The Gathering is the eighth studio album by thrash metal band Testament, released on June 8, 1999. The cover artwork was done by English artist Dave McKean who also did the cover art for the two prior Testament studio albums Demonic and Low. The fonts in use are Margo Chase’s Portcullis and Jonathan Barnbrook’s Patriot Heavy, both released in 1997.

[More info on Discogs]

École Nationale d’Ingénieurs de Metz (ENI Metz, or ENIM) is a French engineering school established in 1960.

In September 2025, the school announced a rebranding designed by Metz-based studio steez.

The new wordmark is set in Scope, with slight modifications to the letters i and M. The tagline uses Sora. Additional typefaces use in the identity include Cal Sans, Plus Jakarta Sans, and Roboto Mono.

Front cover

Blackheart Revolution is the third studio album by American industrial rock band Genitorturers, released in 2009.

The band name and album title use a mixture of Mason Serif and Morpheus, a free font which appears to have been inspired by Mason Serif. The track listing on the back cover is set entirely in all-caps Morpheus.

[More info on Discogs]

Close-up

Back cover (Brazilian/Argentine release)

Nightmare on Main Street: Angels, Sadomasochism, and the Culture of Gothic is a book by Mark Edmundson, published in 1997 by Harvard University Press. From the blurb:

Nightmare on Main Street depicts a culture suffused with the Gothic, not just in novels and films but even in the nonfictive realms of politics and academic theories, TV news and talk shows, various therapies, and discourses on AIDS and the environment. Gothic’s first wave, in the 1790s, reflected the truly terrifying events unfolding in revolutionary France. What, Edmundson asks, does the ascendancy of the Gothic in the 1990s tell us about our own day?

The author’s name and main title use Mason Serif. The subtitle uses Bodega Serif.

The title page uses Mason Serif, too, together with Fournier for the small text.

Logo

Ross’s Game Dungeon is a retro computer game review series created by Ross Scott, which has been published on YouTube since 2013.

The Game Dungeon logo uses a pixelated version of Exocet, probably best known for its use in the 1997 game Diablo. The same font, without pixelation, is also used for the “awards” section of each episode.

The title of the game featured in each episode, as well as the end credits, are in Devin Cook’s Commodore 64, an adaptation of the bitmap font used by the Commodore 64 computer. Other interpretations of the original Commodore 64 font exist, but Cook’s is identifiable by its inauthentic colon.

Title of the featured game

Awards

Credits

Build & Destroy. Lost Session Part 1 is a hip-hop mixtape CD created by Royce Da 5′9″. Distributed and published by Trouble Records, it was released in July 29, 2003

The album art combines two grunged typewriter fonts: while the title on the front cover uses Vintage Typewriter One, the one seen on the CD label and the back cover is 1942 Report.

The artist's logo stylized as “R5'9" ROYCE” is based on Mason Serif. Additional edits are made to “ROYCE” such as the R, Y and E.

The back cover additionally uses Eurostile for the credits.

[More info on Discogs]

From Wikipedia:

Ultimate Book of Spells is a 2001–02 German children's animated television series produced by BKN International. It ran for 26 episodes.

In the UK, the series was shown on CBBC. The VHS were released by Universal Studios.

“The Ultimate Book of Spells”, “Three is a Charm”, “Solo Sorceress” and the episode titles are set in MVB Hotsy Totsy Semibold. “Volume 1” and “Are you ready for UBOS?” are set in Mason Serif Alternate, and “(Ultimate Book of Spells)” in the Regular style. “As seen on CBBC” and the episode synopses are set in Gill Sans.

The DVD covers (not shown) of the are identical to the VHS version.

Hosted at Somerset House in London, co-curated by Iain Forsyth & Jane Pollard and Claire Catterall, The Horror Show! was a journey to the underbelly of Britain’s cultural psyche. The exhibition presented an alternative perspective on the last five decades of modern British history in three acts – Monster, Ghost and Witch. Recast as a story of cultural shapeshifting, each section interpreted a specific era through the lens of a classic horror archetype with thematically linked contemporaneous, new works and a survey of the counter-culture of the time. We were tasked with designing all 2-D aspects of the show. The graphics inside the exhibition, the marketing, publicity and the catalogue. Each one needed to fit seamlessly with the other and explain the complexity of the exhibition in a sympathetic form.

