El Madrileño is the second studio album by Spanish rapper and singer-songwriter C. Tangana. From Wikipedia:

With this record, Tangana ventured into a more organic and guitar oriented sound to his previous hip hop and urban releases, focusing in a collaboration album as a tribute to his wide roots. […] The result is a colored mosaic of Tangana’s teenage influences and the adoption of a new alter ego named after the album.

The album cover was painted by Spanish artist Iván Floro, based on an original photograph by Javier Ruiz. The graphic identity was developed by Paula Vila and Víctor Clemente, founders of the agency Realmente Bravo.

The title uses lettering that’s based on Base&Bloom and apparently also Nasalization. The fonts used for the labels and for the lyrics and credits on the inner sleeves include SF Covington.

[More info on Discogs]

This album cover for Happy Birthday is using Baveuse, and “Fun Games For your Party!” and “Susan McRae” is using Minya Nouvelle. The album was provided to YouTube by Valleyarm Digital Distribution.

The Campfire Headphase is the third studio album by the Scottish electronic duo Boards of Canada, which was released in October of 2005 via Warp Records.

A modified version of Strasua Regular (A and R differ from the originals) and the lowercase letters of the Miasm Infection font are used.

Designer Raymond Larabie describes his Strasua as “a geometric headline font with a laid-back vibe. Its understated, minimalist letterforms and 1970s-inspired industrial design will lend your message a voice of tactical reason and serenity.”  

Miasm Infection is an eroded, distressed display font designed by Andi Jones of Channelzero!. It is characterized by rough breaks and chipped gaps that give it a dark, fractured appearance suitable for grunge, horror, and Halloween-themed designs.

[More info on Discogs]

Keyframe Digital Productions, Inc. is a Canadian animation studio founded in 1997 by Clint Green and Darren Cranford. The shown logo – which according to the Audiovisual Identity Database was used from around 2008 to 2011 or 2013 – appears at the end of season 2 of Pinky Dinky Doo and other productions. It combines Ray Larabie’s Earwig Factory with Gill Kayo.

When I Feel Afraid, 2003

Learning to Get Along is a series of children’s book written by Cheri J. Meiners and illustrated by Meredith Johnson. It was published by Free Spirit Publishing from around 2003.

Marika Heinlen’s cover designs use a warm, approachable mix of typefaces to support the theme of emotional reassurance for young readers. The hand‑drawn softness of Minya Nouvelle gives the title a friendly, inviting presence, matching the book’s gentle illustration style. Supporting text set in ITC Stone Informal continues that approachable tone while remaining highly readable for adults guiding children through the material.

For structural clarity, the design relies on ITC Franklin Gothic for straightforward informational elements, balancing the more playful display choices. Together, these typefaces create a visual hierarchy that feels safe, calm, and accessible –perfectly aligned with the book’s purpose of helping children understand and navigate fear.

Rhode Montijo's The Halloween Kid is a children’s book published in 2010 by Simon & Schuster. The story revolves around the titular Halloween Kid, a cowboy whose mission is to save Halloween from pumpkin-sucking vampires and toilet paper-tossing mummies.

The title typeface is Foo, used here with heavy distortion. The name is added in FF Providence, with a modified j.

From Wikipedia:

Kim Possible is an American animated action comedy television series created by Bob Schooley and Mark McCorkle for Disney Channel. The title character is a teenage girl tasked with saving the world on a regular basis while coping with everyday issues commonly associated with adolescence. Kim is aided by her clumsy best friend, Ron Stoppable, his pet naked mole rat Rufus, and ten-year-old computer genius Wade. Known collectively as Team Possible, Kim and Ron's missions primarily require them to thwart the evil plans of the mad scientist–supervillain duo Dr. Drakken and his sidekick Shego.

The main logo is set in Ray Larabie’s Vipnagorgialla Bold Italic, which seems to be inspired by ITC Bolt. Coincidentally, Larabie has also designed another Bolt-like face named Kimberley. According to the credits, set in Russell Square, Alan M. Bodner was the art director, while Jennifer Grey is credited with main title design.

Screencap from title sequence with the title character’s name in Eurostile Bold Italic. The bottom text is in an unknown font [edit: it’s Cyberotica, see comments].

Screencap from title sequence with credits set in various weights of Digital Sans

Title card

End credits

Logo, showing Mail Ray Stuff with glitch effect

Pony Island is a suspense puzzle game released in 2016 by Daniel Mullins. The game takes place in a demonic arcade game, similar to the urban legend of Polybius.

The Pony Island logo and main menu use Ray Larabie’s Mail Ray Stuff. In promotional material outside the game, there is a glitch effect added to the logo.

The main font used throughout the game is a pixel font which appears to be custom. There is a recreation of this font by CTFonts called “Pony Island”.

Certain characters’ dialogue uses Crumbled Pixels, a Fontstruct creation by dangengneng (a.k.a. Alyssa Diaz). One colorful part of the game uses Yuji Oshimoto’s 04b_30.

Main menu, showing Mail Ray Stuff

Screenshot showing Pony Island's usual font

Screenshot showing Crumbled Pixels

Screenshot showing 04b_30

This is a 2000 poster for a concert at Fitzgerald’s, Houston, starring The Skatalites.

The title typeface is Ray Larabie’s Stereofidelic, a bouncy, all caps sans decorated with arrows and dash lines for certain characters. The two paragraphs below the picture are in Ethan Paul Dunham’s Hot Coffee, with alternates for H and T. The third typeface is Impact. Jermaine Rogers’ signature at the right is set in Jeremy Dean’s Firehouse.

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.

