First edition, Newnes, 1988

A book about vehicle technology that nicely uses the Light and Heavy weights of Gill Sans to refer to the light and heavy vehicles of the title.

Later editions switched to different typefaces – Futura Condensed and Futura – but maintained the Light and Heavy conceit in the cover typography.

Second edition, Newnes, 1992

Third edition, Butterworth-Heinemann, 1998

Fourth ediiton, Routledge, 2006

Ear Candy is a compilation album with songs by various artists signed to Twentieth Century Fox. The cover is a literal take on the title, with a candy bar for each of the seven featured artists and songs. Some of the typefaces were rendered by hand.

Design by George Corsillo with illustration by Fred Nelson and art direction by Tim Bryant Design.

[More info on Discogs]

Zingo! is a series of Bingo-like card games by ThinkFun. Launched in 2002, it aims to engage kids aged 4 and up in learning and enhancing memory and word recognition skills. Rat Fink Heavy is used for the logo, featuring bouncing letters with contour and gradient fill. The playful slab serif by House Industries is also the primary font used on the boxes across the various editions, including 1-2-3, Sight Words, Word Builder, and Boost.

“Works with any Zingo!® Zinger” is added in Cafeteria.

Letterpress printed Souvenir Ticket for the 2026 Bay Area Printers’ Fair & Wayzgoose. Printed in 2025 from vintage handset metal type, in order from top:

Caslon Bold Extended (1911)
Futura schmalhalbfett (1936)
Lilith (1930)
Figaro (1940)
Hellenic Wide (c.1954*)
Festival Titling (1952)
Gill Sans Cameo Ruled (1935)
Antique Condensed (pinmark from MacKellar, Smiths & Jordan, 19th century)
Ad Lib (1961)
Antique Shaded (1913)
Mistral (1953)
Plymouth (1900)

All borders are cast by Stephenson Blake, printed from new-in-box old stock fonts.

*) Note that Hellenic Wide is a 1950s adaptation of the same letter style as the 19th century Antique Extended.

Cover of issue 1. Franklin Gothic Extra Condensed is used for the cover text.

Mermaid was an American adult magazine first published in 1962 by Geemil Publications (not be confused with another adult magazine also called Mermaid, published from 1958 by Garden of Eve Publications).

The Mermaid logo uses all-caps Filmotype Party.

Cover of issue 2. Franklin Gothic Extra Condensed is again used for the cover text.

Cover of issue 3. The text immediately below the logo as well as the words “ADULTS ONLY” are in Futura Condensed. Other text is in Ludlow Condensed Gothic (Modernized).

Cover of issue 4. The text immediately below the logo is again in Futura Condensed [edit: or rather Tempo Heavy Condensed, see comments], while the other text is in Bodoni Campanile.

Issue no. 2 from July 1981. The white text at the bottom is an unidentified typeface similar to Futura Extra Bold Condensed. I wonder if it’s related to Heraldus. [edit: identified by Bryson as Tempo Black Condensed]

Motter Tektura is the logo typeface for Your Computer. The Australian monthly home computing magazine “for business and pleasure” ran from May/June 1981 to May/June 1997. From 1977 to 1984, Othmar Motter’s typeface was also used for the logo of the Apple Computer Inc., likewise in all-lowercase letters.

Initially edited by Les Bell and published by the White House Publishing Group under licence from Motorword Pty Ltd., Your Computer was typeset by Hughes Phototype, Mosman. and printed by The Lithgo Centre, Waterloo. Barry Brady served as the magazine’s first art director. In 1982, he was superseded by Michelle Mabbott. Rolf Hagenmaier filled this role in 1993.

By 1994, the logo had been redrawn (almost) beyond recognition.

You can browse many digitized issues in the Internet Archive.

Motter Tektura was also used as headline typeface on interior pages. Here’s the table of contents from no. 5, November 1981.

June 1982, with ITC Korinna in a starburst for the “Big Birthday Issue”. The logo got a contour.

October 1982, ft. Dynamo Shadow for “16 Bits – A Revolution?”

May 1983

June 1983

September 1983

“Learning With Your Computer” special issue, 1986, with a shaded logo version and ITC Avant Garde Gothic

February 1993. The claim below the logo now reads “Making your micro work”.

“More TR7”

1977 ads for the Triumph TR7, a sports car that was manufactured by British Leyland in Speke, Liverpool. The headlines are set in tight-not-touching caps from Harry.