To accompany the exhibition, The Horror Show! catalogue is constructed with a unique, irregular concertina fold. When closed, this features a “Frankenstein’s monster” face, grotesquely confronting the viewer. Whilst once open and fully extended, it is revealed that the face is made up of photographs of artworks and cultural figures from in the show. This collaged cut-up is a metaphor for British society, consisting of the mainstream and counter-culture, the two constantly pressing and grinding against each other. The back of the catalogue features the main collage used in the publicity for the show, with the addition of a very important key, so that you understand who everybody is in the image.

Once you have opened the catalogue, you are confronted with three sections which, as in the show, are designed completely differently from each other with contrasting typography and paper stocks for each. The Introduction section is dark black and takes its styling from the combined spaces in the show. Monster puts on the stinking clothes of Punk DIY. Ghost is grey and washed out, never fully materialising on the page. Witch is bold, proud, modern and old – daring you to disagree.

The catalogue design needed to refer to the decades in the exhibition – the 70s, 80s, 90s and onwards but also be something very contemporary. This meant a selection of fonts which referred to the era of the ‘feeling’ of each section but were used in a contemporary way. They are thrown up against each other in ugly juxtapositions, symbolising how counter-culture needs to push into the mainstream to change us all and move creativity and society forward. The layouts also referred to this historical context. The Monster section is based on the 70s and 80s and is an updated version of the DIY punk fanzine. Ghost is ethereal, with typography almost not there. Witch is bold, alchemic, and strongly gothic but looks towards the future as much as the past.

The title on the spine brings together Ouroboros, Infidel, Trickster, Nylon & Draylon, Bastard, Virus VujaDe, Terminal Grotesque, Tourette Extreme, and Bradley DJR (for the exclamation mark). The O’s are custom drawn pictograms.

Back cover: “A twisted tale of modern Britain” combines Ouroboros, Serpiente Display, Trickster, and Nylon & Draylon.

Text inside the mouth is set in Combat. The fonts used for the “MONSTER” letters include Ouroboros, Bastard, Trickster, Fleshy Font, and Newspeak

Spread with text set in T1 Korium and Combat. “Freak Scene” combines Gandur Alte with Trickster. Year dates are from Zloy.

The “Ghost” letters are taken from Lapicide and Marian Black. The italic for the text on the ear is from Faust.

More Marian Black and Lapicide, with Melancholia Italic used for captions

Captions feature Faust Italic, upright Melancholia, numerals from Gosna, and Tourette Normal.

The text on the left half of the eye is set in Ni Resolution Blackletter. The “WITCH” letters are from Infidel, Nylon & Draylon, Ni Resolution Blackletter, Virus VujaDe, and Prototype.

Titles feature overlapping letters from Ni Resolution Blackletter and Nylon & Draylon. The byline is in Terminal Grotesque, the text in Larish Alte.

More text in Larish Alte, with initials and page numbers from Ni Resolution Blackletter

Mifood Miraisin is a restaurant situated in Geneva, Switzerland. It also acts as a wine cellar, and a grocery store. You can go there to taste dishes, buy wine or local products. Nuances Extended is used as the brand typeface, and paired with Metropolis and Raleway. For social media, another sans serif is used which is yet to be identified [edit: it’s Sora, see comments.]

This bumper for TBS Superstation’s “Halloween Super Scare-A-Thon” aired in October 1997. The title card typography brings together the Heavy weight of Jonathan Barnbrook’s Exocet (1991) and Desdemona.

Anıl Aykan and Sara Ozvaldic at Barnbrook provided the design for this “fascinating, clear, and detailed historical analysis of the eclectic and beautiful visual and material culture of paganism.” They used Kaftan Serif (with condensed proportions) for the title, paired on the cover with Albertus Nova for the subtitle and Apoc (with alternates) for the author’s name. The interior features a range of additional typefaces, see the image captions.

