Caroline Records used Neue Helvetica 95 Black for their logo between 1997 and 2019.

Ben Folds Five is an American alternative and piano rock trio formed from Chapel Hill, North Carolina, named after the lead singer Ben Folds. They formed in 1993 and were active through 2000, reuniting in 2011. The Unauthorized Biography of Reinhold Messner was their third studio album, released on the 27th of April, 1999. This was their last album before their break-up.

The typeface used across the album cover is a bold Garamond – a digital version of ATF Garamond or Garamond No. 3, possily American Garamond – whilst the track list and other details on the back are set in Bank Gothic.

[More info on Discogs]

CD label. The “No Turn” sign in the background also uses Bank Gothic whilst everything else is in Garamond.

Back cover of the CD case. The text relating to Sony Music’s ownership is written in Helvetica Condensed.

The SimCity 2000 User’s Manual cover

From Wikipedia:

SimCity 2000 is a city-building simulation video game jointly developed by Will Wright and Fred Haslam of Maxis. It is the successor to SimCity Classic and was released for Apple Macintosh and MS-DOS personal computers in 1993, after which it was released on many other platforms over the following years, such as the Sega Saturn and SNES game consoles in 1995 and the PlayStation in 1996.

Newport has since been a staple in Maxis’ branding since the first SimCity as it’s the signature typeface for the “SIM” in their game logos. Just like SimCity, also SimCity 2000 makes use of Brody’s futuristic-yet-so-very-nineties Industria for the “City 2000”, which was also present in the original game’s branding.

Finally, the sub-line “The Ultimate City Simulator” is a very wide Bank Gothic Light that’s consistent in multiple languages and console releases; only the tracking changes depending.

The German box of the CD Collection of SimCity 2000

The Super Nintendo cover with smaller tracking on the sub-line

Grand Theft Auto Online, likely more known as GTA Online, is a multiplayer game created by Rockstar North and published by Rockstar Games. Originally released on October 1, 2013, for consoles such as the PS3 and Xbox 360 first, and later on the PC platform. The game is available for free to all Grand Theft Auto V (GTA V) owners and can be accessed directly through the settings menu.

In a nutshell, the game revolves around the idea of creating a virtual criminal empire by owning and maintaining multiple businesses, doing heists, and at times, cooperation between players is involved

The main title is set in Pricedown, while the “ONLINE” part is what I suspect to be a modified Bank Gothic, thickened and rounder. I could be wrong; it might be another font

For comparison, Bank Gothic (the yellow text) was manually thickened and stretched to somewhat fit the “ONLINE” proportions. I'd like to point out how the stroke of the letter 'N' from Bank Gothic matches the angle of 'ONLINE'. Both subtext and Bank Gothic share a similar short arm for 'E'

The thickened Bank Gothic font on top of “ONLINE”

The UI is largely shared with GTA V, making use of Chalet 1960, House Script and Chalet Comprimé 1960.

Лель (Lell, sometimes also transcribed as Lel) was a Soviet brand of musical instruments including analog synthesizers. Its logo is based on Bronisław Zelek’s New Zelek, with widened proportions.

The devices were manufactured at the Lyubertsy musical instrument factory in the Moscow region of the USSR.

The series included the UDS, an electronic drum kit with a synthesizing unit and two drum pads (with a rubber surface) on a stand; the PSR, a digital drum machine; the RC, a digital multi-effects processor; the SM, an electronic percussion instrument; and the DD, a drive distortion pedal.

The labels for the keys and controls use a Cyrillic typeface (or lettering) that appears to be related to Bank Gothic.

The DR-9 uses a logo in letters that resemble the Ustav script used for Church Slavonic (compare Blagovest). Other fonts include bold italic caps from Helvetica and Brush Script.

My own hardback copy with a somewhat battered jacket

From Wikipedia

IBM and the Holocaust: The Strategic Alliance between Nazi Germany and America's Most Powerful Corporation is a book by investigative journalist and historian Edwin Black which documents the strategic technology services rendered by US-based multinational corporation International Business Machines (IBM) and its German and other European subsidiaries for the government of Adolf Hitler from the beginning of the Third Reich through to the last day of the regime, at the end of World War II when the US and Germany were at war with each other.

Edwin Black’s 2001 book was awarded Best Non-Fiction Book of the Year by American Society of Journalists and Authors in 2003. It garnered many reviews, both plauditory but also some critical.

The jacket features a detail from an IBM punched card printed with a Nazi roundel and various column and row markers that would be useful for hand-punching (the arrows indicate which rows to punch for each letter in the EBCDIC code). It’s unclear if this is a real card or a mock-up. The title and subtitle are in Bank Gothic with a white-edge shadow effect. Difficult to see from the photos, but the title and the “holes” are embossed and printed with a gloss black.

