Marathon is a first person PvPvE extraction shooter developed and published by Bungie, their first major live-service title since 2017’s Destiny 2. After a few speed bumps and an indefinite delay, the game was released on March 5th of 2026.

Set in the year 2983, you play as a Runner; disposable mercenaries who have given up their human body in favor of artificial “shells” with unique powers of their own. After a colony ship known as the UESC Marathon mysteriously went dark over the years, many of its corporations who have a stake in the ship would hire Runners to infiltrate what’s left of the colony, fight and retrieve valuable resources.

Dubbed by Bungie as “graphic-realism”, the game’s art style can be best described as a Designers’ Republic fan’s wet-dream. High contrast, bold colors, strong brutalist shapes and much more, it is undoubtedly one of the most bold looking triple A games of its kind that visually can only rival a few indie games.

KH Interference is Marathon’s primary typeface for headlines and display, using its Regular and Light weights. Its practically a brand typeface now with how much it is used even outside of the game. A custom version of Shapiro Wide 65 as its second heading font. Its most noticeable changes include the serif for capital I, curved leg for capital R and serif for 1. Its third heading font is IvyPresto Headline Regular, which is only used in-game. Fraktion Mono Regular and Medium is used for body text.

Since this game uses so many typefaces outside of just the UI, I might have to create a separate page cataloguing all of the fonts.

Lobby screen as of Season 2. Don’t mind the broken tab at the top, because some games still do not know how to support 16:10.

The “Shells” menu, where players can choose different shells with their own special abilities

An overview page for one of the many featured megaorganizations in this game, CyberAcme

In-game HUD

A successful exfiltration

Viewing collected intel from the Codex. Amusingly, the scrolling text does not use the modified Shapiro Wide.

Bonus rewards after completing a few contracts

Battle pass

Unlocking a new weapon skin

The Matcha Kyōto is a modern expression of heritage and craft. Inspired by the tea fields of Uji, Kyoto, the brand captures the quiet beauty and precision of Japanese tea culture.

The identity blends structure and softness, using a restrained grid, minimal typography and natural textures to reflect purity and calmness. Every detail of the identity is designed to be felt as much as seen.

The packaging and printed materials use textured, uncoated stocks to mirror the raw, organic qualities of stone-ground matcha. Subtle grain, soft shadows and fine lines create a quiet tactility that reflects the care behind every handpicked leaf.

Each element of the identity was considered to evoke a sense of calm, craft and connection. A continuation of the brand’s visual language in physical form. From the tea-rich hometown of Uji, Kyōto, to the world.

The latest volume in the Type in Use series by Victionary (2024–2025), this book highlights the use of display typefaces, renowned for their boldness and attention-grabbing qualities. They are adaptable across diverse design contexts, seamlessly integrating into print, digital, and beyond. Display in Use brings together the best fonts for big canvases, and provides a reference point for inspiration seeking designers and typographers.

The book was designed by Ben Lee at Victionary. While the D on the front cover is from AC Visual, the back features Dina Chaumont Display. This lowercase-only monospaced typeface is built around the DIN A ratio. This format is used in portrait and landscape; thus two different widths coexist. The letters are designed to fill the surface as much as possible in both cases. This feature gives a distinct appearance and plays on formal and dynamic variations. Instantly recognizable, expressive and playful, Dina Chaumont Display perfectly embodies its role.

The monospaced font used on the spine and also for the info on the typeface pages (not shown) is unidentified [edit: it’s Fraktion Mono, see the comments].

Dina Chaumont Display is also used for the contents page.

Natascha Vavrina was born in 1992 in the Suisse town of Burgdorf, in the picturesque Emmental valley. After a preliminary design course in Lucerne she went on to study film at ZHdK. Her 2018 graduation was quickly followed by the first international prize, the 2019 Young Talent award by Deutscher Kamerapreis. Currently Vavrina lives in Zurich and works on commercial as well as on artistic projects, mostly behind the camera but also as editor and director.

