From Wikipedia:

Call of Duty: Black Ops 6 is a 2024 first-person shooter video game co-developed by Treyarch and Raven Software and published by Activision. It is the twenty-first installment of the Call of Duty series […] Black Ops 6’s single-player story follows rogue CIA operatives Troy Marshall and Frank Woods as they assemble a team of agents to hunt down Pantheon, a paramilitary group with covert ties to the agency.

Black Ops 6 continues the age-old tradition in military shooters: it must use squared sans-serifs no matter what. And this game more than kept its end of the bargain. Kairos Sans Condensed is featured throughout the game’s UI, mainly on big headings and small, less important text. TT Lakes Neue and its Condensed variant are mainly used on long body text, where Kairos Sans could be a bit too angular for readability.

Subtitles are set in Monospace 821 Bold, evoking the feeling of reading a transcript – very fitting for the “off the books” nature of the Black Ops games. Helvetica itself is also used, but is reserved for numbered elements. The venerable Noto Sans returns, used on the scoreboard and player names for full language converage. Stratum 2 makes a surprise appearance, but only in the campaign’s pre-rendered cutscenes.

Game logo

Main menu

Mission select screen on the campaign mode

A cutscene that happens early in the game. Stratum 2 is seen here.

Multiplayer lobby

Modfiying a weapon. Monospace 821 is used on gun statistics.

Every now and then, the game gives you multiple dialogue choices. The last line of dialogue is set in the regular width of TT Lakes Neue, while the buttons use the Condensed width.

Admiring a beautiful shotgun. The campaign uses a different HUD from the online modes. Button prompts (bottom right) appear to be set in Noto Sans, while the rest is in Kairos Sans.

The start of a Team Deathmatch mode. Helvetica can be spotted on the bottom right, used for the ammo counter. The monospaced version – Bitstream’s Monospace 821 – also appears here in subtitle form.

Scoreboard

Tasting sweet victory in the form of a very large Kairos Sans

Barely surviving in Zombies mode. The HUD appears virtually the same as other online modes. Note that Helvetica is used on the score numbers, while Noto Sans on the described kills.

Misfit offers a new way of thinking about, and fighting, food waste—because we want food to have flavor, personality, and purpose. We're on our way to becoming Misfit Foods, a brand where inefficiencies in the food system ('cause let's face it, there are a lot) become delightful products. — Misfit

Alias Elephant is used in letterspaced caps as headline type for the website, with Monospace 821 used for text.

The Architecture Division of the California College of the Arts (CCA) is an internationally recognised leader in architecture and interior design education. Its programs, which focus on digital technologies and material systems, design research and urban agency, were developed to prepare students for creative practice where material innovation and formal experimentation meet social engagement and cultural collaboration. CCA Architecture strives to develop the next generation of architects and designers, those who will go on to shape the future of the built environment.

Manual worked with the college to develop a unifying graphic identity for the division, to differentiate it within an art college with a diverse curriculum, and strengthen its wide-ranging communication materials, those that are aimed at prospective international students, faculty members and visiting lecturers. Using a simple /\ motif and employing a variety in its implementation alongside Akzidenz Grotesk Condensed Manual find an interesting balance between the structural, the material and the digital across brochures, posters and wayfinding.

Read more about this project on BP&O.

A publication which is half instruction manual half artist book companion to Module Operandi – a DIY, 3D-printed pegboard personalization kit. 

Module Operandi is a kit of small moveable bits that attach onto existing standard pegboards, expanding their functionality and enabling personalization. Planned as an open system, this kit of parts enables invention of new ways of using what is typically a utilitarian object. 

Set in Monospace 821 (Bitstream’s version of Helvetica Monospaced) and in custom letterforms constructed by using shapes from the plastic kit. Riso printed on Mohawk Via Vellum, wire-bound.

From Atelier Carvalho Bernau:

In a 4 year, 150.000 km tour de force, Eline Jongsma and Kel O’Neill travelled the globe tracing the unintended consequences of Dutch colonialism across the five continents. They distilled their findings into a series of interactive films and installations, trying to show the complex and emotionally fraught consequences of the Dutch empire. This book is at once their research report, travel diary, and collection of their notes and findings, as well as a catalogue of the four projects that resulted from Eline’s and Kel’s research.

In close collaboration with Eline and Kel, we proposed an editorial structure that synthesises these different aspects. Parts of the book are linear, and parts are clustered together by topic. Different narrative modes and different kinds of content have distinct visual and material treatment, and individual typographic voices.

Headers and footers on every page give the reader orientation about the place, time and project that every text belongs to. Call-outs in the margins of the text work as exit cues: Further explanations in the form of web links that we asked Eline and Kel to compile specifically for this publication.

We think that this can be one function that a book can fill better today than any other medium: To act as a narrative centerpiece, permanent and with a feeling of immutability in itself, while at the same time pointing outward, referencing and making use of other forms of communication.

For Eline Jongsma & Kel O’Neill, Los Angeles, 2014.
132 pp., 17×24 cm.

Photos: Nadine Stijns

Der Zirkel, der macht examines all things that receive little attention. With readings, installations, performances or concerts, we create modern fairy tales in which you play a role, and which you would like to carry further.

Magazine: Karl Anders
Art direction and design: Marcel Häusler