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From Wikipedia:

Zoey 101 is an American teen situational dramedy television series created by Dan Schneider for Nickelodeon. It aired from January 9, 2005, to May 2, 2008, spanning a total of 61 episodes across four seasons.

The title sequence for season 1 appears to use a customized mix of upper- and lowercase letters from Chalet 1970 for “Zoey”. Most of the credits use Insignia with the alternate straight t, a custom tilted e, and the s’s replaced with Avenir’s. “101” is in stretched City.

Starting with season 2, the majority of the text was set in Chalet 1970, again with a modified s and certain letters inserted from Chalet 1960.

Season 1 title card

Paul Butcher’s credit, set in Insignia featuring the alternate t glyph and a tiltled e

Christopher Massey’s credit, where the s is borrowed from Avenir

Season 3 title card

End credits from the season 2 episode “Spring Break-Up”, set in Chalet 1970

From Wikipedia:

Super Eurobeat (Japanese: スーパー ユーロビート, Hepburn: Sūpā Yūrobīto; abbreviated SEB; officially stylized as SUPER EUROBEAT) is a CD compilation album series of Japanese Eurobeat music. It has been running for over three decades, making it one of the longest-running music compilations. Following Super Eurobeat Vol. 250 in 2018, the series became an annual release.

This is how the album covers for the Super Eurobeat series looked during the peak of eurobeat’s popularity in the early 2000s. This cover format launched on New Year's Day 2000 with volume 101, and was retired after June 2003 with volume 139. The volume numbers are set in City Bold Italic. Yes, there is a real italic to that typeface where the dots aren’t slanted. A digital version of the italics by Berthold exists.

The “SUPER EUROBEAT” wordmark, originally designed by Round Table Associates in 1991, appears to be based off of Insignia, redrawn with narrower proportions, angular glyphs for S, U, O, and protruding bits in P R B moved from the center to the top.

[More info on Discogs]

The volume number was flattened to just have an outline starting with volume 111.

The model images became monochrome and lens flares were removed from the covers in 2003.

Tracklist from the liner notes, so you can see the period isn’t slanted. Credits are set in Helvetica. The Japanese font is yet unidentified.

From Wikipedia:

Grim & Evil is an American animated television series created by Maxwell Atoms for Cartoon Network. It consists of two segments which were eventually spun off into their own series, The Grim Adventures of Billy & Mandy and Evil Con Carne.

The end credits for season 1A are set in FF Pop, while the end credits for seasons 1B and 2 are set in Psychatronic. Neville Brody’s FF Pop was also used as the font for the end credits to the pilot episode of Evil Con Carne, while Psychatronic, a font produced by Brad O. Nelson of Brain Eaters Font Co., was used for the end credits for The Grim Adventures of Billy & Mandy, as well as the repackaged first season of Evil Con Carne, and the fourth season of Dexter’s Laboratory.

The New Mystery is an anthology of short stories by 42 different writers, edited by Jerome Charyn and published in 1993 by Penguin Books under the Dutton imprint. The jacket was designed by Dean Motter, with illustrations by Vidal Centeno.

The title is primarily in stretched Arcadia, although the N, W and M appear to be derived from Washington. Futura, also stretched, is used for “New and Classic Stories by” and “The International Association of Crime Writers [...]”, and Senator is used for “and 30 other major crime writers” and the editor’s credit. The authors’ names are in Industria.

Poster for a Grand Final Day event at Skydiver, a record shop and bar in Collingwood, Melbourne. The poster marks the AFL Grand Final, an annual daytime Saturday fixture in September. The typography is set in Device TM (distressed), whose bold forms suit both sporting and club-oriented contexts. The secondary typeface is FF Blur.

The Skydiver logo (not part of this design) combines Friz Quadrata with Helvetica.

1988 poster

A poster promoting the Mike Tyson vs. Tony Tubbs world heavyweight championship boxing match on 21 March, 1988 at the then newly-opened Tokyo Dome. It was designed by John C. Jay, with English-language typography by Neville Brody and portraits by Anthony Russo.

The poster features the initial versions of what would later become the fonts FF Tyson, FF World, FF Tokyo and FF Dome. The Japanese text uses Gona.

