Ausstellung (In Klammern) is a student-initiated group show that took place in an apartment in Berlin. Theodor Schaefer designed the identity of the art exhibition, along with the poster series and all informational materials.

The identity combines two typefaces, OO Neureal (designed by Laura Csocsán, re-released on Outline Online in 2026) for the titles, dates and names of artists throughout all materials, and Arial – partly with faux bolding – for body text as well as smaller numbers serving as index points.

Visual identity for Dòte, a Milan-based hand-weaving collective active since 2022. Run by Caroline Donaldson, Elena Meneghini and Giulia Pils, Dòte is a workshop dedicated to the production of fabrics and textile objects, a space committed to the study and teaching of hand-weaving, and a research platform focused on textile culture in the broadest sense.

Dòte’s visual identity, curated by Michele Galluzzo in collaboration with Meneghini, is based on a custom typeface designed by Fantasia Type (Franziska Weitgruber + Galluzzo), inspired by the rediscovery of the Svezia typeface produced by Xilografia dei Verona in the first half of the twentieth century. The resulting font, Dote, is currently available on the Future Fonts platform.

The Irishman is a 2019 epic gangster film directed and produced by Martin Scorsese, based on the 2004 book I Heard You Paint Houses. The film chronicles the life of Frank Sheeran, a WWII veteran and union truck driver who becomes both a top hit-man for the Bufalino crime family and a close friend of Teamster’s former president, Jimmy Hoffa. Now in his final years, he looks back on how much that life has truly costed him.

The Irishman's logo uses ITC Grouch in a stark red color, echoing the gangster films, time period and its aesthetics that preceded this movie. This logo is never actually used in the movie which in my opinion is a missed opportunity. It is paired with Netflix Sans and FF DIN in the poster.

Throughout its runtime, The Irishman uses freeze frames accompanied by a text card mainly for characters who play a small role and pass away outside of the movie. These text cards, as eerie as they are, use ITC Franklin Gothic Book and look classy doing so. It is also used for the end credits. The title sequence near the start uses Arial Black. I love Arial as much as the next guy but this is a very strange choice, especially since this is the only time the movie uses it.

Title sequence. “I Heard You Paint Houses” was also Scorsese’s preferred name for the movie; that’s why it appears in the beginning.

“Angelo Bruno – shot in the head sitting in his car outside his house, 1980”

“Joseph P. Kennedy, Sr. – died 1969 after a long illness”

End credits, which features the title once more.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Bunt (“Colorful”), the current participatory exhibition

We love seeing Kit Rounded used like this, unapologetically playful.
⁠
The Old Castle in Stuttgart revamped their children’s section. Junges Schloss (“Young Castle”) is voiced with Kit, softly welcoming yet structured enough to hold its own in a centuries-old space.⁠

Darden Studio’s Kit Rounded is used for everything from the website and the logo (with Atkinson Hyperlegible for “LandesMuseum Württemberg”) to posters and teasers for the museum’s hands-on exhibitions and events.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail with menu. Body copy is in Open Sans, with some bits in Arial Black.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Sommeroase, the holiday program for summer 2025

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Dezembro Vermelho (Red December) is AIDS prevention month in Brazil. The campaign developed for the Municipal Health Department of Maceió aims to increase demand for PrEP medication in the city’s public hospitals.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Ambar Lucid’s new EP is supported by a clear and cohesive communication strategy that extends beyond the music itself. The release is accompanied by a set of physical and visual products – vinyl, posters, and apparel – designed to strengthen the album’s identity and visibility. The typeface Rosalie, by My-Lan Thuong and available at Sharp Type, is used on all the supports. For the singer’s name, the capital I was replaced by a lowercase i and a star was used for the dot. The typeface has a blurry and shinning effect for the song titles on the videos.

The vinyl record design is composed of four panels; with the front cover showing the main photo artwork that’s also used on the T-shirt. The back cover has lettering with the title of the EP, El Jardín de Lágrimas, and finally the inside contains the lyrics and a photo of the artist as an angel.

Together, these items create a unified promotional ecosystem: digital platforms introduce the music, while physical products reinforce the branding and extend the EP’s presence into the fan community. The visual identity of El Jardín de Lágrimas is not officially credited publicly, at least in the usual metadata and merch sources.

[More info on Discogs]

The poster for the release party additionally uses what appears to be a blurred version of Arial.

Routine is a survival horror game developed by Lunar Software and published by Raw Fury. After a protracted development cycle – starting in 2012, lasting 13 years, and achieving a near mythical status within the gaming community – the game was finally released on December 4th, 2025.

Set in 1999. you play as a “Software Engineer” aboard Union Plaza—a resort on the moon, initially tasked with resetting its security system. However, after waking up from a brief isolation period, the resort is now empty and in a state of utter disarray. In search of an answer, you'll only find more questions.

Routine, which is now officially my pick for horror game of the year, has a slightly unusual roster of typefaces that works surprisingly well. Open Sans is the primary typeface used for Routine's logo since at least 2017, in its branding and for the in-game subtitles. Arial, while not used much in the UI, is seen a lot throughout Union Plaza from way-finding signs to decals, documents and more.

