Fanfic. Vers de nouveaux usages passionnés et graphiques (“Fanfic, towards new passionate and graphic uses”) is a book made by Laurie Liviero as thesis project at Ésac Cambrai in 2025. It was designed using Baste (from Lift Type) and Times New Roman.

Liviero describes her book as follows (translated from the French):

This thesis might never have existed, as it is the successor to many abandoned and discarded topics. It was born from a sentence thrown out into the wind, almost as a joke: Imagine, a thesis on fanfic. Why take the risk? Too popular, too intimate, too loaded with connotations. As if I were going to have to expose myself, no longer able to hide. But behind these doubts, ideas persisted: reinvented stories, reappropriated graphics, shared passions. These issues were ultimately the key, since they now constitute the object you are reading. A testimony that I hope is passionate, critical, and educational, and that I now leave to its own devices. Right here, in the palm of your hands.

Two Times Elliott designed the identity for Union Spaces, a UK-based workspace / office‑space provider that helps companies find, design, build, and manage office / workspace premises.

Haltung, released by Order Type Foundry, is used as the primary typographic voice for the brand. The logo appears to be based on Eurostile Bold Extended.

The second volume of UFO Photographs Around the World was published by UFO Photo Archives in 1985.

Consciously or not, the use of Microgramma for “UFO” apes the style used for the 1969 television series of the same name.

Misturada is a series of four remix albums released by Far Out Recordings from 1996 to 2000. Misturada 3 (1999) features remixes of the Azymuth album Woodland Warrior (1998), and Misturada 4 (2000) features remixes of Friends From Rio 2 (1998).

The covers were designed by Ian “Swifty” Swift, and use Swift’s own font Sci-Fi Classic. The ampersand is borrowed from Eurostile Extended.

[More info on Discogs: Misturada 3, Misturada 4]

Sci-Fi Classic glyph set

A flyer for Urban Forest Odyssey 2, a “doof” (outdoor rave) held in Melbourne, Australia, on 24 February 1996. The design is credited to 12th Planet.

“UFO” is in FF Dig. The 2 inside the O is unidentified. “Urban Forest Oddysey [sic]” and the date use stretched and slanted Volkswagen. The names of the organizers of the event use Fino (or, as the Y is different, maybe the revised Finessimo?).

At the top of the flyer, the black text is in Futura, the white text is in Eurostile, and the ampersand is from Dorovar FLF (or maybe Carolingia).

The word “DJs” is in Eurostile. The names of the DJs use the Lambrettista style of Laundry. “Friends of the Earth food stall” and the black text at the bottom right are in Digital Sans.

The snaking text at the left uses Handel Gothic. The tiny “Designed By” and “Printed on Recycled Paper” use Futura Condensed.

Brand identity guidelines for New Zealand-based aerospace company Zenno Astronautics. THE ARK created the initial branding and the recent redesign in 2023, choosing Microgramma as the primary typeface for the logotype.

One of the many signs in the Spanish city of Valladolid that the Valladolid con carácter team has documented since 2017.

Dating the signage is not easy, but looking at the Catastro we can tell the building was built in 1983. Google Maps shows the cutlery shop closed at some point between 2018 and 2023.

“Villalba” appears to be based on the original Turtle as issued by Letraset, with modifications, see especially a and i. “ARTICULOS-ASEO” appears to be Microgramma, slightly stretched vertically. It’s unclear whether “Cuchilleria” was derived from a typeface.

Top control panel of the Roland MPU-100, with model number set in Eurostile and device description set in Corporate Image.

The Roland MPU-101 MIDI to CV Interface was a device released in 1985 that could convert multiple digital MIDI input signals into analog Control Voltage (CV) signals as output. This allowed musicians to have a way to use newer MIDI enabled devices with components that only supported the older CV format.

The device's model number is set in Eurostile and the description is set in Earth. Additional text is set in Helvetica.

NadineCorp. is an open-source accounting tool created for designers affiliated with the Maison des Artistes, the national body managing the social security system for visual artists in France. In 2020, CRC Studio collaborated with Guillaume Bonneau to design and develop NadineCorp.’s branding, UI, social media presence, and full functionality.

On the website, Helvetica is substituted with Nimbus Sans.

The NadineCorp logo pairs Helvetica with Redaction and kana from Mondwest. The division logos use Cooper BT, M PLUS Rounded, STHupo, Microsoft YaHei and Stick. The social media brand logos additionally use Cooper Black, Eurostile, and ITC Avant Garde Gothic.

The fonts used for the fictional partners and sponsors are not listed under this post’s typeface credits, but they are Frankfurter Highlight. Gill Kayo, Frankfurter, NaN Jaune, and Nympha.

Assorted social media posts. The script fonts featured on some of them are Astenia and Ultra System Script.

Leonardo De Marchi, a designer based between Berlin and Venice, released the publication The Sprout and Other Stories. This project was developed over the last few years and features visual material and texts written under De Marchi’s alias “Jester U.” (or Jester Umbra). The book, published by Bloom Fase, was launched on May 4th, 2024 at Spaxio X. The layout was set in Eurostile Bold Extended and HAL Timezone, published by HAL Typefaces. Bookshots by Giovanni De Marchi.

Words by Leonardo:

Possible worlds that introduce filtering destinies: portals to an everyday life that flows, changes and returns. Characters and atmospheres out of synchrony with the normal flow of time. An agglomerate of impressions, figures and scenes, collected during movement in space and mind-freeing attempts.