Jacket, showing front, spine, and back. Th author’s name is in Futura, the subtitle on the spine in Futura Condensed, and the blurbs on the back in Bembo.

Spine, showing similar typography to the jacket

A paperback of one of the later editions, by Dialog Press

Released in 2001, Nintendo GameCube (codenamed Dolphin during development) is a video game console, developed and marketed by Nintendo.

Unfortunately, the font used for “Nintendo” at the top is unidentified. With its round E, Handel Gothic is similar, but wider (and the Compressed style too narrow). Here’s hoping that someone else will do a better job than me and find it.

“GameCube” is based on Bank Gothic, thickened and modified, featuring a unique A along with a modified M and small changes towards the bowl area of B, see the comparison below.

Some stretching and thickening of the letterforms was needed to match the exact proportions.

The controller is designed by Shigeru Miyamoto, it uses an embossed Futura Condensed for Start/Pause texts and possibly also the buttons.

The official packaging for cables uses Japanese letters that follow quite closely the style of Bank Gothic. Since Bank Gothic doesn’t offer support for Japanese characters, it’s thinkable that Nintendo designed its own. Or maybe it’s just a different typeface with similar characteristics.

WTVF (channel 5) is a television station in Nashville, Tennessee. According to Logopedia, the current logo was introduced in 1997. It uses Plantin with vertically stretched lowercase characters (or News Plantin with a widened C?) for “News”, with the e borrowed from Plantin. The tagline is in Bank Gothic. The bold italic 5 was introduced already in 1989. It appears to be a beefed up Times New Roman.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

Call of Duty 4: Modern Warfare is the fourth installment in the Call of Duty franchise. It is the first to be set in the modern times, straying away from its World War 2 roots. The game’s overall look is heavily based on 2000s military (movies) aesthetics. The typography reflects this with imposing, geometric typefaces that evoke a feeling of power and a maybe tinge of futurism, since the game takes place in a fictional 2011.

The series’ logo used Impact, with bevel and chrome effect applied. The “Modern Warfare” text is set in Bank Gothic, which is glowing green and is likely a reference to night vision goggles. A majority of the user interface uses ITC Conduit Regular for both short and long text. It is complimented with Carbon Bold, which is used sparingly for important information.

The briefing cut-scenes between each chapter use Eurostile’s normal and extended width for most information. 3X5 is additionally used for small text and can be found at the top right of most cut-scenes.

Modern Warfare 2 (2009) and Modern Warfare 3 (2011), along with the remasters largely follow the same stylings, so this use can still be applied to those games.

Game logo

Main menu for the arcade mode

The first cut-scene you watch in the game. Eurostile Extended Bold can be seen used for both big and small text. 3X5 is seen above.

Learning the basics at the target range. Carbon is used to display newly added mission objectives and the occasional button prompt. ITC Conduit is seen below.

When looking at friendly characters, their name appears and is set in Carbon. Here, Captain Price is belittling Soap for his name.

Multiplayer HUD. Carbon is used with the exception of the compass and the amount of grenades you have stored.

Loading screen in multiplayer

Choosing a loadout before a match

An iconic part of Call of Duty is how every chapter starts with a title card, establishing time and place along with mission details. Carbon is used, glowing bright green.

Armchair Fiction’s book series Horror Gems (2011–2020) comprises eighteen volumes presenting reprints of stories from authors like Paul Ernst, Robert Bloch, and others.

“Horror Gems” is set in Patrick Broderick's Zombie, a scrawled freebie interpretation of Rudolf Koch’s Neuland. The volume number is indicated using a digital version of Norton Mr. Bones, probably David Rakowski’s Headhunter (which was reinterpreted and expanded in 2019 as Headhunter Two). Other fonts in use include Futura, ITC Kabel Ultra, the macabre Demon Night, and Bank Gothic.

The back covers pair Demon Night with a changing choice of fonts for headlines, using for example Gill Sans Bold Extra Condensed, Shlop or Bernard Condensed. The spine lettering is in Shouldve Known.

From Wikipedia:

St. George Spirits is an artisanal distillery located in Alameda, California that produces a range of alcoholic beverages under the direction of Master Distiller Lance Winters. They are known for producing vodka, absinthe, whiskey, gin, brandy, liqueurs, and a range of exotic spirits.

