TT Supermolot Neue is the signature font of SaiPa. From Wikipedia:

Saimaan Pallo (SaiPa) is an ice hockey team in the Finnish Liiga. They play their home games at Kisapuisto in Lappeenranta, Finland. SaiPa has many nicknames, such as “The Sputniks”, “Sputnik”, “Miracle of the East” and “Eastern Giant.”

The all-caps brush script seen in this application and the one shown below is Flood.

Off Key Junior. License: All Rights Reserved.

Off Key Junior. License: All Rights Reserved.

Who is Off Key Junior? Junior, Marek, Cecil, and Andrew, residing in both Berlin and London, united by their shared passion for music and a particular affinity for French house and the indie vibes of the 2000s. As talented DJs, producers, and songwriters, they converge to form the sensational collective known as Off Key Junior.

For this collective, they opted to introduce themselves through a single character adorned with a mask designed by art director Julian Grönberg. Julian not only oversaw the graphic and typographic aspects but also spearheaded the transformation. Using a rugged a selfmade brush design as a starting point, they reimagined the original smiley face, turning it into a refreshing character.

The artist’s name uses the Overglow brush typeface, skillfully underlining every bold image and typeface within their visuals. “X Lovespeake” is set in the similar Flood. This attention to detail extends to their latest music video, “Taste Like Summertime,” where they employ Aachen typeface, famously featured in several Tarantino films. This choice not only creates a striking contrast but also infuses a cinematic and retro aesthetic into their artistic music world. In addition, there is Marvin Visions for the title and Credit for the first line.

Off Key Junior. License: All Rights Reserved.

Off Key Junior. License: All Rights Reserved.

Off Key Junior. License: All Rights Reserved.

Off Key Junior. License: All Rights Reserved.

Spirited Away (2002) from Hayao Miyazaki.

Latest issue of French cinema magazine La Septième Obsession with a large focus (62 pages) on the master of Japanese animation, Hayao Miyazaki. It begins with all of his movies decrypted (from Future Boy Conan to The Wind Rises) and features themes of aviation, women, food, creatures, refuges...

For this issue, the atmosphere of Miyazaki and the Japanese theme are featured using various typefaces, such as Le Murmure (available from Velvetyne), Separat (Or Type), 衡山行書 / Kouzan Gyousho (Musashi System), 儷黑 / Li Hei (China Type, DynaComware) and Type Type (Family Type).

Sabon (Monotype) and Ano (Alias) are used throughout for repectively body text and lead paragraphs. The magazine logo is set in Flood (Adobe).

“Hayao Miyazaki” is set in Le Murmure. “Ma – Juin 2020” uses Separat. The tag line on the bottom uses Ano (Alias) and the vertically set Japanese line is Kouzan Gyosho.

“Obsession” is set in Gloss Drop (phospho).

The magazine name is in Flood by Joachim Müller-Lancé.

La Septième Obsession (meaning “The Seventh Obsession”) is a French magazine about cinema, published every two months. It comprises long interviews with directors (such as James Gray, Nicolas Winding Refn, Pedro Almodovar and others) and long themes depending on new releases (space in movies, seven deadly sins, horror cinema, etcetera).

Since issue #5 (2016), I aim to create an original typographic system for each issue according to the theme. In the September/October 2019 issue, the theme of space was featured with Karelia (Monokrom), Space Mono (Colophon Foundry), Space Grotesk (Florian Karsten), and Berreta Sans (205TF).

Roland Hörmann’s Gloss Drop is contrasted with Karelia.

Karelia and Space Grotesk.

The text typeface is Jan Tschichold’s Sabon. In this interview, it’s paired with Space Grotesk.

Karelia (headline), Space Grotesk (lead), and Space Mono (planet data).

Publisher Gruner + Jahr just released the first issue of Guido, the lifestyle magazine led by and dedicated to German fashion designer and television icon Guido Maria Kretschmer.

The colorful content and design of the magazine is accompanied by the clean geometry of TypeMates’ very own Cera and Cera Compact, Scotch Roman-flavoured text with TypeTogether’s Abril, plus good old Bembo and some strong handmade aspects with Zooja, Flood and Madelyn.

Guido magazine represents the first public use of Cera Compact, the 2018 addition to the Cera series of geometric sans serifs. Shown here is the Bold style in use for a pull quote.

Core Circus (the dotted 2d dot style) is used sparsely. Here it is used for “Unterwegs mit den Mädels”.

FF DIN with customized hipsterlectronic ‘A’.

Steven Soderbergh’s retail site and blog has a cinematic air. It’s not a glamourous Hollywood look, but dark and raw, like film noir — a natural fit for the director’s ouvre. The design, by online studio Launchjam, doesn’t go overboard with the theming. The site is spare, with the feel achieved primarily through the type.

The main text is set in a typewriter font, emulating an old-school film script. The typeface, named MENCKEN, appears to be a proprietary design by Nuncle who has done title sequence work for Soderbergh (including the custom fonts and titles for The Informant! and CHE). Hundreds of weathered and worn typewriter fonts already exist (including the meticulously produced FF Trixie which offers a more realistic analog simulation), but I can understand why someone — especially an exacting director like Soderbergh — would want their own typeface that meets their own particular requirements for typewriter model and level of wear.

MENCKEN is paired with Joachim Müller-Lancé’s Flood which delivers short words like hand-scribbled notes on the screenplay. At this small size, Flood does a surprisingly good impression of a quick-jotting Sharpie, despite lacking any alternate glyphs to prevent repeating lettershapes, or ligatures for a more realistic flow. Of course, it could be even better with these features. Adobe, hire Müller-Lancé to expand the font!

Alternate Gothic No. 2 (used for product names) and the showy numbers from Normande round out the type palette, keeping within the retro-industrial theme.