Pocket, a bitmap typeface designed by Aaron D. Chand (memesbruh03) is used in the game’s menu, and especially in all of the displays you interact with such as your personal C.A.T and the many computers. Dubiel, a tall serif typeface, is used in parts of the station and for the chapter title card, paired with Arial Italic.

Routine logo

Main menu. While not shown here, the background is grainy footage of the moon being scanned.

The start of chapter 01, “Birth”, using Dubiel

A view outside Union Plaza. The tutorial prompt is the only other HUD element in Routine.

Reading a note

The same note but now directly from the paper itself. Arial and Dubiel are used here.

This lovely terminal uses a good deal of Arial

This lovely mix of Arial Regular and Arial Black on a mechanical door

Interacting with the Cosmonaut Assistance Tool (C.A.T) where current tasks and previous media collected are stored. Pocket is used plentifully here.

Interacting with the tram’s computer

The standard typeface for road traffic signs in Indonesia is Clearview (Terminal Design), just like in the the United States, Brazil, Canada, Israel, the Philippines, and Sri Lanka. It’s also used for the toll gate directional signs on the Cikopo–Palimanan Toll Road which opened in June 2015 as part of the Trans-Java Toll Road network and in accordance with the Ministerial Regulation No. 13/2014 about Traffic Signs.

The directional signs for the Cikopo-Palimanan Exit 98 (Kalijati Toll Gate) forms an exception: it uses the non-standard (supplementary) Arial. This typeface is used on road traffic signage in Azerbaijan, Belarus, Estonia, Lao PDR, Lithuania, North Macedonia, Moldova, Mongolia, Myanmar, Slovenia, Taiwan, Türkiye, and Ukraine.

Cikopo-Palimanan Exit 98 signage (500 m to exit toll gate ahead)

Wisconsin-based insurance company Dairyland uses Geogrotesque for its corporate website:

We’ve been providing quality insurance coverage at competitive rates for more than 70 years. We know how important it is to offer support when you need it most, which is why our team is available 24/7 to help you. Dairyland is committed to treating people with respect, honesty, and integrity. Our goal is to make sure every customer feels confident and protected on the road.

The exhibition Text to Image was held at the Korea National University of Arts in Seoul in summer 2025.

The moving posters were created by conceiving the location’s media wall itself as a frame, and interpreting the content displayed on the screen as a kind of portrait, based on the text by curator Dongjong Lee. To convey the sense of an analog frame, I used commonSans from notyourtypefoundry – designed to evoke the effect of ink bleeding on paper – and hand-lettered the Korean text harmonize with it.

The exhibition title was designed by combining commonSans with Arial, a typeface that has recently come to function as an image in its own right.

Align is used in the book How Can We Gather Now?, edited by Asad Raza and Prem Krishnamurthy and designed by Yotam Hadar.

Description from Washington Project for the Arts:

The publication How can we gather now? documents an experimental symposium that took place from March 31 to April 2, 2023, in Washington, DC, around the topic of gathering. Produced by Washington Project for the Arts and codirected by Asad Raza and Prem Krishnamurthy, it brought together hundreds of artists, creatives and organizers from all over the world. This publication acts as a performance of the event, collecting a rich variety of modes including transcriptions from conversations, poetry, essays, film stills, recipes and artworks.

The yellow type for the captions appears to be Arial Bold Italic.

WOAL is a project/brand related to the combination of ‘wool’ the material, and ‘wall’, the space that welcomes. WOAL comes from the experimentation and intuition of Maddalena Selvini, a Milanese designer, and the creativity of Anna Bodini, who has imagined a world made up of special spaces.

For the visual identity of the project Selvini mainly used two typefaces: Baustraße by Fantasia Type and Arial by Monotype. From their website:

Every piece is the result of a long process that starts with the design of each detail, the choice of which and how many pockets to create, and the part that makes every piece unique, that of hand-cutting all the modules one at a time, following the natural lines of the felt, opening the pockets and finally embossing the WOAL logo.

The decision to put the logo on view is because the word WOAL precisely embodies the philosophy of the project, which is to experiment with and investigate matter in order to produce pieces capable of interacting with the space that will welcome them and with the people who will live in those environments.

Julianna Bach used Salvaje Display for the packaging designs of Date Better.

From Rudy Sanchez’ article for The Dieline:

Medjool dates are a variety of palm fruit that, unlike most other dates, are large, soft, and chewy with a caramel-like taste. They’re also sweeter than their smaller counterparts. This variety of dates, originating in Morocco but now grown globally, is a natural snack that is tasty on its own, but folks can also combine them with nut butter for a delicious, healthier candy.

The other fonts are Akzidenz-Grotesk Bold and Arial Black, used in all caps. “Date Better” probably is custom drawn. Some boxes additionally feature Cooper Black Italic (“Superfood”) and Typo Slab Serif (“Ground Up”).

Curl Maven is a holistic hair, beauty, and wellness brand founded by Gabriella Strano, a globally recognized expert in wavy and curly hair care. The platform offers personalized consultations, educational resources, product recommendations, and expert guidance to help people embrace and care for their natural curls.

