At the 98th Academy Awards held on March 15, 2026, host Conan O’Brien introduced a short parody segment that features a fictional company called Ventura Crossroads that reformats Hollywood films for vertical video.

The video uses Input Mono’s Compressed Light weight for the company’s logo and lower third text. Even though Input Mono is not used in a true monospaced environment, the font nerd in me appreciates that the segment’s punchline involves the vertical alignment of its letters.

Hotel Love is a novel described as “a creepy love story with AI” written by Austrian author Petra Piuk and published by Leykam Buchverlag.

The design, full of editorial details, was carried out by Vienna-based Sellerie Studio, who developed a series of lipstick lettering, as well as the layout and typesetting of the book. The designers comment on the book design (translated from German):

It was clear from the very first pencil sketches that we wanted to package this dystopian love story in a way that was as toxic as possible.
Glossy lip service: Our design “Read My Lips” (or not ...) went through several stages of development before it arrived at the (forest) bottom of reality — fortunately without exceeding its best-before date.

The typesetting uses MT Baskerville for the main text, Violeta for titles and highlights, and Input Mono Compressed for the ISBN on the cover and the book’s sections.

Esports Gibraltar (governed by GEVGA, the Gibraltar Esports and Video Gaming Association) is Gibraltar’s national esports team, competing internationally across a plethora of games.

Kenshō Agency’s visual identity utilises Geogrotesque Sharp (Emtype Foundry) for both the logotype (Expanded Bold Italic) and display type (Bold), alongside Input Mono (David Jonathan Ross) for secondary type and Acumin (Adobe) for body copy.

The new visual identity for the Detroit Opera consists of a kinetic typographic system that allows the brand to be flexible across various design applications. The primary typeface of the logo, Ivar Nostalgia Stencil, echoes the grassroots culture and visual artwork found throughout Detroit – primarily graffiti, street art and stenciling. It was then paired with Input Mono, a modern monospaced typeface to elevate the tone. We then included a tertiary blackletter typeface, Jabin, for small accents that adds additional personality and movement to the brand identity. The blackletter typeface was chosen both out of respect for opera’s centuries old traditions as well as a subtle nod to the iconic Old English Detroit D, most familiar to people as the logo of the Detroit Tigers.

Lafayette American's brand studio Scorpion Rose Studio, in partnership with Semi:Formal, created a full graphic brand system consisting of logo, color, typography, stationery and social media art direction. Additionally, they also created unique show art for the season, marrying the brand identity to unique visuals capturing each show’s essence.

View the full case study at he Scorpion Rose portfolio website

Project Credits: Lafayette American, Scorpion Rose Studio, Design Partner - Semi:Formal

In what is probably the largest use of my fonts ever (and without a doubt the corniest ?), Mike’s Maze at Warner Farm in Sunderland, Massachusetts has debuted its Fall 2023 corn maze featuring Fit and Lab DJR.

Employing font sizes of up to 151,165pt (that’s a 44-yard / 40-meter cap height), designer Jess Marsh of Hired Hands Signs chose artificial intelligence as the theme of this year’s maze.

In a dense border around the edge of the maze, she asks the question, “In the age of artificial intelligence, what makes us human?”

As visitors wander Fit’s narrow corridors (reminiscent of the circuitry in a computer chip), they ponder this question and encounter tech trivia and decoding challenges along the way.

In the center of the maze, the space opens up and visitors experience the raster grid of the word “ThiNkiNG” set in Lab DJR.

In a field just to the northwest, a companion maze used for beer tastings features the word “DRINKING” set in a chunkier cut of Fit, with bubbles floating around it.

While designing the maze, Marsh used Fit’s variable width axis to subtly adjust the text to align with the rows of corn and fill the length of the field. She worked with Precision Mazes to execute the design with a combination of drones, GPS-guided tractors, and manual labor. Marsh and farmer David Wissemann had to clear out the thin strips of Fit’s counterforms using shovels and hoes, since those interior spaces could not be accessed by tractor. (I helped out a little in the field too, photo evidence below.)

Mike’s Maze was started by farmer Mike Wissemann (David’s father) and artist Will Sillin over twenty years ago, and each year’s maze centers on a different theme. The maze is a popular autumn destination for families in Western Massachusetts, and this year’s maze was front page news in the local paper. In addition to exploring the maze, visitors can eat cider donuts, play on giant slides and ropes, hang out inside a giant computer, and more.

Video by Dan Taibbi

A fisheye panorama showing the maze’s position in Massachusetts’s Pioneer Valley, with the Connecticut River and Sugarloaf Mountain behind it

A close-up drone shot, showing the rows of corn.

The “Drinking” maze set in Fit, used for beer tastings.

The maze as viewed from a biplane.

Designer Jess Marsh and farmer David Wissemann walk through the interior of the maze.

Me, helping out (a little) to define the edge of Fit’s A crossbar

A drone’s view of Jess Marsh, David Wissemann, and me standing inside of a recently-cleared counterform of Fit’s A.

Our view of the drone, hovering over the cornfield. Sugarloaf Mountain is visible in the distance.

The counterform of Fit’s A, shortly after clearing.

Maze founder Mike Wissemann and designer Jess Marsh with their thinking caps on. (Jess’s new one uses Lab DJR)

A giant computer complete with keyboard and mouse stands next to the eastern edge of the maze.

