For Song Sung Blue, which premiered at the AFl Film Festival on October 26, 2025, Focus Features embraced a distinctly typographic approach. The film’s title and promotional material all feature Bookmania from Mark Simonson Studio, a revival of the classic Bookman that bridges warmth, character, and polish.

The designer made striking use of the swashes included with Bookmania, giving the film’s typography a showbiz vibe often associated with entertainment branding. The typeface appears in the trailer, multiple poster versions, and event backdrops. Altogether unifying the film’s visual identity that wouldn’t feel out of place on an album cover from Neil Diamond’s heyday in the seventies.

The result is a typographic system that feels both classic and energized—an apt reflection of the film’s subjects, a duo whose heartfelt Neil Diamond and Patsy Cline tributes made them local legends in the late ’80s and early ’90s.

From the promotional trailer for the film Anemone (2025), a psychological drama and directorial debut from Ronan Day-Lewis. Notably, the film features Ronan’s father, Daniel Day-Lewis, coming out of retirement to star in his son’s film.

The names and titles are set in Liesel, a hand-lettered style font by Magpie Paper Works, featuring flowing swashes on the capital letters.

The secondary typography uses the rough-edged Adorn Slab Serif by Laura Worthington Design.

Very Important People is a comedic talk show on the streaming service Dropout hosted by Vic Michaelis. Each episode, a comedian is sat in a makeup chair and has no idea what they look like until the big reveal in front of a mirror. The comedian then is tasked with making up a character, on the spot, for whatever bizarre sight they’ve been turned into, and then sit down with Vic for a completely improvised interview.

The show’s title font is Rafaella. The fonts used during the episodes have evolved from season 1 to season 2.

In season 1, all of the other text uses Decoy, excluding cutaway video gags where the text on screen may be mimicking the kinds of fonts used for products or television broadcasting. (Skörfinn, Haye’s Clean Energy, BNN, etc.)

For season 2, the show stopped using Decoy, and instead gave prominent titles, such as talent names, guest names, and title cards, the same typographic treatment with Rafaella that the show uses. All of the other text, with the same exceptions applied as before, such as the credits and subtitles, uses Proxima Nova.

Website banner for season 2 of Very Important People, featuring (from left to right, top to bottom) guests Echo Kellum, Zac Oyama, Alex Song-xia, Izzy Roland, Brennan Lee Mulligan, and host Vic Michaelis.

Screenshot from Season 1, Episode 1, picturing Anna Garcia. The text reads “Anna Garcia, she/her, @scrambieggs”, set in Decoy

Screenshot from Season 2, Episode 6. The text reads “Danielle Pinnock, she/her, @bodycourage”. Rafaella is used for the name. All other text is in Proxima Nova.

“What's In My Bag?” title card from Season 1, Episode 1, in Decoy

“What’s In My Bag?" title card from Season 2, Episode 6, in Rafaella

Credits scroll from Season 2, Episode 6, in Proxima Nova

Aguafina Script (Sudtipos, 2007) is the title font on the theatrical release poster for The Florida Project. From Wikipedia:

The Florida Project is a 2017 American drama film directed by Sean Baker and written by Baker and Chris Bergoch. Starring Bria Vinaite, Brooklynn Prince, and Willem Dafoe, with Valeria Cotto, Christopher Rivera, and Caleb Landry Jones in supporting roles.

Tagline and blurb are added in Boxed (Tipo Pèpel, 2013) and credits use Adrian Frutiger’s Univers Ultra Condensed (1962) in all caps.

A third example of Ronald Clyne using Bookman Swash Bold Italic. This album with “piano music to accompany silent movie scenes” performed by Abraham Lass was released in 1971 by Asch Records. From Smithsonian Folkways Recordings:

How does a storm at sea sound? A villain’s entrance? Tender, sentimental love? The silent-movie pianists at neighborhood theaters matched music to the action on the screen—sometimes without even having previewed the film. Abraham Lass fondly remembers and performs the repertoire he composed in the 1920s.

Clyne was a frequent user of Letraset dry transfer lettering. From the uncorrected italics to the swash glyphs (including the ampersand), the typeface appears to match Letraset’s adaptation. It was shown as Bookman Bold Italic in a 1971 catalog.

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