Style frames from the Criterion Channel’s 2025 Miami Neo Noir film collection. The collection featured the films Body Heat, Out of Sight, Miami Blues, Wild Things, Bully, China Moon, and Miami Vice.

Each month the Criterion Channel releases a handful of curated collections. Each collection getting some stylized typographic treatments used for a teaser trailer and style frames (thumbnails) for the collection as a whole plus a few select films within the collection.

The Miami Neo Noir collection is styled with the look of glowing neon signage paired with a thick, angular script and a quirky, geometric sans-serif.

The featured, glowing pink neon-like font is Piccadilly, from ITC, originally a typeface drawn for Letraset in 1973. It’s a neon-like rendition of Broadway, which features in the Miami Vice logo.

The accompanying script is Agneya from Seventh Imperium.

And the sans-serif type used to list films in the collection on the main title image and the director’s names on the individual film images is ITC Kabel.

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.

This personal poster project is available for sale from Dreamhouse International. The imagery consists of a collage of vintage magazine clippings blended into a single composition. The text uses Cherry TM, referencing the iconic Pacha nightclub logo.

“Så er det heller ikke sjovere…” is a responsibility campaign launched by Tuborg. The campaign isaimed at young Danes, encouraging more moderate and respectful drinking. Under the long-standing slogan “Drik Med Respekt” (“Drink with respect”), the campaign targets binge drinking by humorously highlighting the many Danish expressions for being drunk, suggesting that extreme drinking isn’t actually more fun. Rolled out across multiple platforms and supported by partnerships and influencers, the campaign positions Tuborg as taking responsibility for shaping a healthier alcohol culture where it’s okay to drink less—or not at all—without social pressure.

Bordering on LTypI: Platelet for The Planets. Its designer, Conor Mangat, comments on the genesis of his debut typeface:

Platelet grew out of a 4-day workshop given to students—most with no type design experience—at CalArts in October 1992. The brief, from Phil Baines, asked for an original alphabet to be designed for a specific outdoor purpose, taking into consideration the context for usage, appropriateness and meaning, and traditional notions of good typography.

Consequently, Platelet is based directly on characters and figures found on the car license plates in California. Its original character set comprised only a single lowercase alphabet and non-lining figures, ostensibly to complement the existing all-caps characters on the plates. For its commercial release, however, the set was extended to include alternate, small capitals and other commonly used text characters – somewhat ironic considering the original brief had principally been to create specific display faces that weren’t just scaled text faces.

Cover designer Paul Marc Mitchell took advantage of the added small caps, and mixed them with the lowercase forms.

This album with the Berliner Philharmoniker’s rendition of The Planets under Simon Rattle (b. 1955) was first released as a double CD in 2006. Gustav Holst’s orchestral suite is complemented by four additional tracks by contemporary composers – thanks to Colin Matthews, Pluto finally gets acknowledged, too (just to lose its status as a proper planet the same year) – plus a video by Paul Bates.

[More info on Discogs]

Warner Classics released a vinyl version with just the original suite and Matthews’ addition in 2025.

Design of the visual identity for Galette Party, a Lyon-based event dedicated to tasting traditional galettes des rois (king cake or Epiphany cake), bringing together a curated selection of the city’s best artisan pastry chefs.

The project includes the creation of the official event poster, social media visuals, and the “Galette Tour” pass, designed as a stampable card to be marked throughout the tasting journey.

The artwork aims to reflect the event’s gourmet, festive, and artisanal spirit while providing a strong and cohesive visual identity across all communication materials, created by the studio C’est par là.

From Wikipedia:

“Big Energy” is a song by American rapper Latto. It was released through Streamcut and RCA Records on September 24, 2021, as the lead single from Latto’s second studio album, 777 (2022). […] A remix with American singer Mariah Carey featuring DJ Khaled was released on March 28, 2022, with an interpolation of Carey’s song “Fantasy”, which also heavily samples “Genius of Love”. Following the release of the remix, “Big Energy” earned Latto her first top 10 hit on the US Billboard Hot 100, peaking at number three in April 2022. It also hit number one on Billboard’s Hot Rap Songs chart for 2 weeks. Consequently, it became the highest-charting solo song by a female rapper since March 2021. The song also reached the top 10 in Australia and Canada, and top 20 in New Zealand. “Big Energy” became Latto’s breakthrough on mainstream radio, and she performed the song live on several television appearances. The live version received a nomination for Best Melodic Rap Performance at the 65th Annual Grammy Awards.