The identity for Curl Maven uses Red Moon Rising for the logo. Orange Squash is the primary typeface for headlines. The website additionally features Outfit for navigational elements and selected subheadings. Occasional handwritten accents are rendered in Constane, adding a personal, crafted feel to the brand experience. Smaller type is rendered in the visitor’s default system font. In the screenshots here, that’s Segoe for body text, while Arial is used for the footer.

A remake of the 1994 cult hit by Looking Glass Studios, the 2023 version of System Shock is an action-adventure and immersive sim video game developed by Nightdive Studios and published by Prime Matter. Set in the not too distant future of 2072, you assume the role of a nameless hacker as they attempt to thwart the actions of a malevolent AI known as SHODAN.

Top runner in my line for some of the more underrated UIs I've seen, much of it in System Shock is set in United Sans. A bit of perusing in the games files reveals its specifically using the Black, Bold, Heavy, Light and Regular font. Arial is used, albeit rarely for some secondary text, such as the occasional prompt and in the map.

Main menu

Settings and graphics menu

The HUD in System Shock, displaying basic vitals and navigation. Short text prompts that show when the player encounters something new, such as this shotgun I spent too long looking for, is set in Arial.

Viewing my character’s wares. Note that I am currently listening to an audio log made by SHODAN, hence the subtitles and her image on the side.

Nicht nur Mütter waren schwanger. Perspektiven auf Reproduktive Gerechtigkeit & Zeit[en] (English: “Not Only Mothers Were Pregnant. Perspectives on Reproductive Justice & Time[s]”) is an online project based on a book with a similar title, Nicht nur Mütter waren schwanger. Unerhörte Perspektiven auf die vermeintlich natürlichste Sache der Welt, which was published by Edition Assemblage in 2018.

The project poses questions such as: How have reproductive rights in Germany changed over time? What influence does the global rise in authoritarianism have on the desire to have children and family constellations outside the norm? How can we keep spaces of exchange on reproductive rights open, despite the various crises that favor isolation instead of solidarity?

Concept and curation by Alisa Tretau, Moooon
; design by studiokwi; plain language images by Simone Fass, and sustainable and accessible web development by visiert.

Tooth & Nail is a queer, artist-run ceramics studio and gallery based in Milwaukee. Designed by TART NYC, the visual identity reflects the studio’s grassroots, collaborative ethos, drawing inspiration from zine culture, punk ephemera, and analog collage.

Typography is central to the system’s voice. The primary logotype usesArial Bold, with each letter individually set and distressed to create an intentionally handmade feel. Choosing a default system font like Arial nods to accessibility, DIY tools, and “anti-design” traditions.

The supporting type palette adds expressive contrast. Broke Grotesk contributes compressed, angular energy in headlines. Mono Total introduces mechanical irregularity through its monospace rhythm, while LFT Etica Mono offers a clean, humanist counterpoint for body text and smaller applications. Lo Fi Copy brings a photocopied texture reminiscent of activist flyers and homemade zines.

Designed to work across signage, printed materials, and the website, the typography stretches between rawness and order. Decorative halftones, hand-drawn elements, and scanner artifacts layer over structured layouts, reinforcing a collective, community-first spirit.

Photographer: Kat Schleicher

From Mag Culture’s website:

Born of the Ghanaian capital Accra, W’ahu exists for both those living and loving in Ghana, as well as international readers to which it offers a snapshot of the ‘unwavering creativity’ coming out of the nation’s ‘glamorous and resilient group.’ Of course, this phrasing was not chosen lightly; it’s a true and necessary placeholder ‘for the sake of keeping everyone out of trouble’. As W’ahu’s editors explain:

‘Even within Ghanaian society today, there are many groups who express themselves authentically that are not truly seen for who they are, and are discriminated against as a result. ... What we’re interested in is how the community views themselves through their own eyes when given a platform to do so. What do they want to say—and how do they want to be seen? […]

Physically then, the magazine is slim with a bold blue cover hidden by a second, thin cardboard cover with an eye-shaped cut-out revealing only the title logo, a nod to the the rough translation of the Akan-language phrase w’ahu: ‘Have you seen?’ The rich blue of the cover runs like a vein throughout the magazine’s matt pages, with glossy paper reserved for its vibrant visuals composed of photography, collage, illustration, and photo essays.

Inside this first issue, you’ll find a fashion shoot between friends in the cliff-top village of Akuma; surreal and disembodied collage as a means of ‘pushing back against traditional representations of black femininity’ by Efia Serwah; an exploration of pre-colonial language and its relationship to identity; conversations with queer Ghanaian elders; and submissions from the local community on love, sex, and identity. […]

In short, W’ahu is a particularly important addition to our growing collection of queer magazines and one that will leave you with just a taste of what Ghana’s queer community has to offer.

The main fonts used for the magazine are Anybody and PoW Savon. The W’ahu logo is custom lettering.

“No Man’s Land” appears to be lettering in a style similar to Antique Tuscan Condensed Shade, but with spurs.

“Drama Queens” uses Oi!

Photo and computer graphics, 50×70 cm. This poster was selected at Richter 83, a social poster exhibition held in 2014 at the Iranian Artists Forum in Tehran.