From Everyday Practice:

We designed the cover for the October issue of La Vie Magazine, a cultural publication based in Taiwan. The graphic concept interprets the energy and layered structure of Korean design through an expanded color spectrum and concentric waves inspired by traditional Korean colors. This special feature introduces creators from various fields—K-pop, film, fashion, crafts, and architecture—shedding light on the designers behind the Korean Wave. It also includes interviews and works by Everyday Practice and many other Korean creatives.

We appreciate the La Vie Magazine team for their thoughtful and in-depth coverage of Korean design.

The issue title uses FH Lecturis. The Chinese text “韓國設計特搜” is in an unidentified typeface that apparently was modified to match the look of FH Lecturis and its gaps.

Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a British musical film from 1969. Anthony Newley (1931–1999) co-wrote the script, served as director, played the lead role, and composed the score. From Adam White’s 2017 article for the Telegraph:

Famed at the time for its ludicrously unwieldy title, 1969’s Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? is a surrealist sex-drenched disaster that could only ever have been made in the more free-wheeling Sixties. Released to significant controversy for Universal Pictures and given an X rating, it was dubbed “an act of professional suicide” by the New York Times.

The cover of the soundtrack album by Kapp Records is an adaptation of the movie poster, with illustration is by Robert Tanenbaum. It uses typefaces that all were available from Californian phototype company Lettergraphics. Most of the text is set in various widths and weights of Microgramma – at Lettergraphics, Microgramma and Eurostyle [sic!] were distinguished solely by whether the font was all caps or had a lowercase, without differences in the design. The title is a potpourri of Sans Shaded, Bodidot Flair (a copy of Pistilli Roman, with swashes), a generic sans in italic caps and small caps, Windsor Contour, Torena Italic Flair, Holiday, Groovy, and Gras Serrés Italique.

The text on the balloon (“HAPPY BIRTHD”) might be in all-caps Franklin Gothic Wide.

This box set with twelve 7″ records containing a total of fifty party playtime songs was released on Playhour, a sublabel of Pickwick Records, and advertised in 1970. The collage on the cover is by Frank Daniel. The three main display typefaces are all from the catalog of Photo-Lettering: “50” uses numerals from West Barnum, “Party Playtime” is in caps from Caruso Roxy, and the Playhour logo on the back, the inner sleeve and the labels features Gonzales Jeanette.

[More info on Discogs]

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

Title design with Solæ typeface for Alex Van Pelt’s album Cabin Fever. Logotype by Gwennina Moigne and album design by Alex Van Pelt, using Neue Helvetica and two yet unidentified typefaces, a serif and a condensed sans (Kazimir Text and Univers Condensed are similar, respectively).

Clean Plate Society is a club and catering venture that develops and serves seasonal menus. Its services include private dining events and catering. The identity was designed by James Mudd and is set in Romie Regular, designed by Margot Lévêque.

The script used for “inaugural” is yet unidentified. Young Gallant is similar.

Prop license plate S99821

Prop license plates designed for the 2017 science fiction film Blade Runner 2049, directed by Canadian film director Denis Villeneuve, starring Ryan Gosling and Harrison Ford.

The Japanese (Katakana) text “ロサンゼルス” (“Los Angeles”) uses Checkpoint Font, a retro heavy-duty industrial Japanese typeface inspired from 1930s Japanese poster typefaces made by Yoku Tobanai Tori. The alphanumeric codes placed above on each plate are set in an unidentified sans with similarities to Alternate Gothic and Wearetrippin.

The book brings together the best annual projects of the Academy. Printed in six-colour offset with the addition of a metallic Pantone, and partially in Risograph (internal insert), it employs hand-crafted movable type for the titles, with manual typesetting combined with black-and-white photography, as well as artist illustrations produced through intaglio and engraving, printed in two colours.

The layout is conceived as a fluid composition: a hybrid system of techniques and visual overlays that positions the book somewhere between graphic design and the artist’s book. While flipping through the pages, readers can access additional audio content related to the various activities.

Some of the typefaces used belong to the Academy’s collection of movable type. This includes a version of Inserat-Grotesk – possibly Fondografica’s Piacenza – and Motor. The names and origins of others are uncertain or undocumented.

The E and P are from an Art Deco typeface that’s similar to Triennale.

Simone donne sa langue au chat unfolded as a four-part event series in Châteauvillain (Haute-Marne, France), within the walls of a former boot factory, once called Le Chameau, now reimagined as Simone.

