From Wikipedia:

Titanfall 2 is a 2016 first-person shooter game developed by Respawn Entertainment and published by Electronic Arts. A sequel to 2014’s Titanfall, the game was released worldwide on October 28, 2016, for PlayStation 4, Windows, and Xbox One. […] Set in a science fiction universe, the single-player campaign follows the story of Jack Cooper, a rifleman from the Frontier Militia, who bonds with his mentor's Titan BT-7274 after his mentor, Tai Lastimosa, is killed in action.

All of the shooting and wall-running has distracted me from how relatively nice the typography in this game is. Metronic, specifically the semi-bold and regular weight, is used as the primary typeface family. NB Architekt is used, albeit very rarely on computer or terminal text. There is a third typeface, Klavika, distinguishable by the square punctuation marks whereas Metronic’s are round.

Main menu

Options screen

Training mission. Metronic is used for the HUD and the scoreboard.

The iconic title card at the start of every chapter with Klavika

Unlocking a new loadout for BT-7274. Klavika can be seen here more clearly.

Changing a loadout

A cutscene in the final leg of the game. NB Architekt is used on the left.

Another cutscene with a larger usage of NB Architekt

SYSBOARD is a product range of ecologically sustainable wall systems that offer a wide range of applications - in trade fair construction as well as in the recording studio or home office. For SYSBOARD and the sub brands WALL, FLEX and FOLD gathered under this name, I developed a simple logo system that remains scalable for future expansions of the product range.

Klavika was used and adapted for the logo, while copy text is set in Realtime and Realtime Text.

The RUFA Annual Report 2016 was designed by Intorno Design (Guido Lombardo, Tommaso Salvatori, Giampiero Donno, Roberta De Cristofaro, Matteo Sampaolo). The report collects the best of the academy’s dense annual educational and creative production.

Inside, the use of an expressive typography, photography combined with artwork in magenta thread, a free layout and visible binding aim to evoke the multidisciplinary characteristic of the school, made up of art and design contaminations and stratifications.

The design makes early use of Jim Ford’s Posterama (Monotype, 2016), mainly in the 2001 style, combined with Eric Olson’s Klavika (Process).

The poster shows the various actions that have been implemented, while the blank offset cover features a letter written by the lecturer to a future student.

The insert of 16 pages of different formats, printed in two colors, features one of the main events of the past year: RUFA contest.

“Extra” and “Diary” are set in Posterama 1913, with stacked glyphs.

The product is printed in six colors with the use of neon Pantones 802 and 806.

Detail

Birra Stout is one of the many typefaces used for the typographic illustrations that accompany Amanda Kae Fronk’s article about linguist Mark E. Davies in an issue of BYU Magazine, a quarterly published by Brigham Young University. The whimsical display typeface by Darden Studio was chosen for the words “famous” and “crisis” in the large opening spread. Birra also appears in another graphic with “words about women”. Here it’s used to render the terms “pregnant” and “adult”.

What could you do with a few hundred billion words? A BYU professor is transforming linguistics research, language learning, legal studies, and other fields all over the world.

Among the other repeatedly or prominently used fonts in this smorgasbord are Klavika/Klavika Display (“Big Lang BYU”, “inalienable”, “huge”), Bourton Hand Script (“Flow”, “friendly”), Facebuster (“obesity”), Tungsten (“recession”), Quitador (“Ideal”), Burford Dots (“refugee”), Estilo Script (“creative”), and Archer (“civility”). See the typeface credits for more identified fonts in use.

Full spread

“Using Davies’s Corpus of Historical American English to compare some of the most common adjectives that appear near the word women in two different time periods – 1810–99 and 1970–2009 – reveals major shifts in attitudes about women and their role in society.” Klavika and Bourton Hand Script are used for the title, Pompadour Numerals, Cooper Black, and an unidentified grotesque for the years [edit: Champion Gothic, see comments].

For last year’s November issue, Inc. magazine expanded its standard type palette composed of Mercury and Klavika to additionally introduce HWT Artz. The all-caps display typeface with rounded corners is featured on the cover and in the main story about Barbara Corcoran, but also pops up throughout the magazine where it is used for initials, headlines and pull quotes.

Artz was originally designed for the exclusive use as wood type at the p98a print studio. The initial version was cut at Hamilton Wood Type and Printing Museum. The digital version is being offered to the general public with proceeds of sales to benefit the museum’s ongoing operations.

The Return of the Tamagni Collection: To the Stars Through Difficult Paths was an exhibition at the São Paulo Museum of Modern Art (MAM), curated by Felipe Chaimovich and Fernando Oliva, and shown from January 13 to March 11, 2012.

