enduring hit ever since, prompting Rockstar to release regular updates. In summer 2020, they released the Los Santos Summer Special, providing new missions, vehicles, play modes, and a race track creator.

The Grand Theft Auto series of sandbox games/bad behaviour simulators has featured in almost every gamer’s library since 1997. It’s the fourth best selling series of all time—Mario, Pokemon, and Tetris have all sold more, but none have racked up GTA’s property damage. The wide-open worlds, anything-goes play, witty writing, and style that references classic films have provided hours of fun for bored people who wish their lives were more like Casino or Menace II Society.

The referential style of a game channelling movies channelling the 1990s, calls for quality type. That’s why Rockstar used BLKBK’s High Voltage for the Los Santos Summer Special logo font. This font is BLKBK channelling the 1980s channelling the 1950s, in the form of neon signs. To emulate the round look and energy of hand-bent tubes of glass lit by plasma, the type is hand written with a round-tipped marker. The result is a lively and retro-feeling font with a consistent line weight, suitable for any logo between Whisky a Go Go and Hawthorn Grill.

Since GTA III, the game series’ logo is based on Pricedown, see the dedicated post for more details.

Artwork for GTA III

Cover design with illustration by Stephen Bliss for the 2001 action-adventure video game Grand Theft Auto III developed by DMA Design and published by Rockstar Games for the Sony PlayStation 2.

The game’s title is set in Pricedown, with some slight modifications made to create the Roman numerals. At the time, Pricedown’s designer, Ray Larabie, worked for Rockstar Toronto, in a different studio from where this artwork was created. Larabie even had worked on the GTA series, and created all the cars and level art for GTA: London 1969 in 1999. At night, he was churning out free fonts. One of them was Pricedown, inspired by the type used by the TV show The Price is Right. The designer of the GTA III logo was unaware that the font they had chosen was made by someone who worked for them. This choice of type has become the series’ trademark titling, with every subsequent GTA game utilizing it. Additional text is set in Bank Gothic.

Alternate cover designs are used for the PS2 releases in North America, the United Kingdom and Australia. For the European release, the game's title is abbreviated to GTA III and accompanied with the same cover illustration as the UK release, except for the German edition which uses an alternate design.

The original North American cover was intended to be the same as the UK cover, however, sensitivity regarding the tragic events of 9/11 led to the creation of a remixed cover design for its release. This new cover design is said to have been inspired by the title sequence of 1968’s The Thomas Crown Affair, and a Flash intro video included on the game’s original promotional website supports this notion.

Outside of North America, Frutiger is used for the game's title on the spine of the sleeve, as was the case for most PS2 releases in PAL regions.

The in-game graphics use Pricedown, too, with a customized numeral 1: a flag and a base were added, for less ambiguity. Pricedown here is paired with Arial.

Full view of sleeve for the North American PS2 release. The game's title is set in Pricedown, with additional text set in Bank Gothic.

Full view of sleeve for the UK PS2 release. The game’s title is set in Pricedown, with additional text set in Bank Gothic. Frutiger is used for the game's title on the spine of the sleeve.

Full view of sleeve for the Australian PS2 release. The game's title is set in Pricedown, with additional text set in Bank Gothic. Frutiger is used for the game's title on the spine of the sleeve. The cover illustration is a tighter crop of the UK release set against a new dark red skyline.

Front cover of German PS2 release. The game’s title is abbreviated to GTA III but still set in Pricedown. Most other European releases feature the abbreviated title but the same cover illustration as the UK release. This release features an alternate design incorporating elements from both the North American and UK covers.

The in-game graphics use Pricedown, too, with a customized numeral 1: a flag and a base were added, for less ambiguity.

Pricedown is paired with Arial.

Source: priceisright.fandom.com License: All Rights Reserved.

The Price Is Right is a game show franchise created by Bob Stewart. The franchise centers on television game shows, but also includes merchandise such as board and video games. The original TV show ran from 1956 to 1965 and was hosted by Bill Cullen. Four contestants compete to win cash and prizes by guessing the price of merchandise.