St. George Spirits was founded in 1982 by Jörg Rupf as an eau de vie distillery. In 1996, Jorg Rupf hired Lance Winters, a brewer and former nuclear scientist. One year later, Jörg and Lance began distilling and aging their single malt whiskey, which was first released in 2000. In 2004, St. George Spirits moved into its current location, a 65,000-square-foot (6,000 m²) airplane hangar on the former Alameda naval air station.

The visual identity was designed by Juli Shore Design from Oakland, California. Several of the label designs feature works by illustrator Steven Noble from San Francisco. The two main typefaces of the brand are LTR Federal, used in shaded and solid styles, and Bank Gothic. Those are combined with a range of other typefaces that match the hip traditional theme.

“Rum” uses (a version of) Page’s No. 500.

The description on the gin labels is set in ITC Edwardian Script. “Handcrafted in California” is in P22 Zaner, and “Terroir” in Engravers Roman. The alcohol strength is indicated in Griffith Gothic.

St. George’s three gin variations are named Botanivore Gin, Terroir Gin, and Dry Rye Gin.

The bold condensed sans with the octogonal S appears to be ITC Machine.

Federal is here used in a layered composition, printed in two colors.

St. George’s three vodka variations are named All Purpose Vodka, Green Chile, and California Citrus.

This bakery uses two typefaces on their shop front: the playful Neuropolitical (by Ray Larabie, not to be confused with Neuropol by the same author, which has rounded terminals) and the classic Bank Gothic.

The bakery has two other branches, which also use the same branding.

"De Frontier" (The Frontier) is a housing block in Groningen. It is named as such because it was built near the Helperlinie, a line of defence from the 17th century. Commissioned by Nijestee, it was realized by Thomas Müller Ivan Reimann Architekten between 2003 and 2010. The strong appearance of Bank Gothic suits this place well.

Front cover

“Forever Young” by the group Interactive is an anthem of happy hardcore and trance. The sound is based on a sample of Alphaville’s “Forever Young”. Interactive has defined hardcore and electronic music in the early 1990s, with several big hits like this one.

The cover is rather direct and not very subtle visualization of the idea of eternal youth, with the head of a baby shown big. The style of this cover is representative of the hardcore and trance covers of the 1990s. An aesthetic to which studios like I-D Büro and M-Design Wormerveer contributed a lot. While M-Design Wormerveer focused on illustration and drawings in many of its designs, I-D Büro is more at home with the technique of collage. But bright colors, collage effects, beveling, colorful and abstract backgrounds are always present in the works of both studios. In this example we see a lot of photo effects, which are essential for the saturated aesthetics of early 1990s hardcore covers.

The typography is crucial, too. OCR-A – a comon choice in electronic music – is used for the name of the group, with an outline between the panel that contains it and the title itself. The song title below is in Bank Gothic.

It’s not the first time that Interactive used OCR-A in their iconography: every time I-D Büro was involved in the design of their covers, we find this logo, see e.g. “Tell Me When” and “Touché”, both from 1995. On the back cover, the tracklist also is in OCR-A, and the credits in Bank Gothic.

[More info on Discogs]

Back cover

CD case

Artwork for GTA III

Cover design with illustration by Stephen Bliss for the 2001 action-adventure video game Grand Theft Auto III developed by DMA Design and published by Rockstar Games for the Sony PlayStation 2.

The game’s title is set in Pricedown, with some slight modifications made to create the Roman numerals. At the time, Pricedown’s designer, Ray Larabie, worked for Rockstar Toronto, in a different studio from where this artwork was created. Larabie even had worked on the GTA series, and created all the cars and level art for GTA: London 1969 in 1999. At night, he was churning out free fonts. One of them was Pricedown, inspired by the type used by the TV show The Price is Right. The designer of the GTA III logo was unaware that the font they had chosen was made by someone who worked for them. This choice of type has become the series’ trademark titling, with every subsequent GTA game utilizing it. Additional text is set in Bank Gothic.

Alternate cover designs are used for the PS2 releases in North America, the United Kingdom and Australia. For the European release, the game's title is abbreviated to GTA III and accompanied with the same cover illustration as the UK release, except for the German edition which uses an alternate design.

The original North American cover was intended to be the same as the UK cover, however, sensitivity regarding the tragic events of 9/11 led to the creation of a remixed cover design for its release. This new cover design is said to have been inspired by the title sequence of 1968’s The Thomas Crown Affair, and a Flash intro video included on the game’s original promotional website supports this notion.

Outside of North America, Frutiger is used for the game's title on the spine of the sleeve, as was the case for most PS2 releases in PAL regions.

The in-game graphics use Pricedown, too, with a customized numeral 1: a flag and a base were added, for less ambiguity. Pricedown here is paired with Arial.