The font in use is Lovelo Black, the solid style of Fontfabric’s all-caps display family, with a glow effect. The squarish sans used for “featuring” is yet unidentified.

[More info on Discogs]

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.

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....

“Astrogirl” is the first and only original single by Tsukumo Sana, a now-“graduated” (retired) virtual YouTuber of hololive Production. The song was produced in collaboration with Snail's House, a Japanese electronic musician, and written by Wunder RiKU.

The cover art for the single features illustration drawn by MistletoesArt and typography designed by Spiritsnare. The latter features Megazoid by David Jonathan Ross, modified to be slightly more rounded. This gives the words a soft and playful appearance.

The typography featured on the cover art

GoPrimal is an Austrian brand founded in 2018, creating natural, science-backed supplements that fuel performance and a healthy lifestyle. Their products focus on clean, nutrient-rich formulas with smooth and creamy flavors. Today, GoPrimal is “more than a supplement company”, presenting itself as a movement built on performance, sustainability, and style.

The branding is bold yet simple: eco-conscious with a zero-plastic footprint, artful packaging that feels modern, and a consistent visual voice powered by Base Neue, their main typeface across all platforms.

KIFF Aarau is a leading independent music venue in Switzerland, shaped by volunteer culture and a dynamic live program. Between 2014 and 2024, Upset developed its visual identity and seasonal campaigns—anchored by a modular K mark evolved from the venue’s earlier logo by Büro Destruct.

The identity was designed to stay flexible and responsive to shifting youth culture. The K functions as both symbol and structure: scaling, stretching, and framing content across print and digital formats.

Alongside the identity, Upset began developing a custom typeface for posters and headlines. This display font eventually grew into Kunath, a full family now part of the studio’s own library.

Over the decade, the system expanded through collaborations with photographers, illustrators, and artists—resulting in campaign assets as varied and vibrant as the venue itself.

Kunath is currently in development and will be released via Upset.

Summer of Seum (seum is “anger” / “frustration” in French slang) is a micro music festival taking place in the summer of 2025 in Paris and its suburbs. It focuses on “evil songs, incontralble electronic musics, outsiders black metal, evil popstars, decaying post-punk…”.

Atelier AAAAA, also co-organisers of the event with their label Croux Records, designed electric posters featuring the faux-Asian font Chinese Dragon for the main title and for the first letter of most words, as a kind of funky capitalization. The rest of the text is set in the cousins NaN Rage Zipp and NaN Rage Poly. The pointiness of Zipp makes it a logical companion for the sharpness of Chinese Dragon, reminiscent of fictitious brush strokes. Fluo colours, glow effects, spiky fonts, the posters are a clear reflection of the aggressive and troubling nature of the musics played during the festival.

Personally I Find It Rude to Be Boring is a 2024 short film directed by Derek Spencer and starring Rachel Rivera, Acacia Fisher, Dakota Loesch, Mike Merchant, and others.

The film titles were designed by YENCE Studio.

Derek Spencer’s director statement:

No one is a good person at 3 am. We stretch ourselves too far, we get too high, we abandon useful boundaries and norms as our cravings grow more desperate. The after-hours party is a liminal space between pleasure and danger, interesting and obnoxious, cool and cringe. We know this, but we yearn for the night out anyway. Because you never know what might happen. Because staying in is a concession to entropy and death. Because we’d all secretly rather be bad than boring.

Personally I Find It Rude to Be Boring is about cycles of pleasure-seeking. It’s about how we justify destructive behavior in search of ephemeral gratification. It’s about the solitude of pleasure—characters who can only look at themselves even as they are surrounded by friends. For me, it’s also about nostalgia. Current pleasure never feels as good as we remember past pleasure feeling. In a world still collectively processing the social damage done by a global pandemic, we ask: is it possible to feel as good as we remember feeling? And if we can, is it worth it?

Description of the project by the FCINY (The Finnish Cultural Institute in New York):

Limits to Growth is a nomadic exhibition and performance, moving through the NADA Miami site. Visitors at the fair may encounter a figure reading The Limits to Growth, the influential 1972 report by Donella H. Meadows and colleagues, which predicted the current clash between dreams of infinite economic growth and the Earth's finite resources. The project features a performative work by Nestori Syrjälä alongside new commissioned works by Jaakko Pallasvuo and Bogna Luiza Wisniewska. Curated by Elina Suoyrjö, Director of Programs at the FCINY, the performance is brought to life by artists Heather Lyon and Misael Soto.

