Keyframe Digital Productions, Inc. is a Canadian animation studio founded in 1997 by Clint Green and Darren Cranford. The shown logo – which according to the Audiovisual Identity Database was used from around 2008 to 2011 or 2013 – appears at the end of season 2 of Pinky Dinky Doo and other productions. It combines Ray Larabie’s Earwig Factory with Gill Kayo.

Teaser poster

From Wikipedia:

Marty Supreme is a 2025 American sports comedy-drama film co-produced and directed by Josh Safdie from a screenplay he co-wrote with Ronald Bronstein, loosely based on the life and career of American table tennis player Marty Reisman. Co-produced by and starring Timothée Chalamet, the film also features Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Abel Ferrara, and Fran Drescher in supporting roles.

The main posters feature the title in a stretched and manipulated version of Gill Kayo Condensed and corresponding headers in Neue Helvetica Condensed, including its Heavy style. The billing block is set in Bee Two.

Eric Gill, the designer of Gill Sans, initially called the ultrabold style “Sans Double Elefans”. Released as Kayo, derived from “K.O.” (i.e. knockout in boxing), it feels appropriate for the main movie title on the poster, as it is a very prominent typeface used in sports.

The movie logo compared to a resetting in Gill Kayo Condensed with stretched letterforms. Various subsequent optimizations have been made, see for example the horizontals in T and E, the counters in A and Y, or the bottom of U. In the process, some glyphs like R ended up resembling Gill Sans Extra Condensed Bold.

Timothée and Josh Safdie imitating the Marty Mauser pose at the Marty Supreme black carpet in Los Angeles.

Gwyneth Paltrow in front of the movie logo

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

To commemorate the centenary of the birth of Scottish author Muriel Spark (1918-2006), Polygon, a Scottish imprint, is issuing a uniform edition of all 22 of her novels.

Designer Teresa Monachino chose to design the covers typographically, using two typefaces by Eric Gill, Gill Kayo and Perpetua. As she states,

The one thing that I kept in the front of my mind was that Muriel Spark was ‘the writer’s writer’. I read the 22 blurbs that accompanied each story and I knew then that the work should speak for itself. If we mustn’t judge a book by its cover then we must judge it by its words. What happens then when the words are the cover? I proposed that the book blurb should be on the jacket cover so that the design lets the stories speak for themselves; they need no further embellishment, it’s all in the writing.

To encourage readers to collect the entire set of works by ‘the writer's writer’, the designer included a kind of typewriter keyboard grid on the covers, with each book’s number in the sequence of titles highlighted, set in Gill Sans.

The sequence numbers are repeated at the bottom of each jacket spine, as well as a single, similarly highlighted single letter at the top. When all the books are assembled in order on a shelf, the highlighted letters spell out ‘THE NOVELS OF MURIEL SPARK’ — a clever ‘Easter egg’!

The texts are set in Monotype Ehrhardt.

Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: booksfromscotland.com Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Source: birlinn.co.uk Polygon, an imprint of Birlinn Ltd. License: All Rights Reserved.

Grecha is a contemporary food brand redefining the perception of buckwheat—transforming it from a traditional staple into a modern, nutritious, and design-forward product. The brand identity reflects this balance between heritage and innovation, using a typographic system that feels both nostalgic and bold.

Gill Kayo sets the foundation for the logo, with its rounded, friendly letterforms echoing the soft, organic shapes of cooked buckwheat. This warmth and familiarity create an inviting, homey feel—reminiscent of childhood comfort foods. Complementing it, New Burns adds a refined yet approachable contrast with its soft serifs, reinforcing a sense of quality and tradition while maintaining a modern edge. The typographic palette is completed by Golos Text.

The overall design, including horizontal packaging layouts and vintage-inspired color palettes, ties together the brand’s mission: to make buckwheat exciting, accessible, and an everyday essential.

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Texas-based Ponderosa Steak Houses have had a variety of logos since their founding in 1959. From 1975 to 1977, the logo was set in Frank Bartuska's Bartuska Satanic at certain restaurants in the chain. This includes the slogan, “Square Meal Square Deal”.

According to Fandom,

This logo was introduced alongside a new restaurant layout called Concept II, which toned down the excessive garish cowboy imagery and replaced it with a family dining atmosphere with Western accents.

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

Source: archive.org License: All Rights Reserved.

“Juicy Steaks at Rare Prices” newspaper ad, May 1975, ft. Times New Roman

Source: archive.org License: All Rights Reserved.

“Every Tuesday night is Family Night” newspaper ad, October 1975

Source: www.ebay.ch river_creek_designs. License: All Rights Reserved.

“This week is extra special” newspaper ad, 1976

Source: www.ebay.ch river_creek_designs. License: All Rights Reserved.

“Tuesday Family Night” newspaper ad, 1975, ft. Gill Kayo and Helvetica Condensed

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

“Highchairs and Bibs” newspaper ad, December 1975, ft. Gill Kayo and Helvetica

Source: www.pinterest.ca License: All Rights Reserved.

“Hats off to America” newspaper ad, July 1976, ft. Windsor

Source: archive.org License: All Rights Reserved.

