Ausgebrannt is a German thriller novel written by Andreas Eschbach. From the publisher, Bastei Lübbe (translated):

When the world’s largest oil field in Saudi Arabia runs dry, unrest breaks out across the globe. Is the end of our civilization truly upon us?
Only Markus Westermann believes in a miracle. He thinks he knows a way to find more oil. Lots of oil. But appearances can be deceiving.

Starting from the original CA No Dr Alarm font, the designer has added some very realistic drippings.

The Boston Book Festival rebrand in 2016 was designed by Elizabeth Carter at Corey McPherson Nash, using Mallory by Frere-Jones Type.

The annual festival is a day-long celebration of literature and arts centered in Copley Square, Boston. Founded in 2009, the festival features authors from around the world and has an approximate attendance of 30,000 each year.

From Elizabeth Carter’s portfolio website:

The festival rebranding included design concepts for a new identity with a flexible and adaptable logo. The visual approach to the logo took inspiration from the recognizable previous identity system, from book design, and from typography found in Boston. The full project included the design and production of promotional materials for the festival, responsive website, merchandise, venue signage and materials, a program guide and a promotional social media campaign.

Sebastian Vigueras. License: All Rights Reserved.

La Típica en la Vasconcelos, 5 October 2025

During 2025, the Orquesta Típica de la Ciudad de México (OTCM) offered a series of free concerts throughout the capital, for which these promotional poster was created.

The layout of the elements follows a vertical or radial hierarchy where photographs of musicians or instruments—such as the salterio or the marimba—act as indices of Mexico City’s sonic tradition. The use of illustrations or flat color shapes aims to modernize the Orchestra’s image, moving it away from a static perception and bringing it closer to a dynamic urban audience. Furthermore, the color palette likely aligns with the institutional identity of the Secretariat of Culture, applied with high contrasts to ensure legibility in public spaces. A system of visual weights was established where the OTCM name stands out above the time and location details, allowing for quick scanning. The typographic selection likely includes a seriffed, calligraphic typeface—Adobe Aldine—for headlines to evoke the history and elegance of an orchestra with over 140 years of heritage, complemented by sans-serif typefaces—Roboto and Cabin—for technical data to ensure clear readability at various distances. Finally, the management of leading and tracking is optimized to avoid dense typographic blocks, maintaining an “air” that allows the design to breathe.

Sebastian Vigueras. License: All Rights Reserved.

Ninfas y Nereidas, 12 October 2025

The poster for the Ninfas y Nereidas concert represents a transition towards a more layered and atmospheric visual language. The background is a rich, impressionistic tapestry of warm-toned flowers that anchors the composition, reflecting the floral tradition of the San Francisco Tlaltenco area.

The typographic system introduces Gabriola, whose fluid, stylistic alternates and elongated swashes mirror the “aquatic” and mythological theme of the Nereids. This expressive display face is used for the concert title, creating a sharp contrast with the structured, institutional presence of Adobe Aldine at the top. For the more complex information—such as the extensive repertoire list and venue details—Roboto and Cabin are again used to maintain high legibility against the textured background. The layout balances a large, centered photograph of the full orchestra with a clear, white footer for institutional logos, ensuring that the decorative elements do not compromise the informational clarity.

Sebastian Vigueras. License: All Rights Reserved.

Ritmos de Otoño, 19 October 2025

The poster for the Ritmos de Otoño (“Autumn Rhythms”) concert features a frame-within-a-frame composition that emphasizes the relationship between the venue and the season. The top of the layout is dominated by a lush, colorful floral arrangement that creates an organic border, contrasting with the bright blue sky.

The typographic hierarchy is centered and highly structured. The concert title is set in Adobe Aldine’s Display size, utilizing its graceful, flaring terminals to reflect the organic nature of the floral motifs. It is used for the “Orquesta Típica” name at the top, providing a stable, classical anchor for the design. A distinctive detail is the venue address, which is set in an arch following the architectural curve of the museum’s orange facade, effectively integrating the text with the photographic image of the building’s entrance.

Sebastian Vigueras. License: All Rights Reserved.

La muerte se quiere llevar a la Típica, 9 November 2025

This poster for the Día de Muertos special concert, titled La muerte se quiere llevar a la Típica, showcases a sophisticated integration of typography and architectural photography. The composition uses a diagonal perspective provided by the museum’s historic stone columns, creating a sense of depth that guides the eye toward the papel picado and the dark interior where the concert title is placed.

