Visual artist James Jean 簡明 created the cover artwork for JJ Lin’s 20th anniversary album Happily, Painfully After. But I can’t say for sure that James also set the type. Discogs credits him with the album’s art direction and Yang Shi Ching 楊士慶 with the design.

The Chinese is set in Adobe’s Source Han Sans, specifically the Taiwan Traditional Chinese version. The English is set in DJR’s Megascope.

In particular, Megascope was expanded into several weights in the March 2023 installment of the Font of the Month Club. And shortly after, the album was revealed in early April 2023, which uses two weights of Megascope. A much heavier weight of Megascope was used in an ad campaign to the world live premiere of Happily, Painfully After.

Design studio HyperPension created a poster for the exhibition 198X, organized by the Design History Society of Korea. The exhibition revisited the 1980s through the lens of creators born in the 1990s and later, especially in the section titled “Young Eyes, 198X”. The assigned theme for this poster was “The Dawn of Color TV in 1980”. In Korea, color television broadcasting officially began that year.

The headline is typeset in Megascope and the supporting text in Circule. The fully circular counters in the headline (9, 8, 0) and the supporting text (O) blend well with the central graphic.

At the center of the poster, a pale white dwarf begins to wane, while a planet with an iridescent atmosphere appears to wax. This abstract visual composition evokes a sense of transition—from black-and-white to color, and from one era to the next.

The exhibition was held at DDP (Dongdaemun Design Plaza) from November 12 to December 7, 2025. The poster was produced as a 120×300 cm large-format banner.

From Parks Project:

Alaska is the Last Frontier – wild, vast, and unlike anywhere else on Earth. This collection calls to Respect & Protect – to stand with a place that is fighting to stay wild. Together, we can help defend the Last Frontier and the voices rooted in it. […]  we’re raising funds to protect Alaska’s wild beauty and support the Native Conservancy – the first Native-led land trust in the U.S. working to safeguard ecosystems and strengthen Indigenous food sovereignty.

Design studio Ordinary People created a poster series and accompanying booklets for the 2024 Youth Creative Belt, organized by the National Theater Company of Korea’s Youth Drama Research Institute.

Throughout the series, the Latin is typeset in my typeface Megascope and the Hangul in AG MangdangDisplay from AG Typography Institute. I absolutely love how the designers took the letterforms and broke them down into linear elements, making them feel like something between a sketch and a schematic drawing. The complexity is mesmerizing!

Ordinary People describes the project as follows:

Youth plays are often abstract, open-ended, and undefined, reflecting the evolving identity of adolescence. This is expressed through outlines that give shape to form by way of incomplete and fragmented strokes, with the elements ultimately coming together to create the key visual for the 2024 Youth Play Reading Performance.

Each performance poster—“Half,” “How the Giraffe Travels,” and “In Your World”—distills the mood of each piece into keywords: “memory,” “farewell,” and “encounter.” These words were then visualized through various combinations of dashed, dotted, and intersecting lines. Bringing diversity to linearity empowers the visual identity to expand with distinction, while highlighting the unique character of each work.

13 Months of Sunshine is the third studio album by American rapper Aminé.

Designer Bijan Berahimi of FISK makes expert use of my typeface Megascope throughout the release, including the album cover, back cover, interior, and associated merch. Berahimi generously sprinkled in Megascope’s alternates to give titles extra flair, and made other customizations to give the x-height extra bounce. I love to see Megascope used this way! Avant Garde, an admittedly more text-friendly geometric sans, is used for liner notes and other body text.

[More info on Discogs]

Photography: Lucas Creighton⁣⁣
Hair: Aliky Williams⁣⁣
Makeup: Alexa Hernandez⁣⁣
Styling: Tinbete Daniel⁣⁣
Creative consultant: Liam MacRae⁣⁣
Design direction: Bijan Berahimi (FISK)⁣
Illustration: Nick Collini ⁣
Management: Mischief Management (Justin & Ryan)
Vinyl photos: Mario Gallucci

Back cover

Album and merch

Front cover

Interior spread

13MOS

Liner notes

Liner notes (detail)

Album and merch

Credits and illustration

Detail of tricolor disc, Side A

Detail of tricolor disc, Side B

Detail of tricolor disc, Side C

Detail of tricolor disc, Side D

Aminé wearing the Unc Ringer.