“Buy a soft drink and keep the glass” newspaper ad, June 1976, ft. Kabel Black

“For Industrial development Liverpool has everything”. A fine double page advert issued by the City Engineer and Surveyor’s Department in the city’s c.1955 Official Industrial Handbook, published by E. J. Burrow & Co. Ltd..

This lavish book has an immense amount of information as to the work of the Liverpool Corporation, the city’s amenities and services as well as discriptions of the port, shipping services and industrial activities. These included the three municipally developed suburban trading estates at Aintree, Kirkby and Speke.

The advert has a fine aerial view across Pier Head looking west as well as some “Isotype” style graphics. Text is set in three weights of Gill Sans, including the ultrabold “Double Elefans”, better known as Gill Kayo, for the headline. The script is custom lettering, and the copy uses Monotype Bodoni.

Gill Kayo was originally drawn by Eric Gill in 1932 and issued by Monotype in 1936. In 1980, a condensed variant of the heavyweight was added by the Letraset studio in 1980. In 1981, Herbert Carl Traue used Gill Kayo Condensed for the jacket of Verrat in Rot (“Treason in red”), and contrasted it with the family’s Light weight.

Rudolf Ströbinger’s novel is based on historical events that took place in Brno in 1945: in the final phase of the Second World War, cousins Alois Bauer and Vladimír Blažka carried out an assassination attempt on SS-Hauptsturmführer August Gölzer, a representative of the German protectorate in occupied Czechoslovakia. The title of the book refers to the fact that the two communist resistance fighters were denounced by one of their comrades, who revealed their names to the Gestapo under duress.

The arts weekender website and leaflet is maximalist, quirky and a riot of colours and shapes. Weston is a slightly weird place and we wanted the site to embrace that and challenge the conventions of a typical arts festival website.

Rooted in Westons unique coastal landscape, Promenade considers an ecology of place, and our relationship with the environment we live in.

Cover of the issue for 6–12 July 1991

Super TV was the first West German television newspaper to be sold in East Germany. It still exists today, albeit in a different form. The fonts used are typical examples for magazines from the 1990s. The logo is based on Balloon Drop Shadow, with “die Nützliche” added in Challenge Extra Bold. Other fonts on the cover include various heavyweights like Berthold Block Condensed, Gill Kayo Condensed, and Futura Extra Bold Condensed. The station names on the interior pages are set in a bold condensed style of ITC Souvenir. In general, magazines during this time looked wild with the variety of fonts used.

Interior page for 3 January 1992

Interior page for 3 January 1992

Les Folles Aventures d’Omer et de Jacques Courtois (“The Wacky Adventures of Omer and Jacques Courtois”) is a late 1950s 7″ EP by Jean-Jacques Perrey (a rather well-known electronic musician and one of the earliest, 1929–2016) that’s based off of a then-popular ventriloquist called Jacques Courtois (b. 1928), whose acts included playing a puppet boy named Omer.

“Omer et Synovie” uses Gill Kayo, the ultrabold display companion to the Gill Sans family. It’s accompanied with typefaces that were more common in the French typographic vernacular back then: Futura (also known as Europe by Deberny & Peignot) and a condensed style of Berthold-Grotesk [edit: it’s Europe Gras Étroit, see comments].

[More info on Discogs]

The cover for Vintage’s 1989 paperback edition of Friedrich Nietzsche’s Beyond Good & Evil, which was translated by Walter Kaufmann.

The typography shown here uses a ton of styles from Eric Gill’s Gill Sans. These include the extra bold for the original author’s last name, the light for his first name, and initials from Gill Kayo (for “Good”) and Gill Sans Bold Extra Condensed (for “Evil”).

In 1973, King Crimson was on tour to promote their album Larks’ Tongues In Aspic. On November 2, the English prog rock group played the Audimax Hamburg.

Günther Kieser’s poster is exclusively typographic. Maybe the band’s name was considered more attractive than photos of the musicians: after all, all founding members except for Robert Fripp had been replaced shortly before. “King Crimson” is rendered as a pile of tumbling and partly overlapping glyphs from Premier Shaded. The shaded caps feature a rainbow gradient fill and, if you look closely, they cast yet another shadow on the background, for more dimensionality. The second I got a dot, probably to improve legibility.

Challenge Bold and Hobeaux.

World Famous Original is a independent goods store in Portland, Oregon, founded by Ben Goetting.

Among the many items sold online and at the brick & mortar store are an ongoing series of humorous, retro style pinback buttons. The mostly typographic buttons feature a broad selection of vintage and contemporary typefaces.

Felten Shaded and Felten Regular

Cheee Jimbo

Challenge Bold

Challenge Bold

Eagle Bold

Challenge Bold and Hobeaux

Gill Kayo (and the Stiff Records logo which is probably based on Quicksilver)

Felten Shaded and Felten Regular

Hobeaux

Eckmannpsych

Challenge Bold

Felten Shaded

Franklin Gothic and Hobeaux

Franklin Gothic and Opti Sport Script

Freestyle.

