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

Resident Evil 7: Biohazard is a survival horror game developed and published by Capcom, initially released on January 24th of 2017. The players control Ethan Winters, a seemingly average man in search of his missing wife, Mia, who disappeared three years ago. After receiving an email from her, it led him down to a plantation in Louisiana. Released after years of excitement and some trepidation from fans and the industry alike, the game has been widely praised and is largely credited for reviving the Resident Evil franchise among other achievements.

Resident Evil 7 is the first entry to use Plak Extra Condensed for the franchise’s logo, replacing Compacta Bold which was used in prior games such as the original Resident Evil. “Biohazard” uses Rama Gothic Rounded. In-game, the user interface primarily uses Franklin Gothic Book, which actually fits the Southern Gothic aesthetic very well. Futura is used more sparingly as a heading font of sorts and Rodin is used exclusively for the subtitles, possibly for localization reasons. Digital similarly is rarely used but can be spotted in number counters and the main menu.

Main menu. The player navigates the menu using a tape recorder that uses Digital for the UI.

Settings menu

The loading screens in RE7 consist of a short synopsis of the current chapter.

Ethan Winters confronting a very evil resident

Inventory menu

Death screen

An alternate UI for Jack’s 55th birthday, one of many RE7’s frankly unhinged DLCs. Digital is used for the timer. “Are You Ready?” is in Lydian Cursive.

Die Neue Fotografie – Gewerbemuseum Basel, letterpress / linocut, 128×90.5 cm (2-piece).

Exhibition poster for the traveling exhibition Die Neue Fotografie (“The New Photography”) by the Deutscher Werkbund at the Gewerbemuseum Basel in 1931.

The Gewerbemuseum existed in Basel from 1878 to 1996, and from 1928 onwards showed a series of exhibitions in the spirit of the Bauhaus. Art historian Georg Schmidt, who worked as a curator at the Gewerbemuseum between 1929 and 1939, was largely responsible for this.

The unsigned poster, using three sizes of Plak Condensed, was most likely produced in the printing workshop of the Gewerbeschule, which was directly connected to the museum.

Rosie Lee were brought in by Nike to create the visual identity and design the space for the Sneakerball event held in Madrid at the World Basketball Festival. The aim of the experience was to celebrate Nike’s 42 years of basketball sneaker culture.

The first task was to create the visual identity, for which we represented shattered backboards with typography, which flowed through into a visual identity for the event.

For the overall experience, we designed a street-court inspired display cases to hold a raft of game-changing basketball sneakers, featuring selfie spaces to encourage party-goers to share their experience. Our concrete sculpture fusing together iconic basketball sneakers became the most posted image from the whole festival.

Cover of Typografia, prosince 1930, Ročník 37, Číslo 12
Technical Journal of Czechoslovak Printers.

Berliner Illustrirte Zeitung

On the occasion of the 50th anniversary of the assassination of John F. Kennedy in Dallas, the German Newspaper Museum shows the exhibition Tatort Dallas in memory of the former President of the United States. — kulturbesitz.de

An unexpected use of Paul Renner’s less known sans-serif, Plak, for official placards in the NYC subway.

Apple’s newly announced iOS 7 brings a long-rumored “flatness” to the homescreen. The most visible typographic change is a lighter and more tightly spaced Neue Helvetica, a move that I’ll cover in more detail later. But first, a couple bits that noticeably depart from Helvetication: the Camera app and the Newsstand icon. The new look for Apple’s magazine and newspaper app emulates a group of publications, each with nameplates, making this icon stand out from the simple pictograms of the other system apps.

I cannot positively identify the “News” type, but it appears to be based on Friedrich Bauer’s 19th-century Gotisch. The Apple designers didn’t seem to be happy with the unfamiliar Fraktur ‘w’: they replaced it with a rotated ‘m’ — a thing they are known to do.

Other than the Calendar, Clock, and Maps apps, Newsstand is the only icon with type and a consipucuous showcase of multiple typefaces.

The icon as shown in the iOS 7 intro video, along with the underlying design grid for all the app icons.

In 2010, Demian Conrad created a new visual identity for Gabbani. Established in 1937, the Lugano restaurant is one of the oldest delicatessen in the Italian part of Switzerland.

Read about the work and see more images on demianconrad.com.

Photos: Olivier Lovey, Sylvain Meltz, Adrien Cater and Virginie Otth

The logo is based on Plak Extra Condensed, a 1930s display typeface by Paul Renner, the designer of Futura.

New logo application

Table with packaging

Handy bag and food foils

2 bottles of vinegar

Card family

Wine card layout

Newspaper advertising

Invitation card with beautiful patterned figures from ITC Tiffany Heavy by Ed Benguiat

Invitation

Poster B24