Celso Longo and Daniel Trench developed the visual and environmental identity, the catalog, as well as accompanying printed matter.

The exhibition depicts the fragmented museum history through historic documents mixed with modern and contemporary works from mam’s collection.

Lettering based on Tarzana for Da Capo, a vintage car museum, restaurant, and event venue in Leipzig.

Our task was to update the look of a series of academic books dedicated to restoring and preserving historical sites and monuments.

We solved this by designing a coherent, modern, eye-catching and highly legible graphic form for the entire series.

We’ve created a completely refreshed design of the vignettes and layout for the series. The series includes the following titles: Kazimierz restored — its monuments and cultural landscape; Alois Riegl, Georg Dehio and the Cult of Historical Monuments; About Wawel; and The Historical Monument and History.

Home page animation.

ESPN is the largest sports multimedia company in the world, reaching all seven continents in 202 countries, with over 45 TV networks, 14 websites, 16 broadband players, 4 radio stations, 4 magazines, and 8 mobile sites. With such a massive and diverse assortment of platforms, languages, locally relevant programming, and consumer interests, ESPN has discovered that many clients and agencies are unclear about ESPN’s capabilities on a regional-basis.

WorldofESPN.com aims to bring clarity to ESPN’s power and abilities. With strong headlines and statistics delivered in the A2 Beckett typeface (A2 Type Foundry) and main menu items and body copy delivered in the Klavika (Process Type Foundry), coherence and sharpness is everpresent within the sports brand website. Both typefaces provide impact, while complementing the imagery.

Region selections page.

Region detail page.

Region detail page.

Work detail page.

Mercury Racing (a subsidiary of Mercury Marine) produces high performance marine and automotive engines. On the corresponding website FB Agency is used exclusively in caps as well as Klavika for continuous text.

Team Stronach, the party founded by the Austro-Canadian billionaire Frank Stronach uses Klavika, best known as the Facebook font.

A bible for youth leaders.

[This bible] with nearly 400 aids to understand the meaning of the biblical text and creatively explain it to young people is the best resource to help you fulfill your mission. — especialidadesjuveniles.com

More information in Spanish.

See the full project on Behance.

Inspired by Stefan Sagmeister's project Things I Have Learned In My Life So Far and the many professional and personal experiences and turmoil in the first year since my graduation from the Zagreb School of Design I created a series of minimalist typographic posters illustrating the simple maxims and thoughts I had come to realise.

My first personal exhibition, featuring the posters, was opened on the 24th of January at the Boonika Gallery in Zagreb. The following are the posters and exhibition visuals and images from the making-of.

The Facebook logo was designed by Joe Kral and Cuban Coucil. It is a modification of Eric Olson’s Klavika, with some altered lettershapes for a tighter fit and a taming of Klavika’s very distinctive ‘k’. In the same way that Facebook represented a major shift in culture and technology in the early 2000s, Klavika did the same for typeface design — well crafted but blatantly simple, monolinear, square, nearly devoid of any calligraphic ancestry.

Klavika (above) and the Facebook logo (below) showing adjustments to the ‘f’ arch, the ‘fa’ connection, the ‘k’, and widths of other letters.

The Paris region introduced a new logo and corporate design, using Klavika with a modified R. German website Designtagebuch shows a comparison of the old and new design. Now please an update to the region’s web presence.

More info in this official PDF.

A modern circus poster for a modern circus (“men, muscles and motors”) – just like many of its historic precursors, it is not exactly an example for fine typography, but rather a loud mix of numerous flashy letterstyles, rivaled by eye-catching imagery. I have included it here because I am fond of Metalista. Tomáš Brousil created this pseudo-blackletter “as a sign of undying admiration of the persistency of metal culture” (Suitcase Type Foundry) and made it available for free.

The grotesque caps used for the months could be from Interstate.

Comprehensive way finding and identity project for the refurbished Cook & Phillip Park in the Sydney CBD, including an integrated signage strategy to complement the latest upgrade.

Process Type Foundry:

Season 5 of the American science fiction television show Fringe depicts a future taken over by humanoids named the Observers. Their visually consistent propaganda campaign to control (?) humans is diligently set in Klavika.

Denmark’s premier coffee specialists work only in direct-trade agreements and roast some of the lightest beans in Scandinavia. The Coffee Collective has been around for four years and has three locations in Copenhagen.

The logotype, designed by hatch & bloom, is based on Klavika, with a customized “E”. Klavika is also used as in body copy on brochures and labels. The rounded-square sans is a choice typical of the Danish vernacular.

The geometric “graphic carpet” was an idea of The Coffee Collective’s, but H&B continued to use it when creating the identity, and continues to be used in new and exciting ways.

The regular weight doesn’t always hold up in laser printed labels.