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

The logo as featured in one of the first episodes after the relaunch, aired on September 6, 1972

In 1972, the TV show was revamped. For the first year, it went under the name The New Price Is Right. The show got new hosts – Bob Barker for the daytime edition, and Dennis James for a weekly version for the syndicated markets. It also got a new visual identity. The logo used a typeface that had been released shortly before: Pinto Flare. This extrabold design with hairline counters was shown by Franklin Photolettering in 1974, featuring biform alternates and a number of glyphs with hyper-extended descenders that allow for interlocking combinations. Pinto Flare might have been one of the few originals by the NYC-based company. Its designer is unknown. Don Roberts was the TV show’s art director in 1972. I don’t know if he takes credit for the logo.

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

The host enters the stage.

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

Bob Barker with a contestant

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

The end credits were set in Pinto Flare, too.

When Bob Barker (b. 1923) retired in 2007 after a remarkable thirty-five years as the show’s host, passing the mic to Drew Carey, this change was marked by a new logo variant: the curly dollar sign and the title were now framed by two shapes that resemble the sliding doors, or maybe also a rotated shopping basket.

License: All Rights Reserved.

Left: The current logo for The Price Is Right, in use on the website since September 19, 2022.
Right: a resetting in the Pricedown font. Differences include the height of T, the waistline of P R and C, as well as the size of the counters and apertures.

Over the years, the logotype was adjusted and redrawn numerous times, for various applications (for more images, see the dedicated wiki). The letterforms underwent slight (and sometimes not so slight) changes.

In or before January 1998, Ray Larabie of Larabie Fonts (now Typodermic) released a digital font based on the show logo, and named it Pricedown. The marquee text that accompanied the release made it clear where he got the inspiration from:

Come on down, you're the next contestant on the Price is Right (tm). I’m sorry, you have all overbid. It’s time for Plinko! Let’s play Squeeze Play. Spin that wheel. A new car!
If you can’t figure out where this font is from I suggest you put those books away and catch up on some daytime television.

In an early version (v2 from 1999), the ampersand in the font is still the curly one from the TV show logo. Larabie’s interpretation isn’t faithful to Pinto Flare. Most notably, the counters and apertures in Pricedown are larger, and letters like g or q don’t have a notch at the top. These details actually match some (redrawn) versions of the logo, including those seen on the board game boxes.

A board game from 1998 appears to make use of Larabie’s font, see below – if that’s indeed the case, Pricedown came full circle right after its release. The authors of the Price is Right wiki claim that, “starting in 2007, the font for the Carey logo is, and still is, a custom version of Pricedown.” I can’t confirm this claim, but the comparison shown above suggests that it’s imaginable.

In 2013, Larabie released a rebuilt and improved version of Pricedown, expanding the design to nine weights from Ultralight to (the original) Black, with numerous alternates and ligatures, and a character set that covers Latin (incl. Vietnamese), Greek, and Cyrillic.

In 2005, Patrick Griffin of Canada Type issued another digitization. His interpretation named Jazz Gothic is based directly on Pinto Flare and hence stays closer to the original than Pricedown. As far as I can tell, this font was never used by The Price is Right. It’s a handy option if you want to recreate the original 1972 logo, though.

Source: www.ebay.com treasure-hunter333. License: All Rights Reserved.

The New Price is Right board game, Milton Bradley, 1973. Note that the lettering is only loosely based on Pinto Flare. The size of the counters as well as details like the top of g are closer to Larabie’s later digital interpretation, Pricedown.

Source: www.ebay.com lilchi-18. License: All Rights Reserved.

The Price is Right board game, 2nd edition, Milton Bradley, 1974

Source: www.ebay.com crydun12. License: All Rights Reserved.

The Price is Right board game, 2nd edition, Milton Bradley, 1974. Secondary typefaces used for the box design include Univers and Helvetica.

Source: www.ebay.com chrs526. License: All Rights Reserved.