Official reissue from the collection The 100 Best Posters from Europe and the United States 1945–1990 (1994)

Detail

Detail

A 1993 poster recreating the typography of the 1988 poster for the release of the fonts by FontShop

This upteenth remake of The Body Snatchers directed by Abel Ferrara, produced in 1993 and released in 1994 features a very 90s looking design with elongated and skinny letters and wide spacing.

The title typeface is the then brand new Tube. Designed by Lewis Tsalis, it was released with T-26 in 1994. [Edit: no, it’s rather David Quay Mekanik (1988), with a modified N, see comments.] The subline “The Invasion Continues” is added in stretched Futura Extra Bold.

The poster for the theatrical release is credited to B.D. Fox & Friends Advertising. The tagline is in Engravers Roman.

The Blu-ray Disc cover has the title with a monochrome bevel effect. The tagline here is shown in Futura Condensed.

The quote on the back of the DVD cover is in Industria. Additional text uses several styles from Helvetica.

A three-page magazine ad for Namco Museum Vol. 1, a collection of 1980s arcade games released in 1996 (1995 in Japan) for the Sony PlayStation. The ad pokes fun at the then-contemporary 1990s gaming culture, including the typography of video game ads.

The bulk of the text is in Resbaloso, with several other fonts mixed in: Crackhouse (“WEIRD TYPE”), Escalido Streak (“screaming guys”), Burnout (“ViRtUaL ReALitY”), Trajan (“CLICHÉS”), Nuptial Script (“self-righteous”), Matrix Tall (“MULTI-MILLION-DOLLAR”), Motion Bold (“Toilet”), and one unidentified font (“3D”).

The small legal text at the bottom of the last page is in Industria.

The SimCity 2000 User’s Manual cover

From Wikipedia:

SimCity 2000 is a city-building simulation video game jointly developed by Will Wright and Fred Haslam of Maxis. It is the successor to SimCity Classic and was released for Apple Macintosh and MS-DOS personal computers in 1993, after which it was released on many other platforms over the following years, such as the Sega Saturn and SNES game consoles in 1995 and the PlayStation in 1996.

Newport has since been a staple in Maxis’ branding since the first SimCity as it’s the signature typeface for the “SIM” in their game logos. Just like SimCity, also SimCity 2000 makes use of Brody’s futuristic-yet-so-very-nineties Industria for the “City 2000”, which was also present in the original game’s branding.

Finally, the sub-line “The Ultimate City Simulator” is a very wide Bank Gothic Light that’s consistent in multiple languages and console releases; only the tracking changes depending.

The German box of the CD Collection of SimCity 2000

The Super Nintendo cover with smaller tracking on the sub-line

Neville Brody’s FF Harlem (1993) is based on lettering he drew for the poster to A Rage in Harlem, a 1991 crime film set in the 1950s. With the counters that freely move around inside the letterforms, it can be read as a typographic translation of jazz music.

Harlem can here be seen in use on the cover of a CD with music by and an interview with Bunk Johnson (1889–1949), a jazz trumpeter from New Orleans. The album was compiled and produced by Johnny Parth for Document Records. The catalog number uses another design by Brody: it’s the Art Deco sans Insignia. (The label logo combines all-lowercase Futura Display and tracked caps from Futura Bold.)

Compare Harlem to Allen Abstract, an early 1960s typeface with similar characteristics – which was used for a jazz record cover.

[More info on Discogs]

Front

From Our Minds to Yours Vol. 1 is a compilation of techno music by various artists, released as double LP by Plus 8 Records in June 1991. The design is credited to “Stereotype-G. Arnett”, i.e. Gary Arnett of Acme Digital Design Labs.

