Description of the project by Team Thursday, the designers of the book:

We recently made this publication Kunst maakt ruimte for the art collection of the Rijksoverheid. The collection exists for 10 years and the works are installed over all Rijksoverheid buildings in the Netherlands. The publication celebrates the collection and highlights a selection of the artists and designers. It can be folded out twice, which leads to different page/image combinations.

The book uses Rijksoverheid Sans for body text, paired with nono by notyourtypefoundry for the titles, footnotes, and page numbers. The photographs were taken by Mike Bink and the lithography was produced by Studio Marc Gijzen.

Front cover

You’ve Got to Believe in Something is the third album by the American rock band Spin Doctors. Art direction and design are credited to Chika Azuma. The cover photo is by Richard Samuel Roberts.

On the front cover, the band’s name uses OPTI Grant Rustic, Castcraft’s digitization of Grant No. 2. The c has been modified, presumably because the original looked too much like a G, and the final s is a reversed capital S. The album title uses all-caps Antique No. 14.

The text on the back cover and disc label is mainly hand-written, but some legal text and serial numbers have been added using FF Justlefthand.

[More info on Discogs]

Back cover

Disc

Made by Reuben & Co., An Exercise in Perspective is an experimental documentary and fundraising film, which follows the story of blind runner Phil Harrison.

Born fully sighted, Phil has lost eyesight from two unfortunate moments – an injury to his left eye as a teenager, compounded by a cancer diagnosis in his right eye when he turned 60. He now has less than 5% vision, only afforded to him with an artificial iris.

Many people could become reserved after such bad luck – Phil has decided to run.

In 2026 he will run his first ever marathon, the London Marathon, raising money for the UK sight loss charity, RNIB (Royal National Institute of Blind People).

As the frontman of infamous punk band Social Security he has always been defiant and young-at-heart. The band provide the perfect soundtrack to his story.

Immersive, mixed-media and a DIY project – the documentary gives a perceptual insight into Phil’s excitable, scrappy and inspirational spirit.

The title uses Optician Sans. Additional fonts used include FF Dynamoe and Scratch. Tiresias (not shown) is used for closed captions and subtitling.

Title: Optician Sans

Animated typeface: Ransom

Front cover

Greatest Hits: My Prerogative is a best-of compilation album by American singer Britney Spears, released on November 3, 2004, by Jive Records. The album art is credited to Jackie Murphy (art direction), Courtney Walter (art direction & design), and Matthew Rolston (cover photography).

The artist’s name, album title and track names use FF Confidential. Other text uses Futura.

[More info on Discogs]

Back cover

A magazine ad for Intergraph’s ExtremeZ graphics workstation, published in Macromedia Connections Volume 8 (Winter/Spring 1998).

The slogan “As Extreme As You Want To Be!” uses Treefrog. The rest of the text uses ITC Officina Sans.

Karuta is a traditional Japanese card game where players listen to short descriptions read aloud from a reader’s card. Each turn, players race to grab the matching card with the corresponding picture or text, and the player with the most cards at the end wins.

Font Karuta is a variation designed for typography enthusiasts. Instead of pictures, the reader announces the font name and description on the reader’s card, and players compete to pick up the card displaying that font. The player who collects the most cards wins the game.

This edition is the “extension package” featuring only blackletter designs.

From top left to bottom right: Respira Black, FF Brokenscript, a couple letters from Breitkopf-Fraktur, Blackmoor, Claudius, an e and an exclamation mark from Old English, Wallau, Amador, Fakir, San Marco, American Text, Caslon-Gotisch, Engravers Old English, Marian Black, Fette Fraktur, Lucida Blackletter, JAF Herb, Gutenberg Textura, Alte Schwabacher, Goudy Text, Fette Kanzlei, and a tiny bit of Fette Gotisch. Featured in the game but not shown in the images are Deutsche Schrift and Wedding Text.

The box front features the title in Amador, with Clairvaux for the list of included typefaces. The Japanese font appears to be DNP Shuei ShogoMincho. The Font Karuta logo is in Akko.

The German-language game instructions are set in Gutenberg Textura with a headline in Blackmoor, in caps of alternating colors.