Control is a browser-based app that combines a freehand design editor with ability to add custom code and use our SDK. It provides new ways for designer-developer collaboration without compromising on each other’s workflow.

We’ve been on a lookout for a cool monospaced typeface which would also support Ukrainian language and came across David Jonathan Ross’s Input Mono which instantly became our new favorite.

Label design for a range of bottled hard seltzers made with all natural, low additive ingredients and high quality small batch spirits. Crafted with care by Behind This Wall in Hackney, London.

Offices in Times of Homeoffice explores the office as an abandoned and obsolete space. What happens in these hours of solitude and how can you give the office a voice to talk to the people passing by. It’s a bitter sweet expression in these difficult times of the pandemic but at the same time a reminder, that it’s all just temporary and we’ll be back soon.

Vasily Biryukov created the typography on the exterior of Parka, a bar in the center of Moscow. The interior was designed by Archpoint. The type on the windows is DIN 2014 Stencil. The typeface used on the awning is Input Mono. The bold stencil letters for the logo are from an unidentified font, or might be custom drawn.

Thadeus London is a private office specialising in off-market access to the world's most luxurious brand services and one-off pieces.

The website uses IvyMode for headlines and IvyJournal for English text, combined with Input Mono. The menu uses Forma DJR. Chinese text is rendered in PingFang.

Peak infographics: Giorgia Lupi for Print, 2017.

You won’t find much type in data humanist Giorgia Lupi’s work. Instead, you’ll find her hand. The newly minted Pentagram partner is on a quest to make data more tactile, more approachable—more qual than quant. If type is industrial design, handwriting is resolutely unrepeatable and nonindustrial. Lupi’s project as a whole seems like an implicit repudiation of type. When it makes a rare appearance, as David Jonathan Ross’ Input Mono does in Lupi’s manifesto for Print, it’s crossed out in her neat red script.

Watch Giorgia Lupi talk about “Data to Design with” on June 15 at Typographics. Fonts In Use is proud to be a media partner of the conference. See more work by speakers of the 2019 edition.

Senator Kamala Harris at her campaign launch in Oakland, California, January 27, 2019.

On Martin Luther King Day, former Attorney General of California and junior United States Senator Kamala Harris announced her candidacy for the 2020 US presidential elections. Creative digital agency Wide Eye developed a remarkable campaign and website inspired by Shirley Chisholm’s 1972 presidential bid. Bureau Grot and IvyJournal play a prominent role in the campaign materials, with a little support from Input Mono.

Read the full article on Type Network News.

Wide Eye’s asymmetrical typographic logo for the Kamala Harris: For The People campaign uses Bureau Grot Condensed to great effect.

Biography page on the Kamala Harris: For The People website.

Social media images using Bureau Grot Condensed for slogans and IvyJournal for quotes and testimonials.

Kamala Harris: For The People website.

Branded merchandise in the Kamala Harris: For The People online store.

Artwork and video for Alice Mary's EP, and a gig at the Apple store in London, 2018.

Alice Mary released her first EP after having recorded it in her bedroom. The lyrics deal with themes of introspection and self-examination while being balanced with lifting and positive composition sounds.

The intimate and personal journeys of the singer are reflected in the minimalist typographic approach.

What are we talking about when we talk about identity? People are likely to define themselves in terms of what is relevant to their time and place, in other words, context. This indicates that identity is not a fixed definition, but more of a malleable construction; it develops its attributes via context. I am constantly recalibrating the relationship between the two. Context is ubiquitous, unnoticed, coexistent and interchangeable. Identity is reflexive, fragmented, shapeable and fluid. Identity Production explores and unveils how identity is adapted and manifested in contemporary conditions, as well as its external validation which paradoxically defines this indefinable concept. This thesis asks readers to be conscious of the contexts with which we interact on a daily basis, as well as the corresponding identities that are activated by them. My role as designer shifts accordingly within each section. Substitution, subversion and superimposition are the methods allowing me to materialize the intangibles and simulate the incompatibilities.

This process has led me to wonder: Where can an identity exist? What does an identity look like? How is identity validated? The research subjects cover from standardized manufacturing and social platforms to universal surveillance and machine vision. My work orients context as the defining factor, leading to a subsidiary production of the identity. Through my thesis, I hope to offer a better understanding of our relationship with the environment, both digital and analog, as well as a better understanding of the self.

See the full project on boyangxia.com

A detail of the calendar

Designed and produced by Johannes Lang, using DJR’s Input Mono Condensed. Not to be confused with Just van Rossum’s 2017 moon calendar that also uses Input. High-res PDF available here.

Designed and produced by Just van Rossum using DJR’s Input Mono. High-res PDF available here.

johnprovencher.com:

California College of the Arts annual Career Expo hosts employers eager to hire students.

The campaign consisted of a graphic system that played off the idea of an internet job search, in which the Career Expo is a much better alternative.

In his essay The Best Interface is No Interface author and designer Golden Krishna criticizes screen-based bondage, and shows how one can build a technologically advanced world without digital interfaces. The book is presented on a clean, structured website where Input Mono is used in different variants.

Every semester Tech@NYU (a technology and design oriented community at the New York University) organizes a weeklong symposium called Startup Week. On the corresponding single page website Input Mono is used for headlines and navigation, Freight Text for section headings, headlines and dates in the schedule as well as FF Meta for continuous text.