Read more about it on the FCINY website.

Los Condenados (The Condemned), a horror movie from Puerto Rico released in 2012 and directed by Roberto Busó-García uses the typeface Mutilated for posters and packaging of physical media.

Synopsis from Letterboxd:

Determined to restore her dying father’s reputation, Ana travels to the remote town of Rosales. Decades ago, he settled there and opened his first free clinic for cancer research. He launched an illustrious medical career - and fell in love. Ana plans to celebrate her father’s scientific and humanitarian achievements by transforming the old family mansion into a world-class museum. She will preserve his legacy, and also breathe new life into the forgotten Rosales. But the townspeople-now destitute and helpless-do not greet her warmly. Neither does the house.

Mutilated used to be distributed by FontShop International. It now has been re-released with FamiraFonts in 2025, distributed by Type Network.

Credits at the bottom are set in squeezed Futura Condensed.

On this poster, the tagline “Some houses never forget” is added in Fry’s Baskerville, with credits in ITC Avant Garde Gothic.

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

Dimension 20: Fantasy High is the first season of the tabletop role-playing game show produced by and broadcast on Dropout TV. DM’d by Brennan Lee Mulligan, this season asks, “What if John Hughes ran a game of D&D?” In this coming of age story, six freshmen of the Aguefort Adventuring Academy try their best to get through high school, and encounter great dangers and mystery along the way. Fantasy High is the first multi-season long campaign produced by Dimension 20, dedicating one season to each year in high school.

Fantasy High uses the font Collegiate FLF for its title, and Proxima Nova for all other displays. This season uses Dungeons & Dragons fifth edition for its game system. It is also one of the very few seasons of Dimension 20 that is fully available to watch for free on YouTube.

After Fantasy High: Junior Year premiered with a new logo, new and current Fantasy High Season 1 related media was upgraded with the new logo. Two notable examples of this are the Fantasy High Webtoon Comic, and the Fantasy High Season 1 and Season 2 YouTube Uploads.

Fantasy High logo with an Owlbear peeking over the edge of the title

Banner for Dimension 20: Fantasy High featuring GM Brennan Lee Mulligan (top center), and art of player characters (from left to right, top to bottom) Kristen Applebees, Fabian Aramais Seacaster, Riz Gukgak, Gorgug Thistlespring, Adaine Abernant, and Figueroth “Fig” Faeth; played by Ally Beardsley, Lou Wilson, Brian Murphy, Zac Oyama, Siobhan Thompson, and Emily Axford respectively.

Screenshot of Episode 16, Prompocalypse. Pictured is Lou Wilson, Ally Beardsley, and Brian Murphy with their names and characters displayed below them in Proxima Nova.

YouTube thumbnail of the trailer for Dimension 20 Fantasy High season 1, featuring Brennan Lee Mulligan, and the Fantasy High logo without its usually seen glow effects

Thumbnail for the YouTube upload of Episode 1 of Fantasy High Season 1. Pictured is Brennan Lee Mulligan, with the text below reading “FRESHMAN YEAR” in Fairplex and “EPISODE 1” in Lev Serif

Promotional material for the Fantasy High Webtoon, featuring the Season 3 logo as well as characters (from left to right) Fabian Seacaster, Riz Gukgak, and Adaine Abernant

From Wikipedia:

Kevin Spencer is a Canadian adult animated comedy television series created by Greg Lawrence that aired on CTV and The Comedy Network from January 17, 1999 to November 4, 2005. It is based on the shorts of the same name that premiered on CTV in 1997–98. It also aired on Burly Bear Network and Spike TV in the United States. In April 2001, the original 1997–1998 shorts were remade and released on Mondo Media’s flash cartoon site in the United States.

The logo uses Ethan Paul Dunham’s unicase font Hot Coffee with condensed proportions.

The light novel series of The Apothecary Diaries uses Black Chancery for the covers of its English translation.

Black Chancery is a typeface from the 1990s who naive quirkiness seems to have given it enduring qualities. Here, it’s consistently used in white over the image, with a shadow blur effect the colour of which varies from cover to cover.

Netflix have also opted to use this timeless typeface for their title cards. Classic.
The y of “Apothecary” has a small inline highlight, which suggests a typeface modification; also copied by Netflix’s use.

Credits are added in Minion and Tangerine.

See all issues at J-Novel Club.

Detail from the Netflix page for The Apothecary Diaries