From Wikipedia:

“You Wouldn’t Steal a Car” is the first sentence and commonly used name of a public service announcement that debuted on July 12, 2004 in cinemas, and July 27 on home media, which was part of the anti-copyright infringement campaign “Piracy. It’s a crime.” It was a co-production between the Federation Against Copyright Theft and the Motion Picture Association of America (now the MPA) in cooperation with the Intellectual Property Office of Singapore, and appeared in theaters internationally from 2004 until 2008, and on many commercial DVDs during the same period as an ad preceding the main menu, as either an unskippable or skippable video.

The announcement depicts either a teenage girl trying to illegally download a movie or two women attempting to buy DVDs from a bootlegger interwoven with clips of a man committing theft of various objects, and equates these crimes to the unauthorized duplication and distribution of copyrighted materials, such as films. The girl ultimately aborts said download and the couple choose not to purchase any of the bootleg DVD copies. According to the Canadian Internet Policy and Public Interest Clinic, the announcement was unsuccessful, and was largely a source of ridicule. Likewise, a 2022 behavioral economics paper published in The Information Society found the PSAs may, in fact, have increased piracy rates. By 2009, over 100 parodies of the announcement had been created.

The intertitles use FF Confidential. On the computer screen, the text “FEATURE FILMS” is in Serpentine, “DOWNLOAD CANCELED” is in Compacta, and the remaining text in what appears to be Univers.

Protokoll is in use throughout the publication. The secondary typeface is Phaistos by David Berlow and Just van Rossum. The catalog was designed by Studio Martin Stoecklin, with Rahel Preisig and Adrian Schnegg, and published by Hatje Cantz.

Berlin-based Danish installation artist and sculptor Jeppe Hein (born 1974) explores his interest in breath in the exhibition and eponymous catalog Inhale, Hold, Exhale at the Kunstmuseum Thun, Switzerland.

The publication includes exhibition photographs, essays and a conversation between Hein and museum director, Helen Hirsch.

The Monacensia is the so-called literary memory of the city of Munich. It is maintained and built up for the future in the literary archive, the Monacensia library and the museum. The impact of the Monacensia as a lively place of artistic creation will be visible to everyone, particularly as part of the programme being developed under the title ‘Artists’ Villa’.

What can be seen directly in the Monacensia in a variety of ways continues in the digital world. MON_Mag offers even more opportunities to discover and shape Munich's literary and cultural diversity together. The more than 200 contributions so far show the close links between Munich literature and the writers here and other cities, countries, continents and cultures.

The visual identity was designed by Büro Alba using Waldenburg in Normal, Fett and Schwarz weights. The Monacensia wordmark uses all-caps ITC Officina Sans.

From Wikipedia:

“Linger” is a song by Irish alternative rock band the Cranberries from their debut studio album, Everybody Else Is Doing It, So Why Can’t We? (1993). Composed by band members Dolores O'Riordan and Noel Hogan, and produced by Stephen Street, “Linger” was first released as the second and final single from the album on 15 February 1993 by Island Records. It was later re-released on 31 January 1994.

The script is Just van Rossum’s FF Justlefthand (1990), used with faux-bolding for the titles. The band name, also in all-lowercase letters, looks like it’s autotraced. Repeating letters aren’t identical, suggesting it’s not a font (anymore).

Photography by Andy Earl. No designer is credited.

[More info on Discogs]

Mein Kampf is a grotesque play by Hungary-born writer and theater director George Tabori. It deals with Adolf Hitler’s “Viennese years” as a resident of a men’s dormitory in the capital of Austria-Hungary before the First World War. In Tabori’s play, Hitler’s development from a naïve and thwarted art student to an anti-Semitic demagogue and later despotic dictator is interpreted in an exaggerated and sarcastic manner.

The world premiere took place on May 5, 1987 at Vienna’s Burgtheater. Seven years later, Antigone from Kortrijk, Belgium, produced a Dutch version. Translated by Ton Theo Smit and directed by Horst Hawemann, the play premiered at Rotterdamse Schouwburg on 29 April 1994. Hartwig Dobbertin provided the set design.