This album with five songs by Harry Belafonte on the A side and five by the Islanders on the B side was released by Coronet Records around 1961. The sleeve design is by Burt Portnoy who once more relied on the power of bright colors and Futura Display.

[More info on Discogs]

This poster advertises a concert organized by Pure and Vibeonauts, called “Thrill Ride 98”. It took place on July 18th, 1998 in Chicago, USA.

The poster uses a mix of upper- and lower-case letters set in Aggie – an adaptation of Zürich. Some characters have also been made transparent, with a stroke added. “Pure” is either a customization of Aggie, or a similar design with rounded terminals. The event date, city, and description appear to be set in all-caps Eurostile.

License: All Rights Reserved.

Logo and slogan of Weyland-Yutani Corp, as seen in Aliens (1986) at time stamp 17:21. The corporation plays a central role in the science fiction action film written and directed by James Cameron as the sequel to Ridley Scott’s Alien from 1979. Speculative Identities credits the original Weyland-Yutani identity from the 1979 film to John Mollo, Ridley Scott & Ron Cobb, and adds:

Weylan-Yutani is a large British/Japanese multinational conglomerate that is heavily involved in space colonization and the myriad technologies that both support and result from human expansion to the stars.

In the sequel, the logo with a pair of wings rendered in a style reminiscent of Native American art made way for a new one consisting of the entwined letters W and Y. While the wordmark uses all-caps Eurostile (or Microgramma) Bold Extended, the slogan “Building Better Worlds” is lettering derived from a typeface named Transmission.

Source: www.flickr.com Stephen Coles. License: CC BY-NC-SA.

Glyph set of Transmission as shown in The World of Letraset Products, Esselte, 1994.

The slogan features Transmission without the stripes, and introduces some minor changes. For example, B is made narrower and rounder, and W has straight diagonals with outward-pointing serifs (cf. City).

The horizontally striped semi slab was designed by Martin Wait and issued in 1983 in Letraset’s Letragraphica range. In 1978, Letraset had released a related typeface with solid letterforms, Company, also by Wait. Transmission is not just Company with stripes, though, but exhibits a number of differences. Some letterforms like the s/S with horizontal spine were optimized for the striped treatment. Other striking differences include the open bowls for e b d g p q, or the monocular a. In 2012, shortly before his death, Wait published a digital version of Company. His Transmission remains unavailable in digital form.

Jacob Tender, who has brought this use to my attention and kindly provided the still images, comments:

Although the Weyland Yutani logo and use of Microgramma are found throughout the movie, this is the only use of Transmission that I’ve ever noticed in the franchise.

For further reading on the typography and design of the Alien franchise, Jacob recommends the Alien edition of Dave Addey’s fantastic Typeset In The Future and several posts by film legend Ron Cobb, see Alien, Aliens, and “Alien Nostromo” – The story behind the design.

License: All Rights Reserved.

A perspective-corrected crop of the logo with slogan.

Source: www.etsy.com Image: Barnaby Glen Vintage. License: All Rights Reserved.

The Wind from the Sun, 1982. Cover art by Paul Alexander. [ISFDB]

The Wind from the Sun is a collection of science fiction short stories by British writer Arthur C. Clarke. Some of the stories originally appeared in a number of different publications, and the collection was first published in 1972 by Harcourt Brace Jovanovich.

This volume contains all the stories I wrote in the decade of the 60s, which was one of the most dramatic periods in the entire history of science and technology. Those years embraced the laser, the genetic code, the first robot probes of Mars and Venus, the discovery of pulsars — and the landing on the Moon. Many of these events, either in anticipation or after achievement, are reflected in these tales; for that reason, I have placed them in chronological order. — Arthur C. Clarke

The image shown at the top is Signet’s 7th printing which, according to the Internet Speculative Fiction Database (ISFDB), was published in 1982.

The photocompositor typeface used for the author and title is Roc Mitchell’s 1971 design, Corporate. To be more precise, it is probably Limited, a Corporate copy from Solotype which has minor variations such as 90-degree corners on the bottom of the ‘A’ counter. In designing Corporate, Mitchell is said to have been inspired by Eurostile, another squared, futuristic face which happens to be used here for the text above Clarke’s name.

The same typographic setup has been used for the whole series of Arthur C. Clarke novels published by Signet between 1981 and 1983. Fonts In Use contributor Alex Rosario had previously submitted a post about this series (thank you, Alex!), which has been merged into this post. In 2017, Alex made a digital revival and expansion of Corporate, named Corporatus.

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

The Other Side Of The Sky, 1981. Cover art by Vincent Di Fate, 1981. [ISFDB]

Source: www.flickr.com ortokur01. License: All Rights Reserved.

The Sands of Mars, ca. 1983. Cover art by Vincent Di Fate, 1981. [ISFDB]

Source: www.abebooks.co.uk John Thompson. License: All Rights Reserved.

Glide Path, 1982. Cover art by John Berkey. [ISFDB]

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

Islands in the Sun, 1981. Cover art by Vincent Di Fate, 1981. [ISFDB]

Source: www.isfdb.org License: All Rights Reserved.

The Deep Range, 1981. Cover artist unknown.

Source: www.isfdb.org License: All Rights Reserved.

Report on Planet Three, 1982. [ISFDB] Cover artist unknown.

Source: www.abebooks.co.uk Librodifaccia. License: All Rights Reserved.

Tales of Ten Worlds, 1981. Cover art by Paul Alexander. [ISFDB]

1972 single by Mac & Katie Kissoon on Young Blood Records. Katie’s name is misspelled on the sleeve. Printed by NV Interprint, Haarlem.