Palestine Wail is a collection of poems by Yahia Lababidi, published by Daraja Press. The cover illustration, chosen by Lababidi, is Symbol of Hope by Sliman Mansour.

From Steam:

Cyberpunk 2077 is an open-world, action-adventure RPG set in the dark future of Night City — a dangerous megalopolis obsessed with power, glamor, and ceaseless body modification.

Cyberpunk 2077’s branding perfectly encapsulates its own universe. A rapidly deteriorating, dangerous future only masked by its hypnotically bright neon lights. This is expressed through heavy usage of glitch effects, neon colors and a healthy dose of squared sans-serifs.

Most the entire in-game user interface is set in Rajdhani using the Regular, Medium, Semi-Bold and Bold weight. Fittingly, Indian Type Foundry described the typeface as having an appearance that is "technical or even futuristic." Orbitron is used as a secondary typeface on non-important text.

The game websites are set using Refinery and Blender. The former is used for headlines while the latter is used for both headlines and long text. Blender, Rajdhani and Orbitron are also used diegetically in the game's world, reserved for physical digital screens and holograms. Either Night City's designers are obsessed with these typefaces or its the standard in 2077.

The in-game HUD displaying ammo, health and mission objectives.

Quest log

Stats screen

Pause menu

Orbitron used on small, decorative text

Main website page. Refinery is displayed in its full glory here.

Patch notes for the game’s most recent update, set in Blender

A wild Rajdhani and Blender rears its head on the traffic signs.

Longman’s is a high-quality, easy-drinking, “everyday” gin that stands the test of time, while also celebrating the industrious spirit of Oakland. The client’s brand description: I want it to feel like it’s the kind of gin that’s been around forever, and will be around forever.

The brand's color palette is derived from the deep oceanic hues surrounding the Bay Area. A custom chiseled wordmark and the supporting typefaces are inspired by vintage lettering used across local defunct factories and industrial buildings of a bygone area. The main typefaces are Trio Grotesk Regular and the Line style of Bourton, both used in all caps. The monospaced used for info on the bottle is ABC Whyte Mono. Hand-crafted marks and icons work across the brand to evoke a sense of approachability and nostalgic Americana, and harken to the fine craft of gin distilling.

Specialty print processes and materials provide a superior tactile experience and hint at the quality of the contents inside, reinforcing the product's small-batch and hand-crafted production process.

The “Taste What’s Missing” tagline is based on Aperçu.

Pottsville, PA, March 20, 2018 – D.G. Yuengling & Son, Inc., America’s Oldest Brewery®, is adding a new beer to its iconic core product portfolio, Yuengling Golden Pilsner, a modern pilsner crafted with the perfect balance of hop and malt character for crisp, smooth refreshment. Born from six generations of brewing expertise, Golden Pilsner is Yuengling’s first year-round beer to debut in 17 years.

We also love the design of the Yuengling Golden Pilsner packaging because it complements the design of our core brands’ packaging. The bright yellow gold and white colors reflects the color of Yuengling Golden Pilsner beer.

The design uses three fonts from the Burford typeface family; Burford Inline, Burford Drop line and Burford Base. The Burford family is a layering typeface with small wedge serifs.

Branded tap with stacked caps from Burford Inline

From the Yeungling brewery website:

D.G. Yuengling & Son, Inc., America’s Oldest Brewery®, is celebrating 190 years and six generations of family brewing. In 2019, Yuengling will commemorate its 190th anniversary by offering fans exciting packaging, promotions, special beers, and celebratory events throughout the year.

In celebration of its 190th anniversary, Yuengling will release a series of five limited-edition, collectible Yuengling® Traditional Lager beer cans. Between January and May, a new 12-ounce can design will hit stores each month and showcase the evolution of Yuengling’s iconic eagle imagery that has graced labels since 1829, when the brewery was originally called the “Eagle Brewery.

The collectible can series was illustrated by Steven Noble. The graphic designer is unknown. The celebration lettering is set in Burford, and the text on the lager can is set in Cheltenham and some form of Clarendon.