Original 2005 cover

From the Lemon Demon Wiki:

Damn Skippy is Lemon Demon’s fourth album, released on March 21, 2005. It was the first to include a commentary and HTML. Damn Skippy is the only one with pre-recorded MP3s without transitions in the data track.

The cover was originally designed by Neil Cicierega himself, and was later remastered and restored by Eagan Lasher and Icosahedron for its 2023 re-release on Needlejuice Records.

The main font used on the front cover and through out the album is Rock It, while the font used for the track listing on the back cover and for the lyrics on the 2023 re-release is Blue Highway – the “D” variant being used and with varied spacing.

[More info on Discogs]

2023 remastered cover used on Needlejuice Records release

Back insert used on 2005 original release

Restored back insert used for 2023 re-release on Needlejuice Records

Archer logo

Archer is an American adult animated spy comedy series that ran from 2009 to 2023. Baveuse is used for the logo, opening titles, and end credits.

Producer and art director Neal Holman describes how the titles were created in an interview with Art of the Title.

Baveuse numerals on a clock, as part of the opening sequence

The opening credit for lead voice actor H. Jon Benjamin. A dot has been added over the J, which is animated to move from one credit to the next.

End credits

Buckshot Roulette is a 2023 tabletop horror video game developed by Mike Klubnika, initially self-published on itch.io before receiving a Steam release in 2024. The game involves the player playing a twisted version of Russian roulette with a shotgun against “The Dealer” or three other players. Everyone plays and only one leaves the room with a fatter wallet and their head intact.

Buckshot Roulette’s typography heavily complements the game's industrial look, reminiscent of grindhouse movies. The serif type for the game’s logo is a Garamond, stretched and possibly with faux bolding. Judging from the angles of the top serifs in T, it’s one of the versions based on Jannon’s work. Easier to identify is Fake Receipt, used as the primary user interface font. Its dotted appearance is further distorted thanks to the in-game pixel filter, giving it a very scratchy look.

Main menu. “Buckshot” is vertically stretched while the text below is slightly squished.

“The Dealer” calmly explains the rules of the game.

A diegetic use of Fake Receipt on the score counter. The Dealer seems either stressed, amused or neither, as I unknowingly shot a live round at myself.

Winning a multiplayer match

Searching for lobbies in multiplayer. Fake Receipt is slightly squished here.

Modifying a lobby

Fake Receipt used in the Multiplayer Update trailer

The logo as seen in the intro

Bonus Stage is a web cartoon by Matt Wilson that ran from 2003 to 2006 on Keentoons.

Its logo uses Joystix for “HIGH SCORE’S” (though note that this subtitle was removed by season 7), ITC Franklin Gothic Heavy for “BONUS”, and Dimitri Swank for “STAGE”.

Official shirt design

2004 main page

Main page during season 6, using ITC Franklin Gothic Demi Condensed and Medium Condensed for the character descriptions

Main page during season 7, using the same fonts as the previous one for the character descriptions

The menu of the episode 89 “DVD”, using Myriad for the menu text

Screenshot showing the various perks in the video game Fallout 3 by Bethesda Softworks

Monofonto is used extensively throughout the Fallout 3 (2008) and Fallout: New Vegas (2010) video games across multiple platforms as the primary user interface font.

Screenshot showing dialog choices in the video game Fallout: New Vegas by Obsidian Entertainment

How to Draw Sci-Fi Heroes & Villains is a 2023 guidebook written by Prentis Rollins of DC Comics fame and Jacqueline Ching, aiming to teach beginner artists how to design, draw, and conceptualize science fiction and fantasy heroes and villains.

The main typeface is Ray Larabie’s snazzy yet futuristic Anklepants, paired with an interesting sans serif with geometric proportions: it’s Charles Daoud’s Dual, used with some of its many alternates.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

Garry’s Mod, or GMod for short, is a physics based open-world sandbox game built on a modified version of Valve’s Source Engine. Developed by Facepunch Studios, it was first published in 2006. The typeface used for the all-lowercase logo as well as for the overall branding is Ray Larabie’s Coolvetica.

Series of posters commissioned by Khruangbin for a show the band played in Houston, also known as “Space City” for becoming home to NASA’s Manned Spacecraft Center in 1967.

The brief was very straightforward: The three members of the band had to be represented somehow in the poster, featuring elements allusive to NASA and New Year's Eve*. Originally, the task was to make just one poster. However, after seeing the initial round of sketches they suggested turning them into a series, as if they were a sequence of events – “ignition, sequence, start”.

The typefaces in the design, Nasalization and Bernstein Serial Heavy, were chosen using as a reference the two most recognizable NASA logos, while keeping a consistent color palette and the disco ball and circles as recurring elements.

Limited edition three-color screen-printed on holographic paper by Native Screen Print Co
Hand-signed and numbered copies are available for purchase.

* Originally, the show was supposed to happen on December 21st 2021, featuring Adan Kennedy and Kornbread as opening acts, but due to a surge in COVID cases, it had to be moved to May 2022 with Quantic as the guest artist.

Referenced: the NASA “meatball” insignia (left) and the 1975 “worm” logo that inspired Nasalization.

front cover

Pauw was a Dutch psychedelic rock band who were active between 2013 and 2017. They released an EP (vinyl only), a few singles, and one full-length album, Macrocosm Microcosm, in October 2015.

The artwork for several of their releases was done by Nerisa Boezen. The font used is Dream Orphans, all caps. The back cover has the track listing, also in all caps.

The album has a gatefold cover and contains a poster, slightly smaller than a gatefold cover (two panes, folded once), of the album artwork without lettering. The inside of the gatefold has a drawing of the four musicians and the credits.

For more info, see the band page on MusicBrainz or Discogs. For details on this album, see the release group page on MusicBrainz and the master release page on Discogs.

Back cover