The typographic system relies on a high-contrast hierarchy to manage a large amount of information. The main header and the concert title are once more set in Adobe Aldine Display, whose classical serif structure is paired with a hand-drawn illustration of a skeleton, evoking the iconic style of José Guadalupe Posada. This choice reinforces the cultural heritage of the celebration. To balance the ornate title, venue details and technical data are organized using Roboto and Cabin, utilizing different weights and sizes to maintain clarity. A notable design choice is the placement of the location details on the stone pillar, treating the text as a physical part of the architecture. The color palette is somber yet accented by the vibrant colors of the traditional papel picado, ensuring the poster captures the festive yet solemn spirit of the season.

Creating with Paint, 1967, with illustrations by Peter Landa

Can you bear more Caruso Roxy? Here’s another Use of it – it’ll be the last one from my side for a while, promised.

It’s my personal favorite: a series of creative activity books, authored by Grace Mintonye and James E. Seidelman and published by Crowell-Collier Press in New York from 1967 on. The titles pair all-caps Roxy with lowercase Barclay, and are embedded in gorgeous, topical jacket designs. The interiors – not shown here – are beautifully designed, too. If you’re into crafts and/or this mid-century aesthetic, make sure to browse your thrift store for a copy.

Creating Mosaics, 1967 (second printing from 1969), with illustrations by Harriet Sherman

Creating with Paper, 1967, with illustrations by Marjorie Borgos Blumenkopf

Creating with Clay, 1967 (second printing from 1970), with illustrations by Robert William Hinds

Creating with Wood, 1969, with illustrations by Lynn Sweat

Creating with Papiermache, 1971, with illustrations by Christine Randall. This title uses the Light weight of Roxy.

Shopping Cart Art, 1970, with illustrations by Kaye Sherry. This one was handled differently, probably because of the longer title: caps from Roxy Light are paired with lowercase letters from Gonzales El Royal. The “Creating” part was dropped as well.

French CD single front cover

This single from Dimitri from Paris’ retro-inspired debut album Sacrebleu features two frilly fonts: Holiday – and specifically its Extra Flair style – (song title, speech bubbles) and Viola Flare (Dimitri credit, stereo indication). Non-frilly Helvetica Compressed is utilized for the back cover and spine.

The song’s accompanying animated music video, with a plot that’s a cross between Pepé Le Pew and To Catch a Thief, has a mademoiselle pursued by a stereotypical Frenchman during her Paris sightseeing. All the while, more examples of Holiday and Viola (with liberal use of alternate glyphs) are present in almost every scene.

Based on the glyph sets I have seen for Holiday, there are no diacritics provided in that typeface. So, the é and ç in the title are likely custom modifications. Note the discrepancy in the title’s diacritics on the single cover and throughout the music video.

Visual credits on the single are given as follows: “Cover art Genevieve Gauckler. Characters by Kuntzel + Deygas.” I take ‘characters’ to mean the cartoon characters and not typography, as the music video is listed among Kuntzel + Deygas’ music-related work on their website.

[More info on Discogs]

UK CD single front cover

French CD single back cover

Promotional artwork for a Record Store Day event at Skydiver, a record shop and bar in Collingwood, Melbourne, featuring DJ sets throughout the day. The typography utilizes all-caps Hobeaux for most text, with Basic TM for “Record Store Day” and Offset TM for the date.

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.

By Mikhail Lychkovskiy:

A couple of years ago, I accidentally came across the Oripeau project, which immediately and permanently sunk into my soul. They help designers and any kind of artists showcase their works for free in public spaces in Nantes (France) and Montréal (Canada) — to the delight of both of artists and visitors. Usually the works are exhibited within one week, and new submissions are reviewed in October and April — more info on oripeau.art

The poster “Oripeau, Oripeau, Oripeau” was designed out of love and in support of the project and put on display in Montréal at the end of November 2025. The shape was made of paper and scissors.

The font in use is FL Art Grotesk from Contemporary Type, designed by Alex Slobzheninov.

1983 album by Sly & Robbie and the Taxi Gang, released on their own Taxi Records.

The open letterforms casting a perspective shadow are from Alpha Sunrise, the dimensional style of Hiroshi Yamashita’s typeface family. “Taxi Gang” is in Letraset’s Revue. “Taxi Connection” appears to be Advertisers Gothic – also available from Letraset – with a custom C made from an O. The names of the Taxi Gang members on the side of the car are set in Franklin Gothic Extra Condensed.

In memory of Robbie (1953–2021) and Sly (1952–2026).

[More info on Discogs]

Pony Scouts is a series of ten books written by Catherine Hapka and illustrated by Anne Kennedy. It was published between 2009 and 2014 by HarperCollins in the Level 2 tier of the I Can Read! library.

Titles are set in Nick Shinn’s FF Fontesque Sans, with shadow effect, while the Pony Scouts logo uses Leticea Bumstead by Phoenix Woodrow. The “I Can Read!” series title is in Horley Old Style, integrated into a curved ribbon, with Gill Sans used for “reading with help”.

All-caps Windsor Elongated set on a semi-circle for Signet’s paperback edition of Ellison Wonderland from 1974. The title is integrated into the fantastic cover art by Bob Pepper, hovering as a sort of halo above the open head.

[More info on ISFDB]

Volume 6 is the fourteenth installment in the You Don’t Know Jack franchise, and the sixth general knowledge edition. Titled “The Lost Gold”, it is set in a strange dimension, with the goal to make enough money to free the pirate trapped inside. It was originally released on December 1st of 2003 and is hosted by Josh “Schmitty” Schmitsinstein.

While the YDKJ logo is once more in Franklin Gothic (see the dedicated post), the installment title on the eye patch uses Jack Lantern BB which had been released earlier that year. “Volume” is in Segoe or similar.

The game interface uses various weights and widths from Bureau Grot. This typeface family by David Berlow is based on predigital designs by Stephenson Blake, compare to Grotesque No. 8 and 7.

Series of posters for Hotline, a succession of three events organized by Arte Faact and Combo Bongos at a local club in Nantes called Macadam. The identity had to be inspired by the retro flyers of sex chat line advertising, using a real phone number to give the practical informations for the event.

I used a mix of script fonts from different eras, as it was a good way to tell the story of a phone number quickly written on the napkin of a bar or a restaurant. The generously curved lines of West Cooper Nouveau Swash also provide a feeling of seduction and give coherence to the identity.

Risograph printed at Collectif Bonus.

This is a flyer promoting performance dates in Tokyo, made specifically for Instagram. It is a found image that has been edited, and includes original and added text. The original print was produced in Portugal in 1999, by a 24-pin dot-matrix printer, which was widely used for medical and administrative documents at the time.

The additional text I added, I searched for similar fonts and landed on Dotrice Condensed (skewed) and EPSON MX-80 T (skewed). Both fonts I blurred slightly, lowered the opacity slightly, and layered over with another copy to replicate the photo quality of the original image.

The flyer is a continuation of my wider creative practice in music and design that explores dream-like abstraction.

Routine is a survival horror game developed by Lunar Software and published by Raw Fury. After a protracted development cycle – starting in 2012, lasting 13 years, and achieving a near mythical status within the gaming community – the game was finally released on December 4th, 2025.

Set in 1999. you play as a “Software Engineer” aboard Union Plaza—a resort on the moon, initially tasked with resetting its security system. However, after waking up from a brief isolation period, the resort is now empty and in a state of utter disarray. In search of an answer, you'll only find more questions.

Routine, which is now officially my pick for horror game of the year, has a slightly unusual roster of typefaces that works surprisingly well. Open Sans is the primary typeface used for Routine's logo since at least 2017, in its branding and for the in-game subtitles. Arial, while not used much in the UI, is seen a lot throughout Union Plaza from way-finding signs to decals, documents and more.

Pocket, a bitmap typeface designed by Aaron D. Chand (memesbruh03) is used in the game’s menu, and especially in all of the displays you interact with such as your personal C.A.T and the many computers. Dubiel, a tall serif typeface, is used in parts of the station and for the chapter title card, paired with Arial Italic.

Routine logo

Main menu. While not shown here, the background is grainy footage of the moon being scanned.

The start of chapter 01, “Birth”, using Dubiel

A view outside Union Plaza. The tutorial prompt is the only other HUD element in Routine.

Reading a note

The same note but now directly from the paper itself. Arial and Dubiel are used here.

This lovely terminal uses a good deal of Arial

This lovely mix of Arial Regular and Arial Black on a mechanical door

Interacting with the Cosmonaut Assistance Tool (C.A.T) where current tasks and previous media collected are stored. Pocket is used plentifully here.

Interacting with the tram’s computer

Slow & Low is Chicago’s largest lowrider festival. This curated community-cultural public sphere exhibition explores and presents Lowrider culture as an original form of American folk and contemporary art. The customized car becomes a way of expressing beauty and self-expression by owners, master craftspeople, and innovative mechanics, through modifications including wire wheel rims with whitewall tires, custom pinstriping and upholstery, airbrush muralism, and other contributing visual aesthetics and material objects.

Lowriding began in the 1940s when Mexican American veterans in southern California used their World War II mechanical training to modify cars, especially Chevys, so they rode “low and slow” rather than “hot and fast.” During the Chicano Movement of the 1970s, lowriders took on political roles through car clubs that offered community services and embraced pro-pueblo imagery like flowers, warriors, and geometric designs drawn from Indigenous Mexican stories. These “mobile canvases” used style as resistance, echoed in the Pachuca/o fashion that emerged as a symbol of rebellion.

That same spirit of crafted expression extends into the Slow and Low festival’s visual identity.

Respira made such an impact on past Slow & Low projects that it became part of the visual language people now associate with the festival. For the 2025 edition, the design team pushed the system forward and leaned even more into Sharp Type, customizing Respira to bring in a warmer, marker-drawn feel for the headlines.

It was paired with Cordier Script and Rosalie to amplify the hand-lettered, lowrider-forward voice the curators were aiming for. Together, the combination honored Chicano typographic lineage without imitating it, giving the full civic-scale identity a grounded, expressive backbone.

Design direction and design by Nick Adam at Span, with design and animation by Kevin Moreland and illustration by Alec Hudson. Curatorial work by Lauren M. Pacheco, Peter Kepha, and Edward Magico Calderon. 2025 Day of Photographers: Ferny Ruiz, Alfonso Monroy, Carmen Ordoñez, and Melissa Reyes. Design media photography by Edward Magico Calderon, Max Herman, Nick Lipton, Katrina Nelken, and Mike Pocious

Unboxing Bauhaus is a multi-site exhibition by students of Fine Arts and Visual Communication at Bauhaus Universität Weimar, presented in KunstHaus Potsdam and Kunstraum Potsdam from 27 July to 24 August 2025. The project brings together painting, drawing, sculpture, photography and performance, developed both in advance and during a ten-day residency in the city.

The visual identity, designed by Ossian Osborne, Lilli Sörries and Annemarie Grund, makes extensive use of G2 Airdancer by Gruppo Due. Multiple cuts of the typeface are used and switched mid-word, creating a lively and highly dynamic typographic system. This shifting rhythm mirrors the exhibition’s premise of reframing perspectives and opening artistic processes to public view.

The designers expanded the exhibition’s central motif, the moving box, into a set of playful and oversized visual scenes. Boxes on trucks and billboards suggest the idea of the Bauhaus leaving its familiar bubble and entering new contexts, echoing the title Unboxing Bauhaus.

Cover art of the Mono Mind album Mind Control

Mono Mind – yet another side project of Per Gessle – have released one album and seven singles. They all feature designs that follow almost a cookie-cutter template, with coarsely halftoned images of the band characters on random backgrounds in bright colours. The band's name has always been set in David Kerkhoff’s Dirrrty, with the release title in Bureau Grot Medium Compressed. The sole exception to this is the album which has its title set in Akzidenz-Grotesk Extended. From the third single onwards, the single titles have been mechanically skewed 15° to create a faux italic.

[More info on Discogs]

Cover art of the first Mono Mind single “Sugar Rush”, featuring a different design to all the singles that followed

Cover art of all the versions of the Mono Mind single “Save Me a Place”, featuring a slightly evolved design from the first single

Cover art of both versions of the Mono Mind single “I Found My Soul at Marvingate”, featuring a design template that would be followed by all their subsequent single releases

Cover art of all versions of the Mono Mind single “LaLaLove”

Cover art of the Mono Mind singles “Down by the Riverside”, “Fighting for the Future”, and “All Over Your Body”

For its recent cover featuring Grammy Award–winning artist Doechii, Cosmopolitan uses lettering based on Brush Script, originally designed by Robert E. Smith in 1942 for American Type Founders. Rather than leaning on retro nostalgia, the choice feels grounded in urban lettering seen in the wild – familiar forms reimagined as something sharp and current. Paired with Rund Display from Letters from Sweden, the design achieves a striking balance of movement and modernity. Under Editor-in-Chief Willa Bennett and Creative Director Samantha Adler, Cosmopolitan’s visual direction continues to evolve with confidence and cultural edge.

Photography: Eric Johnson

Visual identity including flyers, posters and digital images for From Here To There, a series of events at VROOM in Brussels. The drawings and design were created by Maya Strobbe.