These events invite a shared, participatory reflection on the status of living beings and the space we allow them, at a time when biodiversity is collapsing under human pressure. Bringing together citizens, artists, researchers, and legal thinkers, the event explores how animals might belong within human communities, through questions of place, proximity, and otherness.

The A2 poster consists of four A4 designs, each able to stand alone. Designed in two colors (plus white background) by Fabrication Maison, it was printed by Lézard Graphique.

The first page of a large 480-page catalog advertising goods offered by Feldheim, Gotthelf & Co., an Australian importer of “British, Continental and American Merchandise”. Founded in the 1850s, the company entered a period of growth starting with a new warehouse in 1892. This catalog, published around 1905, offers an extensive window into essentially the entire breadth of goods available to Australian households at the time. The company entered a period of decline a few years later due to partners retiring from business, and in 1924 began the process of shutting down the company which concluded in 1927.

The catalog is set in a smorgasbord of period typefaces. The shown page features Facade for the company’s name, followed by Maltese Shaded, Condensed Sans Serifs Italic (see Condensed & Elongated Sans Serifs), Grotesque No. 4A, and Reed’s Runic Extended (for “Sydney”). “On Sale” is in DeVinne Ornamental and the list of items in De Vinne. The caps used for the name and location shown integrated in the red border are from Concave. Some of the typefaces used for smaller text are yet unidentified.

First English edition of Japanese author Haruki Murakami’s 1980 novel Pinball, 1973, translated by Alfred Birnbaum and published by Kodansha, with cover art by Maki Sasaki. The prominent use of Peignot and Serif Gothic reinforce a 1970s feel.

The blue horizontal area is the obi strip (belly band) as issued with the earliest printings of this book, which was distributed only in Japan, as a pocket-sized paperback with jacket. The Japanese title (“1973年のピンボール”) uses Gona. The other Japanese fonts are unidentified. “Let’s read in English” seems to be oblique Univers, and “Kodansha English Library” is in Italia.

Aldiviva is the typeface used for the name of Sassy009.World, the website of Oslo-based musician Sunniva Lingård a.k.a. Sassy 009. Additional fonts that appear on the homepage include Eurostile for “Sassy Chat”, Druk Wide for “Blue Racecar”, and Carlista Buttery for “Here Comes The Weekend”. “Heart Ego” combines stretched Helvetica Inserat or similar with Signerica, and “Mystery Boy” remains mysterious for now. Text and UI elements use Neue Haas Grotesk and TWK Everett Mono.

Silkscreen poster for a Soli Punk concert in Berlin, with proceeds going to legal aid for Palestinians and allies against state and police repression. The show took place at KØPI’s Koma F and featured gigs by Zanjeer, Krayat, Teppebombe, and Molbo, with DJ Moppi Gallopi and Rita Riot taking care of the aftershow.

Poster by Stavros Gialamidis, using JT Peleton, Sauber Script, and a yet unidentified sans.

Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

Design and identity by Yitong Ha for the exhibition Murse and Camera Obscura, using DaVinci Regular and Italic by Virgile Flores plus an unidentified typeface for Chinese text. The exhibition shown during the 11th Jimei × Arles International Photo Festival in Xiamen presented photographs by artist Xiang Sun (孙瑞祥) and was curated by Qilan Shen (沈奇岚).

We came across this emergency station annex tourist information point along Trestraou beach in Perros-Guirec in Brittany, France. The lettering is loosely based on Banco. The letters C, R and S are immediately recognisable as Roger Excoffon’s iconic design. D, P and O seem to have been painted with Banco in mind, but without checking the source. U wasn’t paying attention at its turn, and T and E seem to have been borrowed from Arial or some other unassuming sans serif. This lettering must have looked good in the past, and maybe with each subsequent maintenance, something of the original got lost in translation. How many details can disappear before its “Banconess” is gone?

Photos taken in August 2025, designer and date of design unknown.

On an old and undated postcard, the station is already in place, but probably without the lettering it shows today.

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.