Aminé sharing the White tee.

Tour poster. The supporting typeface is Gill Sans.

Tidal’s first double cover featuring Julio Torres shot by Kevin Alexander

Tidal’s Spring/Summer 2025 issue features Julio Torres, Ali Sethi, Brittany Broski, Xiuhtezcatl Martinez, Yvonne Wells, Liam Lee, and Misha Japanwala.

Issue 20 brings together visionaries across art, fashion, music, and activism. Julio Torres and Ziwe trade notes on creativity and chaos; Ali Sethi explores the spiritual and political dimensions of sound; and Brittany Broski opens up about going from viral fame to pop music. We spotlight a conversation between artists Yvonne Wells, Liam Lee, and Misha Japanwala who are transforming craft into something radically connective. Plus: climate activist Xiuhtezcatl Martinez on the power of Indigenous resistance, and fashion that dares to dream.

“Julio Torres” lettering by Tida Tep

Xiuhtezcatl Martinez feature with an X from Innit by Wei Huang and the subhead in Constrictor, a WIP typeface by Fred Shallcrass.

“Ali Sethi” lettering by Douglas Hayes

“Bored Games” lettering by Douglas Hayes

“Rare Form” in Store Norske Ballong

“Blur the Line” in Mānuka Slab

“Broski” in Smoosh

“By Nightfall” in Smoosh

“Cosmos Crush” in Megascope

“Touch and Go” in Innit

“Oh Joy!” in Club Serif, a WIP typeface by Douglas Hayes

“At First Blush” lettering by Tida Tep

Identity design for digital painting class service Pado.

A meeting of digital and drawing, painting, and art, Pado’s digital painting service allows anyone to easily draw and create their own pictures with digital devices, enabling them to feel the materials and textures of various paintings implemented digitally.

We created symbols based on brush strokes and wave shapes, and adopted a cursive English typeface to express dynamic forms.

Poster and communication for Dôme d’Amour, a queer party at Silodom in Saarbrücken, Germany. Illustration and hand lettering made for a nice pairing with DJR’s flamboyant Megascope.

Tidal is a biannual fashion and pop culture magazine that blends refined taste with a playful, optimistic spirit. Issue 18 features cover star Ziwe as shot by Myrthe Giesbers, and inside there are profiles on Honey Balenciaga, ALOK, and Dua Saleh.

Led by creative director Tida Tep, each issue of Tidal is unique and celebrates a wide typographic palette – including custom lettering and type design by Douglas Hayes, who also drew the magazine logo.

“Ziwe” is a custom lettering by Tida Tep and Douglas Hayes

“Loose Ends” is set in Holloway by Douglas Hayes (Coming soon? Someone should honestly ask Doug to release it ASAP).

Nero Alto by Mateo Broillet is used for “A Taste of Honey”, paired with Feature from Commercial Type.

“In the Mood” mixes Buxom by Facsimile Fonts, Megabase from DJR, Ohno Softie from OH no Type Co., Tiny by Jack Halten Fahnestock, and Funkford by Dave Coleman.

“Coastal Cool” in tightly spaced Megascope from David Jonathan Ross’s Font of the Month Club

“Dua Saleh” is set in David Jonathan Ross’s Megabase.

“Golden Hour” is set in Mānuka Slab from Klim Type Foundry.

“ALOK” is custom lettering by Douglas Hayes.

Back cover featuring Honey Balenciaga shot by Boe Marion

In 2023, during my time at Estúdio Mola, we received an invitation to develop the visual identity of the largest alternative music festival in the country, Coquetel Molotov (@noarcm), which, this year, would celebrate 20 years of history.

Coquy always had a history of several impactful graphic projects throughout its years, and in the twentieth edition, we decided to pay a graphic homage to previous years, creating layers of textures that unfolded in graphics in all the pieces of the event. Based on the concept of the eggshell, which protects what is unknown, embryonic, we envision what Coquetel would be from now on, and we see it as this unknown nucleus, which is always constantly evolving and diving, but which respects a history of 19 external layers that protect it and sustain a history in Recife's culture.