The book was published by Thames & Hudson in 2023. From the description:

Focusing on a curated selection of pagan art and artifacts, this book explains the iconography and mystic power of pagan ritual objects from around the world. Ethan Doyle White identifies three critical elements of paganism from classical antiquity to today: polytheism, affiliation with nature, and witchcraft and divination. Fundamental symbols are identified and examined closely, and central myths and allegories are clarified to provide new insights into the philosophies and beliefs of pagans.

Pagans begins with an introduction that clarifies what we mean by “pagan.” It traces the pre-Christian origins of paganism, the development of the different aspects of pagan belief over centuries, and how materials from the pre-Christian religions of Europe, North Africa, and West Asia are built into the practices of today’s Pagans.

The book is organized into three broad sections—“Ancient Ways,” “Ritual,” and “Community”—each containing three themed chapters.For each chapter, illustrated text is interspersed with double-page presentations of the key figures, stories, and iconography relevant to each theme. Readers will not only come to understand the many symbols that define pagan religions and practices but will also discover the beliefsand philosophies of pagans from around the world, from polytheism to pantheism and from magic and ritual to ideas about the afterlife.

Another typeface used in this book (but not shown in the included images) is Gill Facia.

Title page with frontispiece

Albertus Nova is used with initials from Black Mamba for the section titles.

Chapter openings use all-caps Kaftan Serif with Black Mamba initials for the title, all-caps Albertus Nova and Apoc for text, and Gill Sans Light for the rotated credit lines.

Body copy and marginalia are set in SangBleu Kingdom, with Apoc Italic for captions. The drop-cap E is from Infidel, which “is based on letters from the Lindisfarne Gospels and other similar manuscripts and bibles from the middle ages.” [Barnbrook]

“Decoding” features Albertus Nova with its alternate uncial-like E.

The chapter title for “Ritual” uses Serpiente Display.

From Wikipedia:

Diablo II is an action role-playing hack-and-slash video game developed by Blizzard North and published by Blizzard Entertainment in 2000 for Microsoft Windows, Classic Mac OS, and OS X. The game, with its dark fantasy and horror themes, was conceptualized and designed by David Brevik and Erich Schaefer, who, with Max Schaefer, acted as project leads on the game. The producers were Matthew Householder and Bill Roper.

Inscriptions that are short and large in size typically utilize Exocet Heavy. The logo looks like it could have been designed based on another typeface by Jonathan Barnbrook, Mason Serif Bold, with elongated serifs.

Asfen in use for the logo and number of AFT's visual identity.

The company is a unique metal manufactures and develops components almost from the beginning. With their unique technology, which is practically a complex metal injection molding process - they have a prominent role in this industry.

Sora and Aelyn use for the header and body copy text.

Some time after the introduction of (at least part of) this new visual identity, it was disposed of as the company merged with ARC Group Worldwide as announced some years before.

Dogma is a 1999 fantasy comedy film, directed by Kevin Smith, and starring Ben Affleck and Matt Damon.

From Wikipedia:

The story revolves around two fallen angels who plan to employ an alleged loophole in Catholic dogma to return to Heaven after being cast out by God, but as existence is founded on the principle that God is infallible, their success would prove God wrong, thus undoing all creation. The last scion and two prophets are sent by the seraph Metatron to stop them.

The film's irreverent treatment of Catholicism and the Catholic Church triggered considerable controversy, even before its opening. The Catholic League denounced it as blasphemy. Organized protests delayed its release in many countries and led to at least two death threats against Smith. Despite this, Dogma was well received by critics, and grossed $44 million against its $10 million budget, becoming the highest-grossing film in the View Askewniverse series to date.

The film poster features a logo set in Exocet (likely the Light weight). The designer appears to have removed the serif that appears over the top of the M and has also straightened the serifs of the A – the original A has angled serifs.

The taglines at top and bottom, as well as the cast names, are set in Flange. Additional credits feature Univers Ultra Condensed and the URL is in Futura.