“TR7. The shape of things to come at a price you can afford today”

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

Headlines are shown in all-caps Latin Bold. Some of the lines including “Travel wise – always travel by coach” are drawn by hand, though: zoom in to see small differences between repeating letters. The italic red caps appear to be from Miller & Richard’s Grotesque No. 4.

A rather fine and complex folding map giving details of the many express motor coach routes operated in England and Wales by the ‘principal’ bus and coach companies, a list of which appears at the base of the map. The folder gives information as to express services, coach holidays, chartering, sightseeing and coach-air services and is illustrated by images of suitably express coaches and happy passengers. The folder was issued at a time of great popularity for both express coach services and coach holidays – post-war years that still saw relatively low car ownership but with increasing wages and disposable income and before the onset of cheaper overseas holidays.

Amongst the photos I can make out a BMMO Midland Red motorway coach, passing what looks like a Bristol, and various vehicles that look to be both East Kent and Maidstone & District. The list of companies, organised geographically, contain some well known and often much missed names. Oddly the ‘Scottish’ connection points potential passengers to the Scottish Tourist Board and not the Scottish Bus Group.

The rather stylish graphics and map are signed “Reitz” who is an artist/designer I can find little about although they did similar maps and publicity for British Rail at the time.

Northern section of the map. Labels use Futura Condensed.

Southern section of the map. The list of principle bus and coach companies of Britain is set in two weight from Monotype Grotesque.

Plantin is used for the body text.

Bordonaro Vampire (Photo-Lettering, by 1971) is the godfather of all drippy horror typefaces. Lewell Bordonaro’s design can here be seen in use on the jacket of The Magic Power of Witchcraft. First published in 1976 in largely identical design, the images show a 1982 printing. The book was written by Gavin & Yvonne Frost, founders of the Church and School of Wicca.

The spine lettering taps into another trope of eerie typography. The blackletter used here is Goudy Text.

First compilation printing of R.L. Stine’s Halloween Night (1993) and Halloween Night (1994), published by Schloastic in 2003. The cover typography uses squeezed Crypt (a.k.a. PostCrypt) together with LTR NCND (then known as FF Trixie). Both typefaces were given a spooky glow effect. Tagline and back cover text are set in Futura Condensed.

Everyone at McKinley High dreams about Halloween. The A-plus parties, the creepy costumes—it's a blast. Everyone, that is, except Brenda Morgan. For Brenda, Halloween is a total nightmare.

Every year, something terrifying happens to her. Like someone smearing blood all over her bedroom wall. Or her friend stabbing her in the back—literally.

It's almost like Halloween night is cursed for Brenda. And unfortunately, October 31 is just around the corner....

This upteenth remake of The Body Snatchers directed by Abel Ferrara, produced in 1993 and released in 1994 features a very 90s looking design with elongated and skinny letters and wide spacing.

The title typeface is the then brand new Tube. Designed by Lewis Tsalis, it was released with T-26 in 1994. [Edit: no, it’s rather David Quay Mekanik (1988), with a modified N, see comments.] The subline “The Invasion Continues” is added in stretched Futura Extra Bold.

The poster for the theatrical release is credited to B.D. Fox & Friends Advertising. The tagline is in Engravers Roman.

The Blu-ray Disc cover has the title with a monochrome bevel effect. The tagline here is shown in Futura Condensed.

The quote on the back of the DVD cover is in Industria. Additional text uses several styles from Helvetica.

Virtual Addiction: Help for Netheads, Cyberfreaks, and Those Who Love Them is a book on internet addiction by David N. Greenfield, published in 1999 by New Harbinger Publications. The cover design is credited to Blue Design.

The title and author’s name on the front cover use Epitaph, while the tagline uses Clicker. In the interior, headings use Futura BT while the text uses Palatino. The back cover uses Scala Sans.

Festes de Vallcarca is a returning food and drinks festival in Vallcarca, a Barcelona neighbourhood in the Gràcia District. It is organised by the bar La Dolors. Both bar and festival use Sisters as their brand typeface.

Theatrical movie poster

Bill & Ted’s Excellent Adventure (1989) is a science fiction comedy that follows two academically underperforming high school students, Bill S. Preston, Esq. (Keanu Reeves) and Ted “Theodore” Logan (Alex Winter), whose failure in history class threatens not only their friendship but the future of humanity. To prevent this, a traveler from the future named Rufus (George Carlin) arrives with a time-traveling phone booth, enabling the pair to journey through various historical periods and collect notable figures—including Socrates, Napoleon, Joan of Arc, and Abraham Lincoln—for their final presentation.