Hobeaux and Blimey

All lowercase Arbuckle NF is used for the main title, contrasted here with all caps Gill Kayo for the subtitle and author name.

From the publisher:

Pikachu’s Global Adventure describes the spectacular, complex, and unpredictable rise and fall of Pokémon in countries around the world.

The main logo of the Modern Antica shop in Sana’a city uses Castile. The word “Antica” is set in the Regular weight. The Arabic title uses Assaf, while the English name is set in stretched Gill Kayo.

Frank T. Vetgen/West American Advertising, “Florida Orange Juice is Hazardous to Your Existence,” 1977. LGBTQ Poster Collection, ONE Archives at the USC Libraries.

Information via Days of Rage:

Florida anti-gay rights singer and brand ambassador for Florida Citrus Anita Bryant led a campaign in 1977 to repeal an ordinance in Dade County, Florida prohibiting discrimination on the basis of sexual orientation. Historian Lillian Faderman writes that “movements can exist very well without a god but they can’t exist at all without a devil. Anita Bryant became the devil of the gay rights movement, and that really helped the gay rights movement organize and pull together” (Faderman 2016). National gay and lesbian political organizations were outraged and sought to protest Anita Byrant’s harmful rhetoric through national bans on orange juice, organizing actions such as cocktail protest parties serving anti-screwdriver drinks, and writing protest songs such as, “Don’t drink the orange juice / it might lead to all kinds of bigotry.” This black-and-orange poster highlights the plethora of “fruity” puns used in anti-Bryant campaigns during this era.

The headline is set in Gill Kayo, with the image credit to West American Advertising set in ITC Avant Garde Gothic.

Uncredited sleeve design for an album by Bulgarian folk musician and accordionist Dimiter Stoykov (Димитър Стойков, b. 1931), released by state label Balkanton in 1974. The symmetrical illustration featuring doves and flowers is accompanied by multiscript typography: while the Latin part is set in Aurora-Grotesk VII, the Cyrillic text is shown in two typefaces that, to my knowledge, didn’t offer official support for this script.

Spelling out the album title with glyphs from Gill Kayo was the easier part: all letters in “aкордеон” (“accordion”) could be approximated by repurposing Latin letters: akopgeoH. In Bulgarian Cyrillic, the lowercase letter д (de) can look similar or identical to a Latin single-story g. The only required hack was to make a small cap H for the Cyrillic н (en). For the artist’s name in Tintoretto, the designers had to get more creative: Д (De) is a modified A, and М (Em) and Ъ (hard sign) are completely new creations. Letraset sheets didn’t include a breve accent for й (short i) – but a dot was deemed good enough.

[More info on Discogs]

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

Gill Kayo is the logo typeface of Monk. The credits in the opening titles are set in Gill Sans, with first names in all lowercase and surnames in all uppercase letters. The letters first appear jumbled and then fall into place to form the words. From Wikipedia:

Monk is an American comedy-drama detective mystery television series created by Andy Breckman and starring Tony Shalhoub as the title character, Adrian Monk. It originally ran from 2002 to 2009 and is primarily a police procedural series, but also exhibits comic and dramatic tones in its exploration of the main characters’ personal lives. The series was produced by Mandeville Films and ABC Studios in association with Universal Network Television.

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

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

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

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

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

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

New branding for Sydney’s Akasha Brewing. A new logo, consisting of an impactful hop and triangle motif, was created to accompany a direct and immediate wordmark set in Linotype Franklin Gothic Condensed. The core range of five flagship beers consists of a minimal monochrome design.

The Akasha Project sub-brand is where the team explores their art at its most exciting – a celebration of the different, the unexpected, the alluring – with each beer allowed to manifest its own unique character.

The Akasha Project cans play with a range of fonts from vintage classics such as Arabesque, Hobo, Gill Kayo and Roberta, to retro-revival typefaces like Break Maiden’s Vacation. Sharp Type’s Beatrice is used for all information.

“Korben” is set in Gill Kayo.

"Little Korben" uses Gill Kayo

“Talus” is set in Hobo.

“Double queen” is set in Roberta.

“The Eagle” pairs Beatrice with Pilowlava.

"Blood Orange Gose" uses custom lettering, paying homage to Dario Argento's '4 Mosche Di Velluto Grigio' (Four Flies on Grey Velvet).

Poster Boy is used for "Frida".

“Cloud” is set in Scorpio / Hoopla.

Vacation Display is used for “Endless Haze”.

“Double Hazy” uses HWT Arabesque.

A rare sighting of Tangui, on the book jacket for the hardback edition of The Game-Players of Titan by White Lion Publishers, Ltd., 1974. It’s contrasted with the weighty Gill Kayo.

Conceived by Colombian designer Gustavo Pardo Sarmiento, Tangui was selected as a winner in Letraset’s International Typeface Competition 1973. It added to the wave of wire-like faces that mix single and double monolinear strokes, see also Monika (1970), Eggomania (1971), Neo Script and Branding (1972), Duo (1973), Burgondy Right (1974), or Hairpin (1975). Tangui was digitized by Jonathan Hill as TenGu (The Northern Block, 2009).

[More info on ISFDB]