The Price is Right board game, Milton Bradley, 1986. “12 different games …” is set in caps from ITC Bookman.

Source: www.ebay.com jordan19823. License: All Rights Reserved.

The Price is Right board game, Endless Games, 1998. The title here looks a lot like Pricedown. “New edition …” is in squeezed caps from Dom Casual Bold.

Source: www.ebay.com villagepuzzler. License: All Rights Reserved.

The Price is Right video game for Nintendo Wii by Ubisoft, 2010. The numerals 1 and 3 and the letter T don’t match the glyphs in Pricedown.

Shout out to Bryson Stohr who suggested a post about this logo and its iterations, and provided some pointers.

Source: mollyrosedyson.com Molly Rose Dyson. License: All Rights Reserved.

Source: twitter.com Sophie Lewis. License: All Rights Reserved.

Detail with a quote from Sophie Lewis’s Full Surrogacy Now. Feminism Against Family. Text set in Kingthings Exeter, with obliqued Kingthings Petrock.

The Society for Matriarchal World Domination was founded by Zoë Claire Miller and Mira Starke in 2019. From their archived website:

One blue back paper at a time, the Society for Matriarchal World Domination is flyposting for the end of the patriarchy. Artists and writers from diverse backgrounds collaborate in pairs to conceive posters that appear on billboards in the streets of Berlin every full moon. Following this monthly cycle, the posters address a radically indiscriminate audience in the theater of public space using text and images to speak to a plurality of feminist issues.

Shown here is the final edition of the poster series, with text by Selin Davasse and images by Molly Dyson. Conceived in 2019, it was posted in January 2020.

The typography brings together a diverse mix of typefaces, including Black Rose (“Matriarchavelli’s”) [correction: Portcullion, see comments] , Benton Modern Italic (“Treatise”), Kingthings Exeter (“on World”), and Edda (“Domination”).

Source: postersofberlin.tumblr.com Posters of Berlin. License: All Rights Reserved.

In the wild: spotted by Posters of Berlin in March 2020

PopCap Games, Inc. is a video game developer and publisher based in Seattle. A subsidiary of Electronic Arts, it is best known for their puzzle games, including the Bejeweled series of tile-matching games, the pachinko-like Peggle and the tower defense game Plants vs. Zombies. [Wikipedia]

While the games each have their own visual identity, the PopCap brand needed an all-encompassing corporate typeface that echoes some of the playfulness without being too expressive itself. It had to be more readable than the game logo faces and at the same time provide the display qualities required for advertising and website headings. The designers found a match in Omnes. Set in primary colors and ocassionally accentuated with shading and glow effects, the resilient sans serif perfectly blends with the various cartoonish characters.

The PopCap logo is rendered in a customized Deftone Stylus.

The vigorous Omnes Bold on the back cover of a games collection, loudly addressing potential customers. The type is arranged in staggered lines that are further animated by changing sizes. It received a 3D/shadow treatment that echoes similar effects in the game logos. The eye-catcher on the right shows the number ‘10’ set in Omnes Black, featuring its whimsical ‘1’.

Top menu and headings on the PopCap website are set in a number of styles from the Omnes family, including Medium, Bold, and Bold Italic.

The website sections are divided by headings in Omnes Bold, set white against blue, in ribbon-like boxes.

On the page about job opportunities, the typography changes to a more active tone, with Omnes Bold Italic.

“Stop Zombie Mouth” was a joint effort by the American Dental Association and Plants vs. Zombies from PopCap Games to raise awareness for oral health among kids. This Halloween poster with infographics and the “Scary Tooth” fact sheet shown below combine Omnes – here also in lighter weights – with Burbank and the Plants vs. Zombies typeface, House of Terror.

Team Creatif USA designed Volvic’s water bottle products to help pursue an image of purity and purpose that comes straight from the source. This design does more than capture the essence of the rugged geography. For the typography, the Volvic logo is combined with the dry brush caps from Edo.