The poster was designed by Thomas Soete (b. 1971). He used FF Beowolf, “the original RandomFont” by Erik van Blokland and Just van Rossum. If you look closely, you can see that none of the repeating letters is identical: the font included raw PostScript code that ran in the printer, causing the glyphs to juggle their anchor points on the fly. First released with FontFont in 1990, an OpenType version is now available directly from LettError, as LTR Beowolf. For technical reasons, the fonts no longer contains the subversive code, but emulate the random look through automatic alternates.

From the collection of the late Jan Middendorp.

Detail

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

Description from the website of publisher Tempo House:

When William Powell’s infamous publication The Anarchist Cookbook (1971) drew the attention of the FBI, agents were assigned to track which stores sold the book and to find out if William Powell was a pseudonym.

In 2010, the FBI released the bulk of its investigative file on The Anarchist Cookbook – it is these files that are reproduced within Concerned Citizen. They are published here in part as historical curiosity, and in part for their readymade graphic design/art-book qualities; the two traits are arguably inseparable.

Concerned Citizen contains a brief critical essay on the history of The Anarchist Cookbook: its disputed association with anarchist political philosophy; the ethics surrounding the publication; and its transformation into what Johann ‘Hans’ Most calls a ‘literary Satan’.

The book is typeset in Bureau Grot, Untitled Serif and Untitled Sans. The dossier itself features a treasure trove of typefaces, handwriting, rubber stamps and redactions. On the back cover, the publisher’s logo is set in FF Brokenscript.

Source: archive.org Internet Archive. License: All Rights Reserved.

Front cover

From Wikipedia:

MTV Unplugged is a live album by Tony Bennett that was released in 1994. Backed by the Ralph Sharon Trio, Bennett appeared on the TV show MTV Unplugged to showcase the Great American Songbook with guest appearances by Elvis Costello and k.d. lang.

The album reached platinum record status in the United States and won Grammy Awards in 1995 for Best Traditional Pop Vocal Performance and Album of the Year.

The typography prominently features a typeface that was inescapable in the mid 1990s: designed by Just van Rossum of LettError, FF Confidential was released in 1992 with the fledgling FontFont, back then the font label “by designers for designers” (which was acquired by Monotype twenty-two years later, in 2014). The condensed sans-serif caps with the stamped look are part of FF InstantTypes, a series of five fonts based on found letterforms.

Photo: Florian Hardwig. License: All Rights Reserved.

FF Confidential as shown in FontBook, Vol. 1 (1995)

In 1992, there was no OpenType yet. Still, Confidential included two forms for each alphabetic character, one in the uppercase, one in the lowercase. This feature would have come in handy had the designer wanted to obscure the fact that the cover typography is made with a digital font rather than with actual rubberstamps: between Tony Bennett’s name and “Unplugged”, there are lots of repeating characters including three pairs in direct succession. But no, none of the alternates were uses; all glyphs come from the more eroded set of caps.

Design by Mark Burdett with photography by Kevin Mazur.

[More info on Discogs]

The MTV Unplugged session was recorded forty-three years after Bennett’s first number-one hit, “Because of You” from 1951, and more than twenty years before the musician set a Guinness World Record for “oldest person to reach No.1 on the US Album Chart with a newly recorded album”, with Cheek to Cheek, a collaboration with Lady Gaga from 2014. With the release of the follow-up Love for Sale in 2021, he broke another record for being the oldest person to release an album of new material. Tony Bennett died this week in Manhattan, a few weeks before his 97th birthday. RIP.

Source: archive.org Internet Archive. License: All Rights Reserved.

Back cover. The spince lettering uses Franklin Gothic Condensed. Credits in Univers and Helvetica.

Source: archive.org Internet Archive. License: All Rights Reserved.

Back cover of the CD+DVD version. FF Confidential is combined with Univers Condensed.

Darden Studio’s Omnes including Omnes Arabic is used for a leaflet advertising Berlin’s Super-Ferien-Pass.

