Two alternates for a poster with a spring equinox theme, leaning into British pastoral occultism, made for an event at The Bird in Perth’s Northbridge suburb.

The Secret History of My Chemical Romance is a “132-page guide to the amazing world of MCR”, featuring classic interviews, career highlights, and Gerard Way’s journey from Jersey to global stardom, covering twenty years of rock innovation and musical evolution. It was by issued by Future Publishing on 28 April 2024.

The title combines Typo American with P22 Operina, both in all caps. The text inside the circle uses Tungsten. The sans used in bold condensed italic caps is yet unidentified.

Hello, Tokyo! compiles and translates articles from Tokyo City Guide issues published by Popeye between 2018 and 2025. It was issued by Magazine House under the art direction of Taro Kambe. Designed by Nari Kang and Nina Kitayama using Ohno Casual and ABC Marfa as the main typefaces on the cover, plus Gilroy, used for the info underneath the logo. The interior holds a generous selection of more Japanese and Latin fonts.

The tables of contents of this Kindle edition of the publication use Funkis.

Beer mats

For this project, Another Kind Studio wanted to craft an identity that felt fitting for a site with such a massive legacy. Situated on the grounds of what was once the largest brewery in the world, we designed a new pub brand for Ninety One to honour that heritage while carving out its own modern space on Brick Lane in East London.

From the deep greens and warm oranges to the period inspired typography, we designed the brand to live and breathe in physical spaces and feel totally at home in its surroundings. Explore the new visual identity in action below across tactile menus, custom tap badges, wayfinding signage, and matchboxes.

For the full project please visit the Ninety One project page on our website.

Stacked logo

Logo animation

Drinks menu

Heavy weight team T-shirts and branded pint glasses

Branded matchboxes

Custom beer tap badges for the Ninety One house lager

Hand-painted wayfinding signage by Rayment Signs

In-house poster templates

Brand guidelines

Ninety One website

Design is for EVERYBODY is a book with five curated essays from Futuress, a non-profit organization based in Basel, Switzerland, translated into Japanese. It was designed by Manami Inoue, who also provided the translation. Yuto Miyamoto did the editing.

Gestura and Tazugane Gothic are used on the front cover. Tazugane Gothic is also used for the text on the back cover, but the Latin characters, numbers, and question mark appear to be set in Founders Grotesk, which they also use in the magazine by publisher Troublemakers. Founders Grotesk Mono appears to be used for the ISBN code.

Resident Evil: Requiem is the ninth major installment in the Resident Evil franchise, serving as the sequel to Village. Developed and published by Capcom, it was released on February 27th, 2026. The game follows intelligence analyst Grace Ashcroft and federal agent Leon Kennedy, who were conducting their own investigations into the mysterious deaths of Raccoon City's survivors. Their paths would not only converge, but their journeys would force them to confront their past as they inevitably travel back to the ruins of Raccoon City.

RE9 continues to use Plak Extra Condensed for the series logo, which uses a similar scratchy design from Resident Evil 7. “Requiem” is in an unknown typewriter-like font.

In-game, ITC American Typewriter is used only in the main menu and the save menu. Neue Frutiger Roman is used as the primary and body font for the UI which is complimented with Kairos Sans. Rodin is used exclusively for the subtitles once again. The occasional title card at the start of each chapter uses Helvetica Condensed Bold. More niche uses include Univers 57 Condensed which is only used in the HUD for number counters and Univers Ultra Condensed for button prompts. UD Kakugo is used for the notification bar.

I'm not one to normally question the decisions of designers, but I will make one very rare exception here. I don't know why this game needed so many typefaces, I feel like this list of fonts could be cut in half and almost nothing would change. A slightly bizzare detail to an otherwise fantastic game.

Main menu, which features a unique version of the game's logo that is not seen anywhere else. “Resident Evil” is using ITC American Typewriter while “Requiem” has some sort of ink slashed over it.

Settings menu

Title card

Loading screen

Grace idly checking her gun. Grace's HUD—similar to other horror focused entries is simplistic, only showing the ammo counter and the notification bar where it displays recently picked up items.