The logo is a combination of Bippie (for “Bill & Ted’s” and “adventure”) and custom lettering (for “Excellent”). The cashing credits are set in Univers Ultra Condensed. The tagline is set in Futura Bold Condensed.

Closeup view of the logo, from the theatrical movie poster

Presskit for the movie, showing the print version of the logo, which uses Bippie

Poster. The credits use Futura Condensed.

From Wikipedia:

Batman Forever is a 1995 American superhero film based on the DC Comics character Batman by Bob Kane and Bill Finger. It is the third installment of Warner Bros.’ initial Batman film series and a sequel to Batman Returns (1992). […] Batman Forever was released on June 16, 1995, to mixed reviews from critics, who praised the visuals, action sequences, soundtrack, but criticized the screenplay and tonal departure from previous two films. The film was a box office success, grossing over $336 million worldwide and becoming the sixth-highest-grossing film of 1995.

The Batman Forever font was specifically created for the film by Massey Rafani of The Idea Place (the in-house ad agency of Warner Bros.) and Mark van Bronkhorst of MvB Design. It is used in the opening titles of the film, on posters, and in other advertising.

After the main opening titles, further opening credits use Trajan. The end credits of the film use Caxton.

Beginning of the opening titles of the film

The actors’ names move towards the camera in 3D

More opening credits, using Trajan

End credits, using Caxton

Teaser poster. Legal text uses Times New Roman. “PRINTED IN U.S.A.” is in Helvetica.

Poster. The credits use Bee.

Poster

Poster

Poster

Poster

Home video ad. The credits squeezed caps from Futura. The line at the bottom shows the normal proportions.

The Supremes A’ Go-Go is the ninth studio album by The Supremes, released on August 25, 1966, by Motown Records. The album blends original material with covers of contemporary pop and soul songs, featuring hits like “You Can’t Hurry Love” and “Love Is Like an Itching in My Heart”.

On the front cover, the group's name is set in Fiedler Gothic and the album title is displayed in Latin Wide, with an upside-down apostrophe. Song names are set in caps from Futura Condensed Bold.

[More info on Discogs]

On the back cover, the band name is shown in Peignot with a non-standard u, set on an angle. The title is arranged on a bouncing baseline, with two exclamation marks and added motion lines. The extracondensed contrasted sans is yet unidentified. Track list headings feature Radiant. The upright brush script with the wide caps for “The Sound of Young America” is Filmotype Hawk. “The Motown Sound” at the top right is in Stencil while credits at the bottom left use regular-wide Futura and Monotype Grotesque.

Tableau is a richly illustrated magazine about fine arts from all ages. The issue for winter 2024 makes use of IvyMode and IvyPresto for headlines, combined with Futura and Frutiger for text. The magazine logo is in ITC Franklin Gothic.

A two-page ad for the game The Nomad Soul, found in LARA: The Official Lara Croft Magazine (1999). From Wikipedia:

The Nomad Soul (known as Omikron: The Nomad Soul in North America) is an adventure game developed by Quantic Dream and published by Eidos Interactive. It was released for Microsoft Windows in 1999 and Dreamcast in 2000. The player can engage in unarmed and armed combat, explore the three-dimensional environment of Omikron City, and talk with non-player characters to progress the story. It follows an investigation into a case of serial killings, which unravels the supernatural truth behind the city's ancient history.

BadDeni is used for the large “Have I been you somewhere before?” tagline, as well as the game’s web address. The smaller text at the bottom of each page is set in Amplifier.

Tiny legal text uses Helvetica. The Eidos web address is in Futura Condensed.

Los Condenados (The Condemned), a horror movie from Puerto Rico released in 2012 and directed by Roberto Busó-García uses the typeface Mutilated for posters and packaging of physical media.

Synopsis from Letterboxd:

Determined to restore her dying father’s reputation, Ana travels to the remote town of Rosales. Decades ago, he settled there and opened his first free clinic for cancer research. He launched an illustrious medical career - and fell in love. Ana plans to celebrate her father’s scientific and humanitarian achievements by transforming the old family mansion into a world-class museum. She will preserve his legacy, and also breathe new life into the forgotten Rosales. But the townspeople-now destitute and helpless-do not greet her warmly. Neither does the house.

Mutilated used to be distributed by FontShop International. It now has been re-released with FamiraFonts in 2025, distributed by Type Network.

Credits at the bottom are set in squeezed Futura Condensed.

On this poster, the tagline “Some houses never forget” is added in Fry’s Baskerville, with credits in ITC Avant Garde Gothic.