The visual identity for Natascha Vavrina was designed by Feldman.Studio from Paris, with web development by Florent Biffi. In contrast to the many colorful films that you can watch on the site, the basic ingredients of the identity are black and white – and two typefaces in a pleasant tension. On the top level there is Kessler Super Display by Alaric Garnier, available from Production Type. It is the variant of the larger Kessler family that explores the extremes, with regard to fine hairlines and details in the stroke endings.

Garnier’s work on Kessler started as a study of Roman capitals designed in 1905 by Harry Kessler. In this application featuring exclusively its caps, Kessler resembles ancient inscriptions on Roman monuments. The large size and the mid-word linebreaks (and maybe also the two V’s?) in the logotype further support this association.

Kessler is combined with Fraktion Mono by Juri Zaech, a monospaced typeface of technical appeal that creates an interesting opposition to the pure elegance of Kessler. The picture of the business card produced by Atelier Bulk (shown further down in this post) sums it up perfectly: Kessler blindly embossed into uncoated paper with a black layer of printed Fraktion Mono on top, like heaven and earth, or art and engineering.

This editorial project was made at the School of Visual Arts. It weaves the compelling story of the Omega Speedmaster’s crucial role during the most harrowing moments of NASA’s Apollo 13 mission. Through a 14-second countdown, it highlights the watch’s pivotal contribution to the crew’s safe return to Earth following an unexpected rupture of the service module oxygen tank in space. The narrative unfolds across a dialogue record and a single-page zine that explores the Speedmaster's storied history and its deep connection with NASA. The imagery, predominantly converted into ASCII ART, reflects the mission's imperative for energy conservation. This choice symbolizes the astronauts’ reliance on the Speedmaster over any onboard timing device, emphasizing adaptability and resourcefulness. This project is a concise yet profound ode to the Omega Speedmaster, capturing its significance in a critical moment of space exploration. It celebrates the spirit of human ingenuity and the timeless appeal of a watch that transcends its functional purpose, becoming a symbol of resilience and exploration.

“A scalable solution for carbon removal” is what Pasadena-based Captura offers. Their process uses renewable energy to remove CO₂ from seawater and amplify the ocean’s natural removal of carbon from the atmosphere – all with no additives or by-products.

Captura’s brand typeface is Stray, which is ued for the all-lowercase logo. On the website, headlines in Stray are paired with Karla for text and Fraktion Mono for the menu, buttons, section headers and more.

Varianz High Serif and what looks like slightly stretched caps from Fraktion Mono being used for the exhibition and award ceremony of the Arthur-Petersen-Preis 2023.

The Muthesius Kunsthochschule writes:

The Arthur Petersen Prize for Master’s graduates of the Muthesius Academy of Fine Arts and Design will be awarded for the first time at the end of November. The Arthur Petersen Foundation is providing the university with a total of 10,000 euros to honour Master's graduates. The scholarship jury will award four prizes of 2,500 euros each for final theses and projects in the Fine Arts, Spatial Strategies, Industrial Design and Communication Design degree programmes. The award ceremony will take place on Thursday, 30 November, at 6 pm at sp ce | Muthesius. Afterwards, the four prize-winning works will be on display in the exhibition space of the Muthesius Academy of Fine Arts and Design at Andreas-Gayk-Straße 7-11, Kiel.

Location: sp ce | Muthesius; Andreas-Gayk-Straße 7-11, 24103 Kiel
Date: Friday, 01.12.2023 - Saturday, 13.01.2024
Time: All day

An operating system for managing their entire digital experience, Lunchbox is “the secret sauce 1,000+ restaurants use to get more – more guests, more orders, and more money”.

Studio Freight designed everything to represent the intersection of Lunchbox’s technology and unapologetic point of view: own it all yourself and be yourself. The typography uses TT Trailers and Attila Sans for headlines. Smaller texts use Stabil Grotesk and Fraktion Mono plus the user’s system sans serif.

If there is one place where Italy and France know how to agree, it is around a table!

Cacio Pepe, an Italian trattoria located in the heart of the Passage de l'Arsenal in Valenciennes, brings together the creativity of Italy through that of a starred chef of Italian origin and the French audacity of an entrepreneur-restaurateur who does not have cold eyes. Two gourmets at heart who have taken up a bet: to set up a restaurant together in the pure Italian tradition.