Grace’s inventory, the only place where you can see her health meter.

Leon finishing off some very evil residents. His HUD, compared to Grace’s, is more “action-focused” with a visible health bar, armor bar and generally a similar design from Resident Evil 4 Remake.

Leon’s inventory, which represents a suitcase

Exclusive to Leon is the supply box, where players can buy or sell weapons and upgrade their existing gear.

Save menu

CookEase is a meal-kit brand built around the idea of making home cooking effortless, joyful and accessible to everyone. CookEase blends convenience with warmth, removing the stress of planning and preparing while still giving customers the satisfaction of cooking a fresh, delicious meal.

The CookEase type system pairs Dida and Avenir Next to balance personality with structure. Dida brings a playful, expressive quality to headlines, adding warmth and character to the brand while Avenir Next provides clarity and rhythm across ingredient labels, quantities and instructions.

Together, the combination allows the brand to feel energetic yet organised, ensuring the packaging remains easy to navigate while retaining a strong, recognisable presence.

The ingredients on the bottom right are set in Marker Felt.

The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

Visual identity for Terra Alta, a new flower shop and atelier in Manresa. Inspired by classical Catalan modernist motifs, we’ve brought back a rich visual language full of organic shapes and symbols that echo the fluidity of nature, pairing typography with the ornamental spirit of modernism.

Icons by Sergi Pérez. Print assets by Nou Punt Disseny.

Darlene is a new effects pedal created by Heather Brown Electronicals. Brown describes its voicing as “intentionally neutral. No color, no smear. Just preserved dynamics with rich sustain, natural attack, and silent operation.”

Designed by Graham McClanahan, this pedal goes all-in on typography. Nearly the entire face (!) of the pedal is occupied by the pedal’s name, typeset in Fit. The letters are arranged in a 4×2 grid, with “DARLENE” set in Fit’s Normal width and “COMPRESSION” squeezed into the upper right cell, stretching the typeface to its narrowest, least-readable limit!

The pedal’s dials have labels set on a circle in Avenir Next Condensed. Supplemental information on the side is Heather’s handwriting, digitized!

McClanahan said about the choosing the typeface:

I was actually scrolling Adobe fonts a while back and FIT stood out immediately, so I saved it and played around with it but didn’t really have an application. When I worked with Heather a few months later, we tried a lot of different artwork iterations and nothing really seemed right and then I stumbled upon FIT again. It was my first time using a variable typeface in print so it was a lot trial and error and fun. True to its name it just fits anywhere and has so many possibilities (I probably did over 50 different versions initially because it was so fun). Also this being a compression pedal FIT seemed natural here. Absolutely brilliantly crafted. Something that also worked so well is Heather was hoping to have someway to emphasize DAR on Darlene because of a family member’s nickname that inspired the theme/name of the pedal. This wasn’t really working with the other iterations we went through and we were ready to ditch it but with how flexible the layout possibilities are on FIT it was a huge win to incorporate that in the final. Most importantly David’s typeface carries the design so credit to his brilliance here and I’m excited to see more of what’s to come from him.

As the font’s designer, I couldn’t be more thrilled with this application of Fit… this is the kind of thing it was born to do!

Packaging

Packaging interior

Nickl & Partner Architects is an internationally active architectural firm with offices in Europe and Asia. For 45 years, they have been designing forward-looking buildings in the fields of healthcare, research, education, and housing.

Aims for the website relaunch included: public-friendly external image, responsive, user-friendly, clear structure, modern features, accessibility (contrast, font and font size, scalable, easy to find online), embedded videos.

Development of logo and corporate design for CDI Ingenieure, a Berlin-based engineering firm. Implementation of a website and numerous printed materials.

The font used for the logo and all texts, including in the web application, is Akko, which is very well suited due to its technical appearance.

The color areas of the logo form the basis for a modular system that can be used in a wide variety of ways and has a high recognition value.

Secondary fonts used on this poster include Girga for the tagline “A story of two ladies going south”, Univers Bold Italic for the names, and Bee for the credits. The wide sans at the very top and bottom was identified as Sequel Sans, see comments.