The original (Latin) Omnes was designed by Joshua Darden. We commissioned Titus Nemeth to design a matching Arabic, in which he succeeded with bravura. While most Arabic font families come in one or two weights only, Titus translated the design to the full range of nine weights, from Hairline to Black. He comments:

The qualities of Omnes do not fall neatly within any narrow genre. Its characteristics change subtly through the weight range, and evoke different associations. Whilst at first glance Omnes appears playful, soft, and even cuddly, a closer look reveals that these traits are very controlled, and never stray too far from fairly conventional type forms. The shapes are highly synthetic, and far removed from traces of a writing tool – in apparent contrast to the most common Arabic typefaces.

Script extensions of popular typefaces are typically motivated by the demand of multinational or even global corporations. This is the case for Omnes, too. At the same time, though, once the fonts are made, they can also serve users with smaller budgets, and address the needs of linguistically diverse communities. The availability of Omnes Arabic allowed design studio Minkadu to create harmonious typography across the various languages spoken in Berlin. It makes us happy to see Omnes Latin and Omnes Arabic used side by side for that, conveying the information in different languages – German, Turkish, English, Arabic, and Polish – and yet in the same typographic voice. Minkadu combined Omnes with Laura Worthington’s Jumble and Patrick Griffin’s Marvin Round. Some text is set in Erik Spiekermann’s ITC Officina Sans.

The Super-Ferien-Pass, or Super Holiday Pass, is a booklet full of savings coupons, a swimming card, and exclusive raffles; including for free or discounted admission to the zoos, museums, cinemas, workshops, sports events, and more. It is issued by JugendKulturService, a non-profit funded by the Berlin Senate and Medienboard Berlin-Brandenburg.

Omnes Arabic as well as the other script extensions – Omnes Cyrillic, Greek, and Georgian – are exclusively available from Adobe Fonts and can also be rented on Fontstand.

Omnes (Arabic) and Marvin (Cyrillic) is paired with Jumble

English: Jumble (headline), Omnes (subhead), and ITC Officina Sans (text). Omnes is being used in its SemiCondensed Bold style.

Arabic: Omnes is used for everything from headline to text

Omnes Arabic and Omnes Latin, mixed inline, in two contrasting weights

German, Turkish, and Arabic, with Omnes being used for all subheadings

The Polish and English versions use Omnes for all blue subheadings, too.

Cover art of the 1997 UK release for PC. The game's title is set in Powerhouse with additional text set in Clarendon.

Cover art designed by The Designers Republic for the 1997 action-adventure video game Grand Theft Auto, developed by DMA Design (later known as Rockstar North) and published by BMG Interactive in the United Kingdom and Europe and by ASC Games in North America. The game is the first entry in the popular Grand Theft Auto series.

For the cover art of the UK release for PC, the game's title is set in Powerhouse. Additional text from the cover is set in Clarendon.

For the cover art of the European release (France, Germany and Italy) for PC, the game's title is abbreviated to GTA and based on Compacta, with additional text set in Clarendon.

For the cover art of the March, 1998, North American release for PC, the game’s title is based on Compacta, which is also used for some additional text. Other fonts featured are FF Confidential, FF Trixie, Futura and Helvetica.

Covert art of the 1997 European release (France, Germany and Italy) for PC. The game's title is abbreviated to GTA and based on Compacta, with additional text set in Clarendon.

Front cover of the 1998 North American release for PC. The game's title is based on Compacta. Other fonts featured are FF Confidential, Futura and Helvetica.

Back cover of the 1998 North American release for PC. The game's title is based on Compacta, which is also used for some additional text. Other fonts featured are FF Confidential, FF Trixie, Futura and Helvetica.

Grab your dirndl and apron, your lederhosen and suspenders, or maybe just a swimsuit and sunscreen, and head to Helen, Georgia, where it’s ersatz Oktoberfest all year.

Or, if the timber-town-turned-tourist-trap in North Georgia is not in your travel plans, do yourself a favor and check out its visitor bureau website.

Just van Rossum’s FF Brokenscript does the heavy lifting to make this feel Bavarian-isch and its Fraktur-inspired stroke ends and angled forms are echoed in the heraldic zigzags that separate page sections. Meanwhile David Jonathan Ross’s Trilby is a kind of secret weapon—all-caps when it's the secondary display face and mixed case for navigation and smaller headlines—pulling things together and making it all feel fun, crafty, and a bit rustic.