[More info on Discogs]

Back

POSSESSED is a magazine published by Paris-based running brand Satisfy. This publication is about trail, running, and culture related to these practices. This is how they are presenting the 56th issue:

This issue of POSSESSED—POSSESSED No. 56—is our inaugural print issue, and if you’re at UTMB, you can hopefully score a copy at our Chamonix Off Road Supply. If you didn’t, that’s a bummer. Still, you can check out the digital version, which features our exclusive interview with Courtney Dauwalter, our exclusive interview with her husband Kevin Schmidt, a timeline of C.D.’s incredible professional ultrarunner journey, a look inside her photo album, a nutritious Dauwalter Family recipe that you can cook at home, an up-tempo playlist of Courtney’s favorite tunes, PLUS some upper body exercises to stop you from turning into Kermit the Frog, your running stars, reader mail, lots of dumb jokes, aliens, and more!

From Wikipedia:

The Gold Experience is the seventeenth studio album by American singer, songwriter, producer and multi-instrumentalist Prince. It was credited to his stage name at the time, an unpronounceable symbol (shown on the album cover), also known as the “Love Symbol”.

The album was produced entirely by Prince and released on September 26, 1995, by NPG Records and Warner Bros. Records. The album charted at number 6 on the Billboard 200 and number 2 on the Top R&B Albums. The singles “The Most Beautiful Girl in the World”, “I Hate U”, and “Gold” charted on the Billboard Hot 100 at numbers 3, 12, and 88 respectively.

Package design by Michael Van Huffel and Amanda Costanzi, with art direction from Prince.

[More info on Discogs]

A mid 1990s print advertisement for Coca-Cola, known at the time as Coca-Cola Classic:

oh my goodness!
you should’ve seen this one…
TALL, dark and
cooler than cool
I Had To Pick It UP.

The typography uses no less than five (or seven, if one takes weights into consideration) fonts: Eras (in 2 weights) for “Oh my goodness!”, Commercial Script for “you should've seen this one…” and – with tracking – for “and”, Industria for “Tall”, Futura Extra Bold for “dark”, and ITC Kabel for the last two lines; “cooler than cool” uses the Ultra style, whilst “I had to pick it up” uses the Bold style. In addition, “Always” in the slogan “Always Coca-Cola” at the top uses Compacta, and the small print at the bottom is set in Helvetica.

The General Automobile Insurance Services, Inc., or simply The General, is an insurance agency focusing on auto insurance, with headquarters in Nashville, Tennessee. From 1993 to 2000, the logo combines several styles from ITC Stone Informal – Bold for “General” (with faux small caps), Semi Bold Italic for “The” and Medium for “Credit General Insurance Company” – with stretched Industria for the phone number.

Cover for If Only You Could See What I’ve Seen with Your Eyes, 2017

If Only You Could See What I’ve Seen with Your Eyes is an exhibition catalog showing the work of Katja Novitskova. Commissioned by the Estonian Centre for Contemporary Art (CCA) for the Estonian Pavilion at the 57th Venice Biennale, it was copublished by Sternberg Press in May 2017. In 2018, a sequel titled If Only You Could See What I’ve Seen with Your Eyes, Stage 2 was published by the Art Museum of Estonia – Kumu Art Museum.

Both books were designed by Ott Metusala. For the titles and the headings, Metusala chose FF Blur. The titles are composed of different font sizes and with a significant texture game to blend with the textures of Novitskova’s work.

While the cover of the first catalog featured a leopoard, the second one depicts a bee. There are many animal representations in the books in connection with the artist’s vision at the heart of the ecological crisis. We can find wild and genetically modified life forms in the exhibition as on the cover.

From the exhibition notes about the second show:

Stage 2 works from the intersection of big data-driven industries and the expanding domain of seeing in the thick of ecological crisis. The display is an immersive environment inhabited by living machines, graphic charts embedded in synthetic materials, and two-dimensional sculptures of wild and genetically modified life forms. (...)

“If only you could see what I’ve seen with your eyes,” says the replicant Roy Batty to the maker of his eyes in the sci-fi film Blade Runner (1982) by Ridley Scott. Katja Novitskova and the curator Kati Ilves borrowed the quote for the title of the exhibition in the Estonian Pavilion at the Venice Biennale 2017, produced by the Centre for Contemporary Arts Estonia.

Katja Novitskova (b. 1984) is an artist originally from Tallinn, but living and working mainly in Berlin and Amsterdam. Her work lies at the intersection of visual culture, digital technologies, and speculative fiction: she is interested in how the rapidly changing planet is increasingly dependent on various data streams that mediate, preserve, and alter the environment around us in visual form.

