Resident Evil 7: Biohazard is a survival horror game developed and published by Capcom, initially released on January 24th of 2017. The players control Ethan Winters, a seemingly average man in search of his missing wife, Mia, who disappeared three years ago. After receiving an email from her, it led him down to a plantation in Louisiana. Released after years of excitement and some trepidation from fans and the industry alike, the game has been widely praised and is largely credited for reviving the Resident Evil franchise among other achievements.

Resident Evil 7 is the first entry to use Plak Extra Condensed for the franchise’s logo, replacing Compacta Bold which was used in prior games such as the original Resident Evil. “Biohazard” uses Rama Gothic Rounded. In-game, the user interface primarily uses Franklin Gothic Book, which actually fits the Southern Gothic aesthetic very well. Futura is used more sparingly as a heading font of sorts and Rodin is used exclusively for the subtitles, possibly for localization reasons. Digital similarly is rarely used but can be spotted in number counters and the main menu.

Main menu. The player navigates the menu using a tape recorder that uses Digital for the UI.

Settings menu

The loading screens in RE7 consist of a short synopsis of the current chapter.

Ethan Winters confronting a very evil resident

Inventory menu

Death screen

An alternate UI for Jack’s 55th birthday, one of many RE7’s frankly unhinged DLCs. Digital is used for the timer. “Are You Ready?” is in Lydian Cursive.

The visual identity for 070 Shake’s sophomore album You Can’t Kill Me from 2022 was developed as a cross-media campaign including album artwork, logotype, photography, packaging, merchandise, tour posters, and promotional copy. Eddie Mandell designed the project in collaboration with 070 Shake and The C.O.R.E.

The typographic system pairs Futura (Paul Renner) with Tempos Mono (Samara Keller) for supporting and informational text and Anton (Vernon Adams) as the main title font. The blackletter face is Anglican Text (Dieter Steffmann).

The album cover features a Nicola Samorì painting, which is used alongside the typography. The cover was listed at #15 in Our Culture’s “50 Best Album Covers of 2022”.

[More info on Discogs]

The VIVE (Vittoriano e Palazzo Venezia) is a national museum institute in Rome, established in 2019 and active since 2020, under the Italian Ministry of Culture. It brings together two iconic landmarks in the heart of the city: the Vittoriano, also known as the Altare della Patria, and Palazzo Venezia, along with the Central Museum of the Risorgimento, the panoramic terrace, and the Library of Archaeology and Art History. Dedicated to preserving and showcasing architecture, artworks, and collections central to Italy’s history and identity, VIVE combines research, conservation, and public engagement through exhibitions and educational activities.

From its establishment, VIVE has adopted a clear visual identity developed by the Trieste-based studio TassinariVetta. The logo and overall visual language favor a minimalist approach that evokes modernity and a sort of architectural precision. These values are reflected in the consistent use of the Suisse font family, beginning with the logotype, which combines Suisse Int’l Bold and Suisse Neue Medium.

This typographic choice is extended across the monuments’ visual system. Suisse Int’l is used for signage, ephemera, and public-facing communication, both online and in the street. A notable example is the long-running lecture series “VIVE al Centro di Roma”, whose first posters and subway ads showcased the new identity throughout the city.

On the website, designed by the agency Vergani&Gasco, Suisse Int’l is paired with Suisse Works rather than Suisse Neue. While all three belong to the same family, the choice introduces a functional distinction: Suisse Neue remains tied to the identity mark, whereas Suisse Works serves as a dedicated text serif. The shift preserves typographic continuity while separating symbolic branding from editorial usability, allowing the digital content to prioritize clarity without altering the core visual language.

The visual identity is here seen applied to the monuments' entrance tickets. Same typesetting, five different color codes for each of the five museums making up VIVE.

Turist (WIP) used for Leida Reader: Fifteen Selected Articles, a compilation book duo (in Estonian and English) of articles from the online journal Leida, established by the Faculty of Design at the Estonian Academy of Arts and published between 2022 and 2024. Graphic design by Oliver Long and Alexandra Margetic.

From the Estonian Academy of Arts (EKA):

Leida brings together different approaches by designers, artists and design researchers, ranging from craft, material and technology studies, and co-designing with local communities, to various practices of mending and care. The articles explore the devastating consequences caused by design, as well as the new perspectives opened up by design that have an immediate impact on people and their interior and exterior environments.

