One-off malt whisky that has travelled halfway around the world on a long sea voyage from the island of Tasmania, Australia, where it was distilled and aged, to Jerez de la Frontera, Spain.

Once there, half of the shipment was finished in a very old Oloroso sherry cask and the other half in a Pedro Ximénez one.

The typefaces used are ITC Franklin Gothic, Burgues Script, Clarendon, Caslon 3, and Sackers Gothic.

Death Stranding is a third-person action game developed by Kojima Productions. Initially published by Sony Interactive Entertainment and 505 Games in 2019, it would receive a “directors cut” in 2021–2022. Described as a “strand game”, you play as Sam Porter Bridges—a courier tasked with delivering supplies to isolated colonies across a post-apocalyptic North America while reconnecting them via a wireless communications network.

One of my favorite games of this decade, Death Stranding follows a functional approach to the typical futuristic UI we see in video games. You could even say it’s unconventional. Minimal use of animations, a soft blue color scheme and long lines of information contribute to the unique look of the game and the immersion of being a courier where each line of text is important in planing ahead and completing an order.

Sackers Gothic Medium is used for the game's logo and in general as the branding typeface for the series. In-game, it is used for title cards when entering a new chapter and introducing a new character. SST Roman is used as the primary typeface for the UI. I would assume its inclusion here is likely due to its readability as you will have to deal with walls of text for certain parts of the game.

The game also uses custom fonts, likely designed in-house by Kojima Productions. EX PS Medium Neon, a neon-styled display typeface is used on short and big text. Second is BO CD Mono (Light and Medium), a geometric typeface that somewhat resembles a VCR font is similarly used for short text and numerical elements.

The main menu for Death Stranding: Director’s Cut. Note the usage of long way strands for the selected button, a visual motif that is repeated throughout the game.

Accessing the options menu

A typical scene in Death Stranding

Choosing an order available for the player. EX PS Medium Neon is on the top left, while BO CD Mono is used for the numbers pertaining to the weight of the cargo

Completing a delivery, BO CD Mono Light is seen on the bottom

Meeting Lockne, one of the many characters you will come across during your journey across America. Sackers Gothic is seen here for the name card

Mockup of Foster’s Book of Yōkai, designed by Kevin Barrett Kane

For this collector’s edition repackaged book, I opted to spice things up with yōkai literally running across the cover in a sort of battle/chase sequence that brought energy and play to the cover design. Luckily, and naturally, the art program was well-suited for this concept!

Title page

Part opener

Table of contents

Sample spread of Foster's Book of Yōkai, designed by Kevin Barrett Kane.

Succession is a popular TV show about media proprietor Logan Roy and his power-hungry children. The show was created by Jesse Armstrong and aired on HBO from June 3, 2018, to May 28, 2023.

The font used for the logo is Engravers Gothic by Bitstream Inc. The type foundry was acquired by the Monotype in March 2012.

The font used for opening titles is Sackers Gothic (also by Monotype). It's a very similar font but it has more extended letterforms and larger apertures. The typeface was created by Gary Sackers, a stationery engraver and entrepreneur from North Carolina. Monotype writes:

Many typefaces were made from similar sources, including Monotype’s Engravers series, as well as Jim Spiece’s ITC Blair and Mark van Bronkhorst’s Sweet Sans. Sackers’ typefaces, which were initially made into photo-set type, were digitized by Compugraphic and released in the late 1980s. Sackers Gothic has since become a popular choice for conveying sincere and plainspoken language on dust jackets, posters, and of course, in stationery.

These tiny “pots de crème” by Good Pud are an absolute dream, and needed the premium look to go with it. But we also wanted to strike a good balance between a premium look but also not to take ourselves too seriously.

Knowing that the products would eventually go beyond chocolate (but would always be some sort of pudding style), a spoon was the choice for a graphic mark. The elegant but still chunky Bigola Display was used for the main visual identity and is balanced by the understated Sackers Gothic.

The packaging design balanced the premium logomark with whimsical graphics and happy colours.

The Unloved is a novel by Deborah Levy, published by Bloomsbury in 2015. The story is a classic whodunnit, about a murder among a group of tourists in a remote hotel.