Full view of sleeve for the North American PS2 release. The game's title is set in Pricedown, with additional text set in Bank Gothic.

Full view of sleeve for the UK PS2 release. The game’s title is set in Pricedown, with additional text set in Bank Gothic. Frutiger is used for the game's title on the spine of the sleeve.

Full view of sleeve for the Australian PS2 release. The game's title is set in Pricedown, with additional text set in Bank Gothic. Frutiger is used for the game's title on the spine of the sleeve. The cover illustration is a tighter crop of the UK release set against a new dark red skyline.

Front cover of German PS2 release. The game’s title is abbreviated to GTA III but still set in Pricedown. Most other European releases feature the abbreviated title but the same cover illustration as the UK release. This release features an alternate design incorporating elements from both the North American and UK covers.

The in-game graphics use Pricedown, too, with a customized numeral 1: a flag and a base were added, for less ambiguity.

Pricedown is paired with Arial.

The logo for Denver’s Best DJs was designed by DJ Emir of ExtremeFlyerDesigns.com utilizing the fonts New Zelek, Bank Gothic and Sloop Script.

A fresh 1990s poster using “old” type. The top line uses Morris Fuller Benton’s Bank Gothic (ATF 1930); headliners, location and address are set in another low contrast family with blocky caps: ITC Bolt by Ronné Bonder and Tom Carnase (1970). Time, price and presale addresses use Horatio (a version of Harry, 1966) designed by Bob Newman for Letraset in 1971.

The Koninklijke Bibliotheek website lists headliners Schoolly-D from Philadelphia and his DJ Kid Swift (listen to an hour of Kid Swift from 1997) as the designers of the poster – not an expected credit, but I haven’t found better information yet.

From Belgian publisher Stockmans Art Books:

Reg Herygers creates fascinating typographical experiments for every month of 2021. One day is added to each week by means of the Japanese lucky number 8 and a surprising thirteenth month complements the series. 13 numerical shapes play a game of light and dark, while concealing each other. They merge together in a colourful abstraction that makes one forget time.

The calendar is used to playfully denounce the rat race of daily life and to compensate for lack of time. "Eight Days a Week, Thirteen Months a Year" indicates more time for oneself and especially for the people you care about!

Part of the profits of this project will go to Tejo, an organisation dedicated to vulnerable young people between 10–20 years old. In these challenging times it is more necessary than ever to pay attention to our younger generation to create a perspective on a sustainable future.

The calendar, printed on G-Snow by Arctic Paper, uses Europa for months and numbers on the bottom of each page, with Europa’s alternate single story a activated. The information part can be separated from the artwork by tearing it of along a perforated line. The artwork for each month is based on the numerals of some of seven more sans-serif typefaces.

Front cover of Billy Vaughn’s 1969 album, The Windmills of Your Mind. The track listing is set in all-caps Folio Light.

I’m pretty sure the first thing that comes to mind (embedded with windmills or otherwise) when you think of easy listening and late-60s pop songs is not something similar to this album cover. The psychedelic, colour-shifted visuals and future-flavoured phototype imply that the music within was created with towering analogue synthesizers, not the elevator music equivalent of an off-Broadway orchestra.

Back in 1969, somebody at Dot Records thought the combination would be just groovy for this compilation from multi-instrumentalist, arranger, and orchestra leader, Billy Vaughn.

Art direction by Christopher Whorf, with photography by Gene Brownell.

[More info on Discogs]

Back cover of Billy Vaughn’s 1969 album, The Windmills of Your Mind. The track listing and credits are set in Trade Gothic, while the manufacturing and distribution text is set in Bank Gothic.

We created this custom one-time use logo and these eight-foot tall banners for an event for the Randall Morris Foundation, which benefited one of our favorite charities, The Burned Children Recovery Foundation.

This Celebrity Poker event featured NFL football players, along with other sports celebrities, and was held in an automobile showroom.

For the main event logo, we selected Advertising Script. Sometimes the flair of a letter will jump out, and for this, you can’t beat the lowercase t.

The word “benefiting” was set with Capistrano BF. Because RMF was an umbrella charity, and we felt such a strong connection to BCRF, Capistrano acted as a lead-in to draw attention the final beneficiary, The Burned Children Recovery Foundation, which was set in Neutraface, one of our all-time favorites. “Poker Tournament” is in Bank Gothic.

If you happen to come across this art by browsing, we’d love it if you considered donating directly to the Burned Children Recovery Foundation.

The foundation sends children that are burn survivors to summer camp each year. Their counselors are firefighters. Michael Mathis, a burn survivor, and his wife, Kathleen, are the founders of this amazing organization.