Edited by Taavi Hallimäe and Neeme Lopp
Editorial Board: Triin Jerlei, Ott Kagovere, Ruth-Helene Melioranski, Sandra Nuut

Translators: Maris Karjatse, Keiu Krikmann, Peeter Talvistu, Mari Volens
Language Editor: Michael Haagensen […]

316 pages, in Estonian and English
EKA Faculty of Design, 2025

Ragtime

From Paul Dini & Chip Kidd’s Batman Animated (1998):

These imaginatively rendered title cards were a high point of each Batman episode. While some (like “Harley’s Holiday” and “Time out of Joint”) were character portraits, most often the cards depicted an emotional impression of the given episode’s theme. According to Eric Radomski, who designed many of the cards, “Going with the overall retro-forties feel we were giving the show, we wanted to treat the episodes as mini-movies. The title cards allowed us to create great drama in a very subtle fashion. It was a process of trying to capture what the overall episode was, and not just show a scene or moment from it.”

Most of the title cards of Batman: The Animated Series’ first season (which first aired in 1992–1993) use fonts that were available from Letraset.

See also the post on the series’ logos.

Engravers Old English

Pendry Script

Rundfunk

Commercial Script and Compacta Italic

Pendry Script

Cable (Kabel) Light

Univers 49

Brody

Univers 49

Peignot Medium

Alpin Gothic

Plaza

Pendry Script and Compacta

Windsor Bold Outline

Compacta

Plaza

Peignot Medium

Brush Script

Microgramma Medium Extended

Mistral

Compacta Bold Outline

Univers 49

Goudy Handtooled

Mistral

ITC Benguiat

Brody

Univers 49

Plaza and Univers 49

Mistral

Laser

Univers 49

Stencil Bold

Univers 49

Univers 49

Papyrus

Berling Bold

Mistral

Mistral

Ragtime

Berling Bold

LCD Outline

Cloister Bold

Shatter

Helvetica Extra Light and Medium

Goudy Extra Bold

Freestyle Script and Flash

Plaza Inline

City Medium

Murray Hill Bold

Plaza and Univers 49

Ragtime

Tarragon

Compacta Outline

Titus Medium

Augustea Open

Cortez

July Type’s typefaces JT Peleton and JT Picolo are used for the catalog to the exhibition Repeat after Me II by Open Group, shown in the Polish Pavilion at the 60th International Art Exhibition, Venice Biennale in 2024. See also the previous post about the audiovisual video installation.

The publication was designed by Janek Bersz of Full Metal Jacket and publsihed by Zachęta Narodowa Galeria Sztuki. It’s available in its bookshop in Warsaw and the official bookshops of La Biennale in Giardini and Arsenale. A pdf can be downloaded from the Polish Pavilion’s website. Made with support from the Berliner Künstlerprogramm des DAAD with funds from the German Federal Foreign Office.

Pictures by Jacopo Salvi, Ewa Mielczarek, and Janek Bersz.

The thirteenth volume of The Opéra revisits the nude as myth, ritual and revelation. Entitled “Mythos”, this edition draws from ancient tales to explore the body as both symbol and subject, blending photography, philosophy and poetry into a timeless narrative.

The publication is edited by Matthias Straub and designed by Studio Tillack Knöll (Stuttgart), who bring a refined visual structure to the issue. Typography is central to this composition: TWK Issey, a high-contrast serif designed by RIMASÙU Studio and published by WELTKERN®, is used throughout.

With its balance of delicacy and authority, TWK Issey captures the tension between vulnerability and divinity that defines the volume. Its sculptural forms echo the photographs' quiet intensity and lend a contemporary grace to every page. A typeface that speaks with clarity, reverence and restraint.

Exhibition poster and workshop promotion for Flos Mortis, a project by Zaad. From voordekunst’s website:

Zaad is an annual permaculture magazine project—visually entertaining and intellectually educational—that promotes home gardening (organic farming) & home cooking by focusing on a single vegetable per issue. Our 1st issue (launching in 2026) focuses on the tomato!

Flos Mortis is a photography exhibition on the theme of Death, organized in collaboration with photographer Sungjae Joo and presented in July 2025 at projectspace 38/40, Amsterdam Noord.

This bilingual monograph on French ceramicist Georges Jouve (1910–1964) comes with texts written by Karine Lacquemant. It was laid out in LL Brown by Lineto.