The cover design by Katya Mezhibovskaya (with art direction by Patti Ratchford) uses equally classic typefaces – Sackers Gothic and ITC Bodoni Six. This secondary information moves away to the edges of the cover, shifting the viewer's attention to the centered book title, hovering before a misty view.

For the title, the designer chose Metallophile Sp8, a “facsimile of 8-point sans serif letters as set on a hot metal typesetting machine”, digitized by Mark Simonson. The muddy details of the lowercase letters are magnified for dramatic effect: combined with the ‘murder mystery’ genre, the muddy ink of metal letters easily evokes associations with blood, detectives and forensics.

A new visual identity with different bottles for L’eau des vivants, a traditional French distillery from Lyon-Beaujolais. The distillery’s founder, Florent Vilisques, pays particular attention to the ingredients – they are carefully chosen and used, with the idea of keeping a consistency with the local habits, and the regional species.

In order to account for this fineness and this authenticity, we have elaborated a complete and illustrated artistic direction. It was important to reach passionate people with a strong typographic message, counterbalanced with elegant details in illustrations. Theses graphical contrasts bring deepness and a level of lecture to better discover the different levels of ingredients that composes the bottle. Each range is worked with a different colour and illustrated universe in order to have its own identity. This is a collective and creative approach which allowed the collaboration between several types of job to bring life to these products! Cheers!

I used a French condensed typeface to allow a great flexibility. With its five widths, Origin Super Condensed can be used different mediums to have an efficient typeface footprint that adapts very well to the constraint of a seven-letter mark. Frequently used in the packaging world or paper-making industry because of its accuracy, elegance and clarity: Sackers Gothic was my choice to contrast with the main typeface.

Adobe Jenson is Robert Slimbach’s modern interpretation of the 15th century original created by Nicolas Jenson, a French printer and engraver. I thought that this typeface, classical in appearance, but also traditional and with imperfect aspects, would be perfectly suited to the body text.

Illustrations by Nono Ampuy and photographs by At the design table.

Cocktail menu featuring outlined Vitesse (“Alpen Rose”) and Forza (“Contents”), with Bryant (“Cocktails”) and Schooner Script for the “handwritten” additions.

The newest addition to Philadelphia’s Schulson Collective, Alpen Rose is an intimate steak restaurant that forgoes the macho trappings of the typical steakhouse. With a jewel-box-sized bar, tinkling chandeliers and romantic lighting, it’s not your typical porterhouse purveyor.

For a uniquely immersive experience, Mucca created a fictional world based on a female botanist from a bygone era who travels the globe in search of the elusive Alpen Rose. This world inspired details throughout the space that surprise and delight—from an index card cocktail menu to flowers frozen in ice cubes. A system of multiple logos in different styles suggest billheads collected from exotic locales, and a richly layered menu system recalls a collection of botanical research.

Alpen Rose logo variations, partially hand-lettered, partly type. In the top row, the first logo is based on Argent Octic; the second one is a modified version of Alloy Condensed, outlined with a thin dropshadow; and the third variant uses Plaak 4 34-Regular B. The middle row variations use ITC Tiffany, Barclay Outline, and Romana. The bottom row has a script and a monogram that both are custom drawn, while the last logo is set in Sackers Gothic with a manually added dropshadow.

Detail of a desert menu set in Virgo Mono.

Index cards featuring Virgo Mono. The tab headers use Bryant.

Postcard featuring Alloy Wide for the address on the front, as well as ITC Tiffany, Sweet Sans, and Akzidenz-Grotesk.

The handwriting fonts on these address cards are (from top to bottom of the stack): Beer Dip, Lamar Pen, Texas Hero. The shaded caps for “Alpen Rose” are from Sweet Sans.

Form with labels in Akzidenz-Grotesk and “handwritten” text in Schooner Script.

The Heads of State’s label design for Bushburg Pilsner features P22 Albers and Harbour as the main typefaces. “Beer” is set in Byron.

From Interboro:

Hoppy Pilsner brewed with 100% Pilsner malt, German lager yeast and Noble hop varieties. Pours bright pale yellow. Noble aroma with herbal minty noble hop character. Taste is bright and slightly sweet, with a dry grassy finish.

