“再生” (“Replay”) is the sixth song by Japanese electronic music group Nanatsukaze, released on 5 April 2024 with video clip illustration by Sorakaze Mike. The typeface used for the Japanese lyrics is the retro-styled (1920s) Japanese faux-kaisho typeface Klee One (Fontworks Inc.).

“歩む” (“Movin’ On”) is the third song by Indonesian J-Pop alternative rock music group Thousand Sunny, released on 14 November 2025 with video clip animation done by Pedro Musa (Senimator Studio). Japanese lyrics on this video clip use the Japanese rounded sans-serif (Gothic) typeface Kiwi Maru by Moji-Waku Research while Indonesian and Japanese (Romaji) lyrics are in Noto Sans.

"朧月夜" ("Hazy Moon Night") is the third song by Japanese electronic music group Nanatsukaze, released on 7 July 2023 with video clip illustration by Mokao Okamoto. The video clip illustration is cyberpunk-themed but Japanese lyrics use the retro-styled (1930s Showa Era) Japanese geometric typeface Makinas by Moji-Waku Research.

The lyrics video for “Down in Atlanta” pairs moody nighttime visuals with bold typography set in Sequel Sans Wide Extra Black from OGJ Type. Rendered large and glowing with a neon effect, the letterforms pulse against scenes of downtown Atlanta, echoing the track’s late-night energy. The combination of scale, glow, and motion turns the type itself into part of the rhythm—sharp, heavy, and unmistakably urban.

Suped Up is the new power-pop project of Brian Dove and Noah Bowman. The band released two singles, “Crosswords” and “No Ghost No Problem” ahead of the release of their debut self-titled album (out April 25, 2025 via Hilltop Recordings).

As one half of said duo, I got to take the lead on creating assets for the new album, which was a great excuse to use some of my favorite fonts (and one of my own)!

The album artwork and cassette packaging uses PicNic for the band name and track listing, with Gayot New Thin for accents and the wider side of Obviously’s variable font for smaller typesetting.

On the album release show poster, Megazoid makes an appearance and Obviously’s variable axes get put to further use.

The lyric video for the single “No Ghost No Problem” also features PicNic, Gayot New, and Obviously.

Album artwork for Suped Up’s self-titled LP

Album release show poster

Cassette tape

Cassette Jcard front and interior

Still from the lyric video for “No Ghost No Problem”, featuring Gayot New

Still from the lyric video for “No Ghost No Problem”, featuring Obviously

Gaya Italic in use for Cléa Vincent’s music video designed by Gwennina Moigne and animated by Élise Wojnarowski. The project is introduced as follows by Moigne:

Creation of the lyric video for the single “C'est OK” by Cléa Vincent. The backgrounds were created from personal photographs and animated using distortions. The bright colors and chosen typography reflect the cheerful and soft universe of the song. The typographic animations were created by Élise Wojnarowski.

The project was completed in 2023 for Cléa Vincent and Midnight Special Records.

Everything I Know About Love is an album by Icelandic singer-songwriter Laufey. The album cover uses Amika Blackletter.

[More info on Discogs]

“C/U/B/U” is the third single off of C. Samms’ sophomore album, Bouquet. The video makes good use of Baikal’s super flexible variable features – going from extremely extended and bold to tightly compressed and hairline thin. Somewhere between lyric video and retro-educational-kid's show-homage, the visuals on screen play off of the homophonic title – swapping out words for letters that sound the same as well as the occasional image to take a word or syllable’s place.

Other classic typefaces such as ITC Zapf Dingbats and Helvetica make an appearance to bring words to life either as symbols or subtitles.

Following the release of her seventh studio album The Land Is Inhospitable and So Are We in late 2023, American singer and songwriter Mitski published lyric videos for each of the eleven tracks.

Created by Rena Johnson, these videos are all quite consistent, with collages of “intimate and beautiful super 8 footage of Mitski” shot by Mitchell King under direction of Ebru Yıldız, together with additional footage by Johnson.

Following the album art and accompanying communication, designed by Mary Banas, these videos feature a mix of Ready Active and Tofino. The first one, an organic-looking all-caps script, is set centered, in a big size and bright orange color. Given its somewhat ‘inhospitable’, challenging legibility, and the usual purpose of a lyric video, the display typeface is given subtitles, set in all-caps Tofino, in white.

These videos have been created in English, the original language of the songs, but also in Spanish, Portuguese and Japanese, in which cases the lyrics set in Ready Active stay the same and only the ‘subtitle’ part, in white, is adapted. The Japanese version replaces Tofino with what looks like Kozuka Gothic [edit: or rather Hiragino Kaku Gothic, see comments].

The typeface Gomer is used by Sweeteverafter for their lyrics in the music video “It Came Upon a Midnight Clear”.

Watch the full video on YouTube.

I – Michael Leonhartsberger – used my typeface Gomer for the lyrics in my music video “Good Men Soldiers”. The title at the beginning is handlettered.

Calm transitions and animations are used with a big focus on the typography to support the overall message, the senselessness of war and that there’s nothing new under the sun.

Watch the full music video on YouTube:

The official lyric video for Sam Cooke’s “Keep Movin’ On” adopts a 1960s aesthetic, with irregularly shaped blocks, stripes and arrows, and halftone photographs on color. The typeface is more recent, though: it’s Extenda (Zetafonts, 2018). The animated clip was directed by Lucy Dawkins and Tom Readdy at Yes Please Productions, who mention they took the color palette of the original sleeve art and inspiration from vintage soul records designs.