Drive-Away Dolls is a 2024 crime comedy directed by Ethan Coen and co-written with his wife Tricia Cooke, who was also the film’s editor and uncredited co-director. It stars Margaret Qualley and Geraldine Viswanathan as two lesbian friends on a road trip that takes a wrong turn. Set in 1999, the film has a gritty aesthetic that fits its classic caper plot.

The film posters and trailers use Freehouse by Rian Hughes for the title. The distressed version of Freehouse, designed “to evoke rough print on a wet beermat”, was used on an earlier poster release.

“Official trailer 2” is added in all-caps Brandon Grotesque Light.

This poster designed by AV Print additionally uses Trade Gothic Next Compressed.

From Wikipedia:

The Guts World Tour is the […] second concert tour by American singer-songwriter and actress Olivia Rodrigo in support of her second studio album, Guts (2023). […]

On October 2, 2024, Rodrigo sent a newsletter to her fans announcing the Guts World Tour film. The concert was filmed during her two dates at Intuit Dome on August 20 and 21, 2024. The film was released on October 29, 2024 on Netflix.

The big type on the Netflix poster is DIN Next; other info is set in Netflix Sans.

Author Chelsey Ann Tompkins describes Curse & Spindle as –

a spicy Sleeping Beauty fairytale retelling novella with a Ravenfae Prince crashing her wedding to deliver her curse that is long overdue. From there they play what readers have dubbed as “Bridgerton Bachelorette” except the host cannot get enough of her and gets all adorably jealous.

It was published by The Crafty Bookstore.

Winterlock from Pixesia Studio is used for cover type, alongside Hermann Zapf’s Zapfino and the Stamp style of Aero Wolves by Septianto Nugroho. The author’s name is added in caps from ITC Bodoni Seventy-Two.

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.

The book jacket of the 2025 reissue of Monument Eternal by Alice Coltrane (1937–2007) uses ITC Pioneer with a rainbow fill for the title. Secondary text is set in several styles from Trade Gothic Next Soft Rounded. The design is by Alexis Fleisig, based on the original edition.

From publisher Akashic Books:

When Monument Eternal was originally published in 1977, Alice Coltrane was living in Southern California and had recently become a swami, building and nurturing an alternative spiritual community. In these pages, she says that the book is “based upon the soul’s realizations in Absolute Consciousness and its spiritual relationships with the Supreme One.” Monument Eternal offers deep insight into Coltrane’s tremendous musical output, and shines a light on her transformation from Alice McLeod, Detroit church organist and bebopper, to sage thought leader Swami Turiyasangitananda. It also reflects the extraordinary fluidity of American religious customs in the mid and late twentieth century.

Akashic’s long-awaited reissue of Monument Eternal includes a new foreword by Ashley Kahn.

Host Sam Reich jumping joyously on the Game Changer set

Game Changer is a comedy panel game show produced and broadcast on the streaming service Dropout TV hosted by Sam Reich. The premise of the game show is that “the game changes every show,” so the reoccurring panel of comedian contestants have no idea what game they are playing until they start playing it.

Game Changer’s logo uses the fonts FF Prater Script for the word “Game” and Trade Gothic Next Heavy Compressed for the word “Changer”. In Season 5, much of the advertising used a hand painted style of Sam Reich as a magician, and used the font Sign Lettering JNL for the title on those advertisements instead.

Game Changer also displays the prompts for the contestants, and the info card of each contestant in Trade Gothic Next. The font used for the credit roll is Proxima Nova.

The strangest font among Game Changer’s history has to be All P Keyboard. This comedic font is entirely composed of the lowercase letter p, mapped to all other characters. The p glyph in this font is the same as the one from the Helvetica typeface.

This odd font choice comes from Game Changer season 2, episode 4, “A Sponsored Episode”, where the contestants are tasked with pitching random products they have never seen before. Contestant Mike Trapp receives a normal keyboard, except that all the letters have been replaced with the letter p. His hilarious yet surprisingly convincing presentation gained lots of views online, which gave Dropout the idea to make this an actual font you could use and released it in 2021 with the premiere of season 4 of the show.

This is the only font that Dropout has ever released themselves, and is available to download for users who have a subscription.