The book measures 24×31 cm, spanning across 288 pages, and was published by Éditions Norma in 2025.

Published by Éditions de La Martinière, this book brings together a wide range of writings by women artists—letters, diaries, memoirs, interviews, manifestos, and theoretical essays. It features the voices of forty women active in a vibrant, cosmopolitan Paris from the Belle Époque to the eve of the Second World War, both famous and little-known, from Berthe Morisot and Camille Claudel to Sarah Bernhardt, Nina Hamnett, and Amrita Sher-Gil. Organized around the key stages of an artistic career—training, perseverance, self-organization, and self-assertion—the book sheds light on their individual paths, shaped by ambition, desire, struggle, hardship, and success.

The texts were compiled and introduced by Lucia Pesapane and Delphine Wanes. The publication was overseen by Camille Morineau, AWARE, and Mathilde de Croix.

The titles of this book, designed by the French graphic designer Lisa Sturacci, are set in Louize Display Cond (Matthieu Cortat, 205TF), while the body text is set in Martina Plantijn (Kris Sowersby, Klim Type Foundry).

This book by Ernst Gombrich presents the history of art from the Stone Age to the 20th century, told in the simplest terms. All Russian-language editions of The Story of Art (in Russian: История искусства) available today are quite bulky and not really convenient to handle. This was the reason why the HSE Art and Design School student came up with the idea of designing a non-bulky version — a handy-sized book and a website where you can view in detail all the images mentioned in the book. The project’s typography is executed using Trola by Jordi Embodas.

Nostalgia on Nob Hill Vol. II is a 12-inch, 33 RPM stereo vinyl LP album by Ernie Heckscher and his Fairmont Orchestra, released in 1976 on the Earl Records label. The album is in the jazz and pop genres. The cover typography exclusively uses Century Modern

[More info on Discogs]

Have you ever opened a book and felt a whole household breathe?

At Plantain, we transform lived histories into beautiful, bespoke books. With the Ferreira family volume, a chorus of voices, memories, and carefully kept artefacts finally found a home between covers.

When we started this project, we were invited to step into a living museum: rigorously researched family histories, earlier interviews, photographs softened by time, vinyl records, Granny’s garlic pork recipe, and artwork by masters such as Louison and Hinkson. Our brief was simple but exacting: make it coherent, honest, and beautiful – a book future generations would actually want to hold.

Over months, we conducted interviews, shaped a narrative, and curated more than 65,000 words and 437 images into a 356-page volume.

The design draws on the geometry of Portuguese azulejos, reimagined as grids and rhythmic layouts, with layered blue accents inspired by the Caribbean Sea. Warm creams and soft greys temper the palette, while a restrained typographic system lets the family’s voices sit easily beside photographs and ephemera.

Regions covered: Portugal, Trinidad, the United States.

Reminder that there’s no fascism without warmongering, and that war inevitably comes with injury to life and limb.

This Verbandpäckchen Nr. 1313 Größe III (“Bandage pack No. 1313 Size III”) of the German Wehrmacht has text set in two weights from Element. The simplified Gotisch was issued by the Bauer foundry in 1933–1934 as one of the first typefaces in the modernized blackletter subgenre that coincided with the early years of the Nazi regime. The notice about the package being “keimfrei, luft-, staub-, wasserdicht” (“sterile, airtight, dust- and waterproof) is set in a less commonly seen lighter weight. Number and size info are in a bold Bodoni.

The bandages were produced by the Verbandstoff- und pharmazeutische Fabrik Ulm-Frankfurt a. M., G. m. b. H. in Ulm-Donau. The shown item was part of remaining stocks of the U.S. Army, from the estate of Cpl. Erich Wick, Army Medical Corps, German Labor Service, 1950.

Tatra, 2000 [More info on Discogs]

Apoptygma Berzerk released their single “Kathy’s Song (Come Lie Next To Me)” 25 years ago, and recently have published a remixed 25th anniversary edition.

A CD-single remix release in the year 2000 (soon after the original, presumably) uses an image of a young woman (Kathy?) in PETSCII art on a Commodore 64 and uses the Commodore 64 ROM font for the track title. This year’s release features the same young woman in bitmap art on a Classic-era Mac, and uses the Mac’s menu font Chicago for the band name and track title; Chicago appearing in its bitmap strike. Chicago also appears in the Mac Paint menu bar on the screen of the Mac. The background of this image is made of a repeating circle motif, and this motif is one of the 8×8 desktop backgrounds that are selectable from the control panel of the original Mac. Susan Kare designed Chicago, the original Mac control panel, and quite possibly the desktop backgrounds (I couldn’t find a definitive note).