Cover for If Only You Could See What I’ve Seen with Your Eyes, Stage 2

Spread from If Only You Could See What I’ve Seen with Your Eyes, 2017

Table of contents and title page from If Only You Could See What I’ve Seen with Your Eyes, 2017

Spread from If Only You Could See What I’ve Seen with Your Eyes, 2017

Spread from If Only You Could See What I’ve Seen with Your Eyes, 2017

Back cover for If Only You Could See What I’ve Seen with Your Eyes, 2017

Criocabin was established in 1984 as a manufacturer of cold storage units. The product range was expanded to include refrigerated counters in 2000, with the incorporation of creative companies. They have always pursued one single goal: to create exclusive products that are tailored to our customers’ needs. Uniqueness, creativity, style and production made in Italy are key points for Criocabin. Criocabin is a family business that is run directly by its founder, who is always present in the factory.

They design innovative ideas for furnishing points of sale. They analyse the market and their customers’ needs in depth, and then not only suggest finished products but come up with new display concepts, complete solutions responding to the demands of modern retail.

During a rebrand, Notorious used F37 Foundry’s F37 Neuro as the predominant typeface. F37 Neuro is accessible, characterful and contemporary – reassuringly Swiss, but with a hint of British eccentricity that sets it apart. Notorious comments:

When we were asked to deal with the restyling of the Criocabin brand identity, we did it starting from the company’s essential values.

It was important to preserve a certain cleanliness and minimalism but at the same time show a strong and unpredictable personality.

The inspiration from the Helvetica font, used up to that moment by Criocabin, and the personality given by its contrasts and curves, were the reasons that made us choose F37 Neuro.

A choice that after three years still proves to be right and consistent with Criocabin’s way and its desire to communicate.

Released in 1994 by Flipside Records, just a week before the better-known Mellow Gold on the Geffen/DGC label, Beck’s second full-length LP Stereopathic Soulmanure was a compilation of early “lo-fi” rock recordings.

And underscoring its origin in the decade of alternative rock & grunge, its cover has that most 1990s of grunge typefaces, FF Blur.

Design by Gibran Evans and T.A.Z. (alias Jim Evans), featuring a drawing by Bob Gundermen.

[More info on Discogs]

The track names and the credits are set in FF Blur, too.

“I was only teasing, teasing you.” might be part of the original found (?) Victorian art. Mixoma (2022) is a recent typeface with a similarly unconventional weight distribution.

Back cover

Neville Brody’s Arcadia (1990) is the typeface used for the title. “West End” appears to combine two weights of Helvetica or similar, layered on top of each other. The Sybil logo is custom. “Featuring” is set in slanted Handel Gothic.

From Wikipedia:

On January 4, 1993, American R&B and pop singer-songwriter Sybil released a cover of “The Love I Lost” with West End. It was produced by Mike Stock and Pete Waterman. This version reached number 18 on the Billboard Hot Dance Club Play chart and number three in the United Kingdom. The cover also reached number nine in Ireland. Additionally, "The Love I Lost" was also a Top 20 hit in Finland and the Netherlands. And it reached number nine on the Eurochart Hot 100 in October 1993.

[More info on Discogs]

Official theatrical poster.

From Wikipedia:

Strange Days is a 1995 American science fiction thriller film directed by Kathryn Bigelow, written by James Cameron and Jay Cocks, and produced by Cameron and Steven-Charles Jaffe. It stars Ralph Fiennes, Angela Bassett, Juliette Lewis and Tom Sizemore. Set in the last two days of 1999, the film follows the story of a black marketeer of recordings that allow a user to experience the recorder’s memories and physical sensations as he attempts to uncover the truth behind the murder of a prostitute.

Shown here are various posters made for the movie, all featuring Neville Brody’s Industria, used exclusively in lowercase characters. The same typography was later also used on DVD packaging. See also the post about the Strange Days trailer and titles.

[More info on IMDb]

U.S. one sheet advance poster (27″×41″).

British quad poster (30″×40″)

U.S. one sheet advance poster.