Bonus points for pairing two underused typefaces and making something wonderful and unexpected.

Front cover (2016 vinyl re-release)

Grave Dancers Union is the sixth studio album by Soul Asylum, an alternative rock band formed in 1981 in Minneapolis. The album containing the hit “Runaway Train” was released in October 1992.

Francesca Restrepo provided the art direction and design. For the cover, she used a photograph by Czech photographer Jan Saudek titled “Fate Descends Towards the River Leading Two Innocent Children”, which was taken in 1970. The loosely spaced caps used for the band name look like they were made with a Dymo or a similar embossing tape machine. It’s not clear if they are from a font or not. All other text from the album title to the lyrics and credits is set in FF Justlefthand, mostly in horizontally stretched caps with (faux) small caps. The handwriting font by Just van Rossum was issued by FontFont in 1990. Coincidentally, Van Rossum also made a Dymo-inspired typeface named FF Dynamoe, released in the same year as Grave Dancers Union.

[More info on Discogs]

Front cover (1992 CD release)

Back cover (vinyl)

Lyrics (vinyl)

Lyrics (CD)

Lyrics (CD)

Credits (CD)

Source: www.filmonpaper.com Film on Paper. License: All Rights Reserved.

International one sheet poster (27″ × 40″)

The typographic choices used in and around the 1990s cult movie The Big Lebowski are not exactly consistent: the original U.S. poster and campaign feature stretched Sabon, and the opening titles pair Magneto and Mesquite. The film’s promotion in Europe had a common denominator, though: it’s Banco.

Roger Excoffon’s inclined all-caps typeface with letterforms that look like they were made with a window puller appears on posters from both main campaigns.

One shows Jeff Bridges as Jeffrey “The Dude” Lebowski with a reflection of his psychedelic patterned rug in his sunglasses, a title in golden yellow Banco, and the tagline “They figured he was a lazy time wasting slacker. They were right”. The concept and image is by Cassie Ramsay Anderson, with photography by Nels Israelson. The typography is uncredited. The campaign was launched in France, the Netherlands, and Germany, among other countries.

The other one focuses on the mutilated foot of Aimee Mann, who plays the girlfriend of German nihilist Franz, and features the tagline “Her life was in their hands. Now her toe is in the mail.” Banco is here shown in green – picking up the color of Bunny Lebowski’s nail polish – with a very 1990s emboss effect. This campaign was developed by TEA – The Entertainment Agency for the British market.

Source: movieposters.ha.com Heritage Auctions. License: All Rights Reserved.

English-language poster (13.75″ × 19.25″) from the Netherlands. The tagline and the directors’ names here are set in all-caps FF Stamp Gothic (FontFont, 1992) by local designer Just van Rossum.

Source: filmartgallery.com Film/Art Gallery. License: All Rights Reserved.

French poster (16″ × 23″)

Source: movieposters.ha.com Heritage Auctions. License: All Rights Reserved.

German poster (23.25″ × 33″)

Source: www.filmonpaper.com Film on Paper. License: All Rights Reserved.

The Dude and his buddy Walter Sobchak (John Goodman) staring in disbelief at the missing toe. UK quad poster (30″ × 40″), designed by TEA – The Entertainment Agency. On this poster and others from the “green branch”, Banco is supported by Compacta (Letraset, 1963).

Source: movieposters.ha.com Heritage Auctions. License: All Rights Reserved.

UK bus stop poster (40″ × 60″)

Source: www.originalfilmart.com Original Film Art. License: All Rights Reserved.

Bosnian poster (19″ × 26.75″)

Source: posteritati.com Posteritati. License: All Rights Reserved.

The Dude and Walter with drawn gun at the bowling alley. German video release poster (23 cm × 33 cm, 1999)

Based on their logo, the entire business equipment of architecture studio Gluch + Fäth was revised and modernized. The square in the logo was retained as an ornamental element and can also be used playfully as a pattern in combination with the line. The spot color gray appears in various nuances in the printed materials.

FF Schulbuch Nord is used throughout.