Menu design for Crawford & Son Restaurant’s guest chef series Oakwood & Friends with acclaimed chef Sean Brock. Menu was a throwback to ’80s French Nouvelle cuisine and its heroes like Paul Bocuse and Joel Robuchon.

From Wikipedia:

The National World War I Museum and Memorial of the United States is located in Kansas City, Missouri. Opened to the public as the Liberty Memorial museum in 1926, it was designated in 2004 by the United States Congress as America's official museum dedicated to World War I.

The award-winning exhibition was designed by Ralph Appelbaum Associates in 2006. See more images on their website.

In February 2017, the museum introduced a new logo. “Titled ‘Intersections,’ [it] features nine intersecting lines that conjure a ‘tangle’ of images related to the war: barbed wire, railroad tracks, factories, beams of broken homes, the chaos of war. The logo [was] designed for free by St. Louis-based advertising agency Rodgers Townsend.” — The Kansas City Star

This promotional website is not the absolute best thing to grace the world wide web. The typography and layout are nicely set, but images are of low resolution and the architecture is rather dubious. It is however an interesting study in the aesthetics of luxury in the app age.

With an accent of gold, classic high-end Sackers Gothic and retro-tinged Boutique are supposed to give potential investors a sense of heritage, despite the fact that the buildings themselves are more Qatar than Gatsby. As you get deeper into the website you find cataloges and information talking in a far more contemporary tongue of techno-infrastructure with Silicon Valley’s geometric darlings Circular and Aperçu.

Starboard is a restaurant in San Francisco's Mission District that wants to keep the old punk rock aesthetic of the neighborhood alive. Before I started the menu, I did a lot of research at the San Francisco Public library, ransacking their restaurant ephemera collection. Each era had a few fonts that seemed ubiquitous. In the early part of the century, I saw a lot of Bodoni and Copperplate. Mid-century menus featured a lot of Memphis and Futura. In the end, I treated fonts like ingredients. Some of them, like Akzidenz-Grotesk, serve as the heart of the dish. Others, like Chevalier, are used more like seasoning. My goal was to create a design system that is every bit as eclectic as the food, while paying homage to the great legacy of Bay Area restaurants.

The Untold Story of How a Band of Bartenders Saved the Civilized Drinking World

Penguin Random House:

[…] the first-ever book to tell the full, unflinching story of the contemporary craft cocktail revival. Award-winning writer Robert Simonson interviewed more than 200 key players from around the world, and the result is a rollicking (if slightly tipsy) story of the characters–bars, bartenders, patrons, and visionaries–who in the last 25 years have changed the course of modern drink-making. […]

The main font use on the cover is not one of the many designed by the author’s cousin. Neither is it Dala Moa. This is the black weight of František Štorm’s St. Croce, a typeface “inspired by worn-out letterings on tombstones in the St. Croce basilica in Florence.” [Storm Type Foundry] Santa Croce was Ksenya Samarskaya’s pick for Typographica’s Favorite Typefaces of 2014. Cover designer Christopher Brand used it in all caps, paired with the (small cap) lowercase of Sackers Gothic.

The interior was designed by Lizzie Allen, who also did the production. She combined Williams Caslon as main text face with Drescher Grotesk for chapter headings, lead-ins and ingredients, and perfected the mix with Caslon 224 Bold Italic for the cocktail names.

Social media images teasing Burt Reynolds's 2015 memoir, But Enough About Me.

“Serial is a podcast where we unfold one nonfiction story, week by week, over the course of a season. We'll stay with each story for as long as it takes to get to the bottom of it.”

According to Michael Harvey’s description of his typeface, “Tisdall Script is based upon the brush-drawn script lettering of Hans Tisdall, who was the designer of many distinctive lettered book jackets for [London-based publisher] Jonathan Cape in the 1950s.” An appropriate selection for a book about British mid-century modern textile design. But there is and even stronger historical connection here: Tisdall was part of the Edinburgh Weavers, designing many textiles for the label and also the logo in the very style on which Harvey’s font is based.

See also the Jim Barry Wines identity.