Yes Please also directed a number of other lyric videos for songs by Sam Cooke, see “Shake”, “You Send Me”, “(Ain’t That) Good News”, “Good Times”, and “(Somebody) Ease My Troublin’ Mind”.

Executive Producer: Julian Klein
Producer: Dina Kanner

Visual identity of Broken Blue, the first LP of French producer Sandór Waïss.

The typeface used for album cover, digisleeve, vinyl disc, and video lyrics is Räder by Pangram Pangram.

Timberline is used for the lyrics video for “Follow Your Heart” by Scorpions. The script typeface is shown in a beige color against a dark background. Its sleek, modern design perfectly complements the video’s theme of determination and perseverance. The font’s brushy effect style make it easy to read, while also conveying a sense of grunge and calligraphy look. Overall, the font choice creates a visually striking and engaging viewing experience for the audience watching the video.

“Best of Rock Ballads” is added in all-caps Monotype Baskerville.

The fonts used for “Love” and “Hope” are unidentified. The latter is similar to Thirsty Rough.

All digital versions of the cover are printed and re-scanned.

Canadian indie rockers Half Moon Run are back with a new single “You Can Let Go”.

The cover art was designed by me, Alex Tomlinson, using a long exposure light painting photograph I took from 2011. The Apple Music motion cover uses collaged elements from the original photo.

The lyrics video features a 360 degree rotating camera and a weary office worker overlayed with a relentless stream of Microgramma lyrics.

The opening lyric, “it feels like a perfect night”. Italic caps from Montserrat in both outline and filled paired with the script font Mr Sheffield.

Taylor Swift is re-recording and re-releasing her back catalogue, branding it “Taylor’s Version”. The iconic Red is no exception. The pop hit-single “22 (Taylor’s Version)” was released as part of Red (Taylor’s Version) on November 12, 2021, with this lyric video.

The graphic style of the video is consistent throughout: Lyrics typeset and animated on a light-pink background with confetti, cheesy aging effects of scratched/worn film-emulsion and caught hairs, and with a deckled frame.

Two fonts are used: One a geometric sans, Montserrat, mostly used in all-caps oblique; the other is the connected script Mr Sheffield – which has not yet featured on Fonts In Use – used in italic.

A variety of treatments are used. The frequent grow/bold/blur effect increases the grey-value of Mr Sheffield and squishes its smaller counters away. There are numerous other effects: combing, scroll/repeat, fade, blur, crop/repeat, wobble, and marquee.

Many lyrics are illustrated with little pencil sketches.

The sans topping and tailing, the script in the middle.

Mr Sheffield used on its own, with tracking that breaks the connections

A frame captured part way through the zoom and blur (compare with previous).

Sometimes the sans lowercase is used, but mostly not.

This is one of those effects where a cropped repeat is added below and removed from the top to give the illusion of movement without any part actually moving. This effect for 22 is used a lot in this video.

“OH YEAH” both scrolls in the foreground and zooms in the background.

The effects get slightly more drunken during the last part of the song, and the 22 wobbles.

Artworks for The Remixes compilation as well as the single “Alone: Together – Solo Remix” by Habla de Mí en Presente.

The two main typefaces combined here are Adobe Garamond Italic (Robert Slimbach after Claude Garamond and Robert Granjon) and Aeonik Bold (Joe Leadbeater, Mark Bloom). Also there are these little details added using Core Deco (Dae-Hoon Hahm, Hyun-Seung Lee, Minjoo Ham) and Wingdings (by Charles Bigelow, Kris Holmes).

The same fonts were used for the lyrics video of “Alone: Together – Solo Remix”.

“Mawlood Sanat 80” / “مولود سنة ٨٠” (“Born in the Year 1980”) is the first and titular song on the fifth album by singer-songwriter and multi-instrumentalist Hamza Namira, released on 16 December 2020. The song is about how it feels for someone to belong to the 1980s generation. It features a retro-futuristic style of music fused with animated Arabic typography. Makeen by Mostafa El Abasiry is used for the animated lyrics that are shown throughout the song.

Tour poster.

Created by the Indonesia-based type foundry and design studio Bagerich, Shirens is a font inspired by Emo/metal/hardcore music scene and the hype street wear/apparel.

Shirens has been selected as official typeface for promotion and branding of Post Human: Survival Horror, the new album by British band Bring Me The Horizon.

Single cover. The repetition vibes within the song are reflected with the use of secondary type. “Remix” is repeated 9 times, once for each artist, while the laxed siren beat is repeated 7 times to represent the BTS members’ mix.

On October 2, South Korean band BTS released a remix of Jawsh 685 and Jason Derulo’s single Savage Love (Laxed – Siren Beat). Commissioned by Big Hit and Columbia Records, Annie Stoll did the art direction and design for the single cover as well as the art direction on the lyric video, which was animated by Cristóbal Saez.

The idea is for the type to reflect the conflict the lyrics speak of while also being on brand to represent the collaboration style of all the artists. Like music, color choice and type vibes can convey emotion across language barriers.

The typefaces used were chosen because of their look and qualities. A mix of organic and technical to reflect the sound contrasts. The main type is Balboa Extra Black. The two secondary fonts are Acier BAT and FF Eureka Mono. The Korean type is really the most important… Seol Sans is a really cool font that was created by Minjoo Ham, Akira Kobayashi and the Monotype Studio to go with Neue Frutiger.

Read more about the design in this Twitter thread.