Ludwig is a BBC detective dramedy series starring David Mitchell and Anna Maxwell Martin. Wikipedia:

John Taylor (David Mitchell) is a reclusive puzzle maker who publishes puzzle books under the pen name “Ludwig”. His identical twin brother, James Taylor, is a successful detective chief inspector in the Cambridge police force. James has gone missing, and