The festival will take place on October 21 at the campus of UFPE.

Megascope interspersed with Ed’s Market Bold Script

Studio Yukiko has created a playful, energetic, and—dare I say—delicious design for Door Dash’s Secret Menu magazine about local food culture. From Studio Yukiko:

This issue dives deep into Miami’s almighty hustle - A food scene boasting one of the wildest most diverse restaurant cultures in America. It follows stories of taco stands morphing into Michelin starred Italian spots, Black-owned vegan restaurants, reinvented Jewish delis, Cuban and Caribbean stalwarts, and so much more…

“Wild” and “diverse” could also be used to describe the issue’s design and typography. The fonts and layouts are playful, colorful, fun, and varied, with each article spread getting its own special typographic treatment. There is no shortage of sunset-like linear gradients, text effects like outlines and glows, and mixing of typefaces on the same line.

The eclectic design is united by a core palette of typefaces: Megascope is used across the issue for headlines, a callout to Miami’s connection to Art Deco. Random letters are replaced by Ed’s Market (both Script and Slant styles), bringing some movement and dynamism into the static, geometric typeface. Text is set in Surt and ITC Bookman, with Mrs Sheppards appearing in supporting text such as bylines. Jackpot Italic and Middleton Brush are featured on the cover, and Goudy Two Shoes, Compagnon (& Compagnon Bold), Promenades, Pipo, Generation September and Marlfield make special appearances in individual spreads. One of my favorite details is how the page numbers—mostly set in Megascope—become such a dominant part of the layout. A few tiny appearances of other guest typefaces (for photo credits, or a single word here and there) are not mentioned here.

The design team for this project included Sebastien Millot, Michelle Phillips, and Kir Nazarov, with production by Mike Teevee. David Amsden and Erin Ruffin are the editors-in-chief of the magazine. According to Phillips, “for the Miami Issue for Secret Menu, we wanted to bring the instantly recognisable world of Iconic Miami’s Mimo and Art Deco style together with its lax small-town scrappiness by combining a geometric sans (Megascope), with a brush script (Ed’s Market) to really bring out Miami’s almighty food culture scene.”

Cover ft. Jackpot and Middleton Brush for the title

Table of contents with Megascope for page numbers and headlines and Goudy Two Shoes for “Issue 02”. “Buzzworthy” is set in Compagnon Bold.

Text in ITC Bookman and Surt

Megascope with stacked glyphs and integrated into an image. The bold serif used for “Greater Miami” is Marlfield from Eliott Grunewald.

Megascope plus Ed’s Market with added stripes, compare Gadget. (The font used for “El Palacio de los jugos” is Balloon.)

Compagnon Bold with glossy effect

Megascope combined with Pipo Medium (“Flame”)

Megascope with staircase glyphs and Compagnon for captions

Megascope mixed with Ed’s Market Narrow Slant (“MM”) and Slant (“57”)

“The Great” and “Little Havana” are in Promenades.

Megascope with glow effect plus Generation September set on angle

Credits in Mrs Sheppards, text in Surt

A series of postcards designed by Dayan D’Aniello (Smith & Diction agency) for an art installation by Matty Geez at Group X in Philadelphia.

Julia Fletcher designed three recent show posters for the band Sextile that feature three fonts from my Megafonts series, Megazoid, Megascope, and Megavolt.

In the San Francisco poster, Acumin, Benny One (Castcraft’s copy of Stan Control), Hellenic Wide, and Automania make appearances in supporting text. She also gave Megazoid a colorful bevel that I would love to add to the typeface itself. (Fletcher has previously customized Megazoid to great effect.)

The more recent New York poster deploys Acumin and Automania as well, adding a bit of Fake Receipt for good measure. The Brooklyn poster from 2022 uses Benny One, Automania, and Berlin Bold.

I appreciate that Fletcher is unafraid to stretch type, and manages to do it in a way that feels of a piece with the warping and stretching of two-dimensional space that is happening in the layouts.