Einhänder logo (fanmade recreation)

From Wikipedia:

Einhänder is a scrolling shooter developed by Square for the PlayStation console. It was released in Japan on November 20, 1997 and in North America on May 5, 1998. It was also re-released for the Japanese PlayStation Network on June 25, 2008. The name Einhänder is German and denotes a type of sword that is wielded with one hand, here used to refer to the single manipulator arm possessed by the player’s spacecraft.

The most unique feature that separate this game from the others is this game is 2.5D Scrolling Shooter. Meaning, although this game looks 3D due to using 3D Polygons instead Sprites, the movement and gameplay still using 2D mechanics.

The logo uses Exocet Heavy with added weight, vertically stretched letterforms, an enlarged and lowered initial E, and a modified Ä with flat serifs and round dots. The font used for the Japanese name (アインハンダー) is unidentified.

Glory With The Moon, Mercy On The Earth

Einhänder cover (demo, nor for sale), Japanese version

Einhänder cover, Japanese version

Einhänder cover, North American version, with a solid version of the logo

Compact disc, North American version

Album cover for the Einhänder original soundtrack. The typeface used in addition to the logo is Prestige Elite. [More info on Discogs]

Screenshot of the game’s main menu

Front cover (vinyl edition)

On April 22, 2022, Charles Mingus (1922–1979) would have turned 100 years old. Resonance Records celebrated the jazz giant’s centenary with a previously unreleased recording by his sextet. The Lost Album comprises pieces recorded live at Ronnie Scott’s Jazz Club in London on August 14 and 15, 1972. From LondonJazzCollector’s raving review:

Music doesn’t get more exciting than this. Heard here at the last leg of their 1972 European tour, each of the players confident and seasoned in the Mingus playbook and each other. The Sextet performance is astonishing “organised chaos”, Mingus at the helm at his very best […] This album is just fabulous, it would be criminal not to press more than the initial 5,000 batch.

Released on Record Store Day in a limited triple LP vinyl edition, the album also comes as a triple CD set, with a 16-page booklet.

The “impossible” typeface used for Mingus’s name is a version of Zelek, originally conceived by Polish designer Bronisław Zelek and issued by Mecanorma in the year of the recording. The particular font in use is Bron, a competent digitization made by Jeremia Adatte in 2014. Bron (short for Bronisław) comes in layer fonts that facilitate the bichromatic effect seen here.

Bron is supported by Priori Sans, which was designed in London by Jonathan Barnbrook and Marcus Leis Allion, and “borrows heavily from much of the early 20th-century typography in London” [Barnbrook].

The original photography on the front and back cover is by Jan Persson/CTSIMAGES. John Sellards Design provided the production graphics, with art direction from Burton Yount.

[More info on Discogs]

Triple CD set

Triple CD set

Vinyl record labels, sides A and B

Vinyl record labels, sides C and D

Vinyl record labels, sides E and F

Back cover (vinyl edition)

One sheet movie poster by an unknown designer for the 1996 supernatural horror film The Craft, directed by Andrew Fleming and starring Fairuza Balk, Robin Tunney, Neve Campbell and Rachel True.

The film's title on the poster and in the title sequence is based on Mason Serif, with certain portions making use of its alternate glyphs. The tagline and credit block are set in Trajan.

For the film's title sequence, designed by Nina Saxon Film Design, credits are set in what looks to be a version of Koch-Antiqua.

Main title, set in KopyKattKut Bold.

Title sequence designed by Kathryn Peaslee for the 1998–2006 supernatural drama television series Charmed, created by Constance M. Burge and starring Shannen Doherty, Holly Marie Combs, Alyssa Milano and, in later seasons, Rose McGowan.

Titles are set in the bold weight of KopyKattKut, a typeface designed by Austin Putnam. In later seasons, some additional text in the title sequence is set in Mason Serif, though certain glyphs look to have been replaced with another serif font, possibly Minion.

Title sequence from the first season, with credits set in KopyKattKut Bold.

Title sequence from fourth season, with credits set in KopyKattKut Bold. It is occasionally paired with Mason Serif for select credits, though certain glyphs look to have been replaced with Minion or similar.