The Commodore 64 ROM font, like most ROM fonts from the 8-bit microcomputer era, doesn’t seem to have a name. Given the relative simplicity of reconstructing 8-bit fonts from the ROM, reconstructions have probably been done many times over.

Pitch Black Drive Productions, 2025

From Wikipedia:

Tension is the sixteenth studio album by Australian singer Kylie Minogue. It was released on 22 September 2023 by BMG and Minogue’s company, Darenote. […] Tension II, a sequel album, was released on 18 October 2024, alongside a Tension Tour to support both releases beginning in February 2025. […] Studio Moross handled the album’s photoshoot and cover; Haris Nukem photographed it, and Aries Moross handled the creative direction.

Yapari is used in all caps for the title typography. See also the cover and campaign for the single “Padam Padam”.

[More info on Discogs]

Limited edition transparent orange vinyl

“Lights Camera Action” was the lead single from Tension II, and was released on 27 September 2024.

Demon ruchu (“The Motion Demon”, 1919) by Stefan Grabiński is a classic work of Polish horror in which the railway becomes a space filled with metaphysical mysteries. In this collection of stories, trains, stations, and tunnels form a dark universe where the inexplicable constantly breaks through everyday order. The characters, haunted by premonitions and visions, teeter on the brink of madness, and the very act of travel takes on an almost mystical dimension.

The new edition by Dwie siostry was designed by Jacek Ambrożewski, using Tor grotesk for cover, titles, drop caps, and emphasis; and BC Figural for text. It is enriched with evocative illustrations by Rita Kaczmarska and includes additional stories planned for the never-published third edition. The volume appears as the fifth installment of the “Świeżym Okiem” (“Fresh Eye”) series, offering a refreshed, visually striking version of this classic of the uncanny.

336 pages, 14.5 × 21.5 cm

The publication Navigating Change Through Conscious Design Education: Institutional Plan 2025–2028 is the result of the Design Academy Eindhoven community's efforts, from students to alumni and staff. The booklet was coordinated by Stella Verdult and Evelyn Janssen and printed by die Keure. Its design and illustrations were created by Pedro Lobo, typeset in HAL Repost by HAL Typefaces.

Words on the project by Pedro Lobo:

How do we reflect, adapt, and imagine new futures? How can an institution be built not only on legacy, but on possibility? As part of a collective reflection on Design Academy Eindhoven’s future, students were invited to shape their ideal ‘building block’ with clay. The result is a collection of unconventional forms used to help guide readers through the chapters of the Institutional Plan, while illustrating Design Academy Eindhoven’s proactive vision of ‘shaping ideas through practice’.

The artist collective Metahaven created the cover for Armen Nalbandian’s latest album, Studies on Resonance and Dissonance – a project developed closely in collaboration with Jing Yi Teo. Nalbandian’s work draws on motifs from jazz and classical piano, extending them into realms of improvisation and noise – combining, in a sense, Satie with ruins and everything beyond.

The typeface in use is Prima by Kyiv Type Foundry.

Metahaven is a design and research studio based in Amsterdam, known for intertwining information technologies, geopolitics, and philosophy with poetry, fiction, and storytelling.

Armen Nalbandian is a composer and pianist whose practice expands the possibilities of sound and performance through spontaneous group composition, prepared piano and Fender Rhodes, and electronically layered improvisations.

[More info on Discogs]

First compilation printing of R.L. Stine’s Halloween Night (1993) and Halloween Night (1994), published by Schloastic in 2003. The cover typography uses squeezed Crypt (a.k.a. PostCrypt) together with LTR NCND (then known as FF Trixie). Both typefaces were given a spooky glow effect. Tagline and back cover text are set in Futura Condensed.

Everyone at McKinley High dreams about Halloween. The A-plus parties, the creepy costumes—it's a blast. Everyone, that is, except Brenda Morgan. For Brenda, Halloween is a total nightmare.

Every year, something terrifying happens to her. Like someone smearing blood all over her bedroom wall. Or her friend stabbing her in the back—literally.

It's almost like Halloween night is cursed for Brenda. And unfortunately, October 31 is just around the corner....