Game Changer Season 7 poster

Game Changer Season 6 poster

Game Changer Season 5 poster, with the title displayed in Sign Lettering JNL

Game Changer Season 4 poster

Game Changer Season 3 poster

Game Changer Season 1 promotional material

Sam Reich gleefully holding three large rubber ducks behind his podium, with the question prompt displayed on the monitor beside him reading “Gimme a Duck” in Trade Gothic Next

Screencap of Rekha Shankar’s entrance on S6EP7 Beat the Buzzer.
Rekha’s name, pronouns, and Instagram handle are all displayed in Trade Gothic Next.

Mike Trapp’s torso presenting an all-p keyboard

Death Stranding is a third-person action game developed by Kojima Productions. Initially published by Sony Interactive Entertainment and 505 Games in 2019, it would receive a “directors cut” in 2021–2022. Described as a “strand game”, you play as Sam Porter Bridges—a courier tasked with delivering supplies to isolated colonies across a post-apocalyptic North America while reconnecting them via a wireless communications network.

One of my favorite games of this decade, Death Stranding follows a functional approach to the typical futuristic UI we see in video games. You could even say it’s unconventional. Minimal use of animations, a soft blue color scheme and long lines of information contribute to the unique look of the game and the immersion of being a courier where each line of text is important in planing ahead and completing an order.

Sackers Gothic Medium is used for the game's logo and in general as the branding typeface for the series. In-game, it is used for title cards when entering a new chapter and introducing a new character. SST Roman is used as the primary typeface for the UI. I would assume its inclusion here is likely due to its readability as you will have to deal with walls of text for certain parts of the game.

The game also uses custom fonts, likely designed in-house by Kojima Productions. EX PS Medium Neon, a neon-styled display typeface is used on short and big text. Second is BO CD Mono (Light and Medium), a geometric typeface that somewhat resembles a VCR font is similarly used for short text and numerical elements.

The main menu for Death Stranding: Director’s Cut. Note the usage of long way strands for the selected button, a visual motif that is repeated throughout the game.

Accessing the options menu

A typical scene in Death Stranding

Choosing an order available for the player. EX PS Medium Neon is on the top left, while BO CD Mono is used for the numbers pertaining to the weight of the cargo

Completing a delivery, BO CD Mono Light is seen on the bottom

Meeting Lockne, one of the many characters you will come across during your journey across America. Sackers Gothic is seen here for the name card

Make Some Noise Season 3 poster, with the title set in Trade Gothic Next. Pictured are guests (starting from top left corner, in clockwise order) Kimia Behpoornia, Carl Tart, Josh Ruben, Vic Michaelis, Zac Oyama, Jacquis Neal, Jess McKenna, Lou Wilson, Jacob Wysocki, Anna Garcia, Jiavani, Ross Bryant, Jeremy Culhane, Paul F. Tompkins, and Brennan Lee Mulligan.

Make Some Noise is an improvisational comedy game show hosted by Sam Reich on the streaming platform Dropout TV. The show originated as a series of episodes on the platform's panel game show Game Changer, where contestants Josh Ruben, Zac Oyama, and Brennan Lee Mulligan find themselves in a sound effect impersonation game that quickly goes off the rails.

Make Some Noise has its logo, improvisational prompts, and cast info cards set in Trade Gothic Next, and starting in Season 2, an end-of-episode credits roll set in Proxima Nova.

Screenshot of Season 3, Episode 19, “A Takedown of Billionaires Rihanna, Beyoncé, and Oprah”.

Pictured: Sam Reich smiling gleefully at his desk, with the episode’s title prompt displayed on screen in Trade Gothic Next Heavy Compressed.

Screenshot of Season 3, Episode 12, “A Basketball Player’s Far Too Elaborate Free Throw Routine”.

Pictured: Ben Schwartz talking to someone off-screen in a doorway, with his name, pronouns, and Instagram handle displayed in various styles of Trade Gothic Next.

Screenshot of Season 2, Episode 1, “100,000 Batmans”.

Pictured: An out of focus Make Some Noise set with the episode’s end credits set in Proxima Nova below.