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Sheet with five promo stickers

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

Vinyl record label

Herbus Bold and Black Rose in use by Image Format for Chrome Sweet Chrome, an exhibition that took place at Quintal (bookshop and gallery) in Paris in October:

Chrome Sweet Chrome brings together various printed typographic objects produced by Image Format since 2018: the self-initiated poster series Playlist, which pays tribute to the tracks that soundtrack the studio’s daily life, as well as several type specimens published by Quintal to accompany the release of typefaces designed by Johan and Quentin.
Image Format is a visual creation and type design studio founded by Quentin Berthelot and Johan Mossé, whose name encapsulates their approach: crafting singular images within the specific framework defined by each project. Typography lies at the heart of their creative process. From open-ended experimentation to the design of full type families, Image Format explores the potential of letterforms with honesty and generosity.

Laser printing on metallic paper by Quintal Atelier.

Le Jouet Enragé, 2nd edition, 2011, translated by Isabelle and Antoine Berman

Rouge Gorge is a series of books by Parisian publisher Cent Pages, designed by SpMillot. It includes several books written by Roberto Arlt (1900–1942). Shown in this posts are:

• Le Jouet Enragé, a short novel first published in 1926 as El juguete rabioso (Mad Toy)
• Le Petit Bossu, a short novel first published in 1933 as El jorobadito (The Little Hunchback)
• L’éleveur de gorilles, a novel first published in 1941 as El criador de gorilas (The Gorilla Handler)

Cover titles are set in a modified version of Matthew Carter’s Skia. In the latest editions, the interior pages were redesigned to be set in Arlt (by Loche, PampaType), a type family that is inspired in Roberto Arlt's literary works.

See also the previous post about Greguerías by Ramón Gómez de la Serna, published in the Rouge Gorge series in 2005.

Le Petit Bossu, 3rd edition, 2012, translated by Jean-François Carcelen and Georges Tyras

L’éleveur de gorilles, 3rd edition, 2013, translated by Jean-François Carcelen and Georges Tyras

An advert from the early 1940s places the Bonmatí pharmacy at the upperside of the Rambla in Figueres, in the Catalonian region of Girona. Although the pharmacy moved to a new address few years ago, the old signage is still preserved at its original location. At the new address, the Bonmatí family preserves a ceramic sign and the cabinet that was used to store the labels for the pharmacy’s products. Typography and lettering, letterpress and lithography. A few millimetres of paper were used to create small graphic universes to organise the categories of pharmaceutical products.

“Para tomar a cucharadas” and “Jarabe de savia de pino”: Neo Futura (Neufville’s name for Futura Black), Grotesca ancha nueva (Gans), and Antigua Mercedes (Neufville’s name for Tages-Antiqua)
“Uso indicado” and “Uso interno”: Romana estrecha negra (Fundición Tipográfica Nacional)
“Veterinaria” (and also “Fricciones”, “Inhalaciones” etc.): Cleopatra negra (Iranzo)
“Alcohol 96”: Futura (Neufville/Bauer)
“Tintura de Yodo” (and “Alcohol alcanforado”): Futura chupada, Neufville’s name for Futura Condensed
“Agua picrica”: Predilecta (Iranzo’s version of Kristall-Grotesk)
“Limonada purgante”: Grotesca Mercantil (Gans; see Longina)

“Agua de azahar”: unidentified typeface

“A toques”: Bernhard-Kursiv fett (Bauer)

Rows 1–3: Romana estrecha negra (serif) and an unidentified sans
Row 4: Predilecta
Row 5: “Bicarbonato de sosa” is in an unidentified typeface that has several glyphs in common with Roundhead and is also very close to Runic Grotesque (but with asymmetrical T). “Una cucharadita cada 2 horas” is in Venus Bold (Bauer).

Row 1: Fresko a.k.a. Cartoon (Bauer) with Predilecta
Rows 2–4: Antigua Mercedes, Futura, and Cleopatra. The labels in the last row additionally features Grotesca ancha nueva (“Puncem”) and Futura Condensed.

Top left (“Timol”): a local version of Zeitungs-Grotesque (Grotesca ancha by Gans, Grotesca negra by FTN, or Fette Grotesk by Bauer), Venus, Futura chupada negra, Bodoni, and a local version of Copperplate Gothic (Helénica ancha by Gans or Espartana estrecha by FTN)

Top right (“Callicida”): an unidentified wide grotesk, Futura, Venus

Bottom left: both weights of Cleopatra, Futura Italic, Grotesca ancha nueva, and a fine Bowl of Hygieia

Bottom right: Venus and Futura

Lithographic labels by J. Garcia printing house, Barcelona. Most text on these is lettering. The address is added in Cleopatra.

Different styles of lettering