LunchBox is used on all Alpro packaging and web design. From design studio Elmwood, via Packaging of the World:

Inspired by our plant-based product truth and the visual opportunity for authenticity, our design heroes nature, by celebrating the natural world and all its ‘perfect imperfections’. This concept is brought to life across all design elements; with an emphasis on white to denote naturalness and stand out, photography that heroes the real ingredients and a hand-crafted illustration style.

On the various language versions of Alpro’s website, LunchBox is used for headlines, paired with Geomanist for text.

English-language website

German-language website

Dutch-language website

Spanish-language website

French-language website

Avaline Script is used for the main logo on the packaging for Campbell's Well Yes! soup. It’s combined with Brandon Grotesque.

From Bulldog Drummond’s website:

Well Yes! soups officially hit stores in late 2016 to rave reviews from both retailers and consumers, and based on the huge commercial success of the brand, we have been building extensions ever since. Look for these amazing new soups in a market near you.

Food photography by Jorgensen Photography.

The title is set in Sveva Light by Andreas Seidel (Astype), making use of its alternate characters for variation and some ornamentation. All other texts are set in LunchBox Regular by Kimmy Kirkwood (Kimmy Design).

The Riddle of the Sea by Jonne Kramer was published by Piccadilly Press in 2022.

A wonderful story of friendship and overcoming fears, translated from Dutch by Laura Watkinson—Carnegie-Medal 2020 short-listed translator of Lampje by Annet Schaap. Featuring stunning illustrations by acclaimed illustrator Karl James Mountford.

The artwork was done in 2019, for the original Dutch version, Het Raadsel van de Zee, published by Billy Bones.

The cover of the original Dutch version, Het Raadsel van de Zee, shown here for reference. Unlike the English version, the title is hand-lettered, while the author’s name seems to be set in Heller by Angin Studio.

The pages of the book are set in Schneidler in roman (1936) and italic (1956) by F.H. Ernst Schneidler, supported by Sveva for chapter titles.

The back cover features Sveva Light for the phrase “The sea knows more than you think...”, while the book description is again set in LunchBox Regular.

From Wikipedia:

Fantastic Beasts is a film series directed by David Yates, based on the eponymous book by J. K. Rowling and a spin-off prequel to the Harry Potter novel and film series. The series is distributed by Warner Bros. and consists of three fantasy films as of 2022, beginning with Fantastic Beasts and Where to Find Them (2016) and culminating with Fantastic Beasts: The Secrets of Dumbledore (2022). Following the 2001–11 Harry Potter film series, Fantastic Beasts marks the second film series in the Wizarding World shared universe media franchise.

Kowalski Quality Baked Goods is the bakery of Jacob Kowalski (played by Dan Fogler), located at 443 Rivington Street in New York. The logo of this fictional company uses the Burford typeface, on the shop signs, the delivery car, and other items.

A flyer for the fictional bakery (with a chocolate frog), advertising the 2022 sequel Fantastic Beasts: The Secrets of Dumbledore. The flare serif used for “Quality Baked Goods” is unidentified. The hashtag and handle appear to be set in Optima.

Film props as seen in an exhibit at Warner Bros Studio. Burford is here used with a white shadow to the bottom left. “Quality Baked Goods” appears to be lettering.

From The Dieline:

Bumble Bee Seafoods has been around since 1899, and over its lifespan, has made a few minor changes along the way. (...) In an effort to appeal to consumers who are interested in sustainable seafoods with more adventurous flavors in convenient formats, they've upgraded their packaging.

(...) The design firm BexBrands was tasked with giving this iconic brand a facelift. (...)The bold type and strong colors help support this messaging. BexBrands kept the typography and colors bold and similar to the past iterations, but they’ve been slightly adjusted to a communicate a more modern and approachable attitude.

Bourton Base and BeachBar are the main typefaces for packaging, paired with a few more fonts.

The art for this book cover was generated using the Midjourney Ai image web app. Published by Éditions Science et Bien Commun (ESBC). The topic is difficult to pin down – it’s a collection of sociological essays about working women with disabilities.

Beastars is a Japanese manga series written and illustrated by mangaka Paru Itagaki, which ran from 2016 to 2020, and received a three-season anime adaptation by animation studio Orange in 2019, licensed by Netflix.

The anime adaptation of Beastars has its own logo and branding separate from the manga; the logo uses a modified version of Burford Rustic Book Black, specifically using the font's alternate glyph set.

Burford Rustic is a vintage-styled decorative typeface designed by Kimmy Kirkwood of Kimmy Design in 2015. It is a rougher and more textured version of Burford by the same designer.

Burford Rustic is also used for various Beastars merchandise, like the Beastars Original Sound Tracks album cover and its track listing’s numerals, and the covers of the Japanese Blu-ray Disc releases.

New logo for the third and final season of the anime.

Cover art of the Beastars Original Sound Tracks album

Back cover of the soundtrack album with the track listing. Titles are set in Avenir.

Cover of the Beastars Vol. 1 Limited Edition Blu-ray.

Sample from the Beastars soundtrack vinyl’s art book. Burford Rustic is paired with Albertus.

From the Comic Book Legal Defense Fund (CBLDF):

The CBLDF Banned Books Week Handbook is a free resource that gives you the scoop about what comics are banned, how to report and fight censorship, and how to make a celebration of Banned Books Week in your community! CBLDF’s Banned Books Week Handbook is an essential tool to assist librarians, educators, and retailers in planning their Banned Books Week celebrations, while also being a vital reference to help readers everywhere fight censorship.

The 2015 edition was edited and designed by Betsy Gomez, with cover art by Raina Telgemeier. The front cover uses You Blockhead for “Censorship!”, shown here in all caps, the name of the publication is shown in an outlined Burford, which had been released a few months before the launch date of the handbook, and “Fight for the Freedom to Read!” is in an also outlined Marujo.

A local café and patisserie, Konditorei Herrdegen, had run out of their initial batch of certificates of origin, which they put in the boxes of one of their most prized pastries. They asked me to have more printed, but I took the opportunity to freshen up and straight up fix some of the previous design.

My goal was to have the new certificates instantly recognizable for existing customers, so I reused some of the most prominent decorative elements, while I tried to improve the frankly messed up typography. Admittedly, the result is not outstanding work at all; time and budget constraints, you know the drill. But I did get the chance to apply one of the Font of the Month Club fonts. I was in doubt, so I used Roslindale!

Maybe in the future the design can be refined a lot more, but I'm only starting to make sense of the design debt I inherited here. For now, this will do.

Print run of 10k, 80g white paper (recycling). Roslindale is used in Display and Deck sizes. The headline and logo are unchanged and use Burford, in its Extrude C and Base styles, respectively.

Es Pop in Madrid describes itself as ‘an independent publisher specializing in topics related to popular culture.’ Among many topics, they published a pile of fine books on music stars, from Johnny Cash to Curtis Mayfield and from Lemmy to Kiss’s Paul Stanley. The covers, mostly designed by the in-house studio El Pulpo Design, radiate pure pleasure in translating a book’s content into a striking combination of typography, stylized images, and color.

Cowboy Song by Graeme Thomson is the 2016 biography of Thin Lizzy’s Phil Lynott. Es Pop Ediciones produced the Spanish translation the next year.

Lynott’s portrait was created by illustrator César Sebastián. The combination of typefaces is both loud and subtle. The title is set in Berlin Sans by David Berlow and Matthew Butterick, simultaneously published by FontFont and Font Bureau in 1992. The family was based on an extra-bold bold metal display font designed in Berlin, named with the Spanish word for ‘Black’ — Negro (1930). No racist meaning at the time.

The expressive headline font was combined with two versions of a contemporary typeface by Kimmy Kirkwood: Bourton Base and Burton Marquee.

Poster for Dürrenmatt’s Het Bezoek (Der Besuch der alten Dame; Engl.: The Visit), a production by De Roovers & Muziektheater Transparant, Antwerp-Borgerhout, 2018. The poster was designed by Tom Hautekiet.

On 29 April 2020, the Flemish graphic designer, illustrator and musician died unexpectedly at his family home. Hautekiet, better known as Kiet, was only 50. On the website of his alma mater, Sint Lucas Antwerpen, he’s honored as “one of the most important standard bearers of contemporary graphic design in Belgium and far beyond”. In an obituary for the Eye blog, Jan Middendorp comments: “For many years he designed the ever-changing communication of experimental theatre company De Roovers. […] Hautekiet became internationally known as the designer of Belgium’s largest music festival Rock Werchter”. See more of Kiet’s work on his studio website as well as on typo/graphic posters.

The inscriptional capitals are from Aichel, František Štorm’s typographic interpretation of the Baroque Gothic architectural style, originally designed for a UNESCO memorial plaque for a church built by Jan Santini-Aichel on Zelená Hora, Czech Republic. Used without the lowercase letters, which “behave like immature counterparts of the upper-case” (Storm), Aichel has similar monumental-yet-animate qualities as Albertus, another typeface that evolved from bronze plaque lettering.

This image celebrates the unusual and iconic architecture of the Denver Art Museum.

These icons are part of a broader series representing various cultural institutions in Denver, Colorado. Evanston Alehouse was selected to evoke a sense of adventure and exploration. The two weights used are 1858 Black and 1858 Medium, with some texture and smoothing added to the letterforms.

The icon for the Denver Botanic Gardens celebrates the corpse flower that the museum is known for.

The icon for the Children’s Museum of Denver draws inspiration from the newest installation — a humongous exploration structure called the Adventure Forest. The central feather is the actual logo for the Adventure Forest, and the accompanying symbols are found throughout the structure.

This icon features a ceramic pitcher created by a Pueblan craftsperson living at Mesa Verde circa 900–1150 AD. The triangle and dot motifs are other elements common in hand made items from this location and time period. My reference for this artwork was an actual display at the History Colorado Center in Denver.

Melbourne is probably best recognized as Musketeer, designed in London in 1968 by Tony Geddes and also offered as Milton by the French-owned Mecanorma. Meanwhile, it’s the German-owned Softmaker that offers Melbourne Serial – which is the version used here – also available as TS Melbourne via the TypeShop Collection, aka the former Brendel Type Studio, all somehow related under the auspices of Walter Florenz Brendel, an enterprising (and notably entrepreneurial) fellow type designer.

It's often considered to be derived from the Design Series offered by Barnhart Brothers & Spindler around the turn of the century, but there are considerable differences and it certainly isn't a revival. Moreover, the Anchor Series by the same publisher seems to be an even earlier predecessor.

Melbourne / Musketeer / Milton also exhibits considerable influence from other typefaces like Windsor (1905) and Antigua Progreso (1923). Regardless, it’s a lovely, idiosyncratic and rarely utilized typeface.

Detail

Birra Stout is one of the many typefaces used for the typographic illustrations that accompany Amanda Kae Fronk’s article about linguist Mark E. Davies in an issue of BYU Magazine, a quarterly published by Brigham Young University. The whimsical display typeface by Darden Studio was chosen for the words “famous” and “crisis” in the large opening spread. Birra also appears in another graphic with “words about women”. Here it’s used to render the terms “pregnant” and “adult”.

What could you do with a few hundred billion words? A BYU professor is transforming linguistics research, language learning, legal studies, and other fields all over the world.

Among the other repeatedly or prominently used fonts in this smorgasbord are Klavika/Klavika Display (“Big Lang BYU”, “inalienable”, “huge”), Bourton Hand Script (“Flow”, “friendly”), Facebuster (“obesity”), Tungsten (“recession”), Quitador (“Ideal”), Burford Dots (“refugee”), Estilo Script (“creative”), and Archer (“civility”). See the typeface credits for more identified fonts in use.

Full spread

“Using Davies’s Corpus of Historical American English to compare some of the most common adjectives that appear near the word women in two different time periods – 1810–99 and 1970–2009 – reveals major shifts in attitudes about women and their role in society.” Klavika and Bourton Hand Script are used for the title, Pompadour Numerals, Cooper Black, and an unidentified grotesque for the years [edit: Champion Gothic, see comments].

Ribite is a hamburger restaurant in Monterrey, Mexico, established more than seven years ago. They came to us in search of a brand change, including their logo and a design system that managed to convey their personality

The essence of Ribite since its inception has been geared between art and gastronomy. In collaboration with Tania Delgado, Mexican artist, we worked on this design thinking about the meaning of these two words. — “It's a culinary and artistic experience”.

The old logo used Snell Roundhand set reversed in a black hexagon. The new wordmark is custom drawn by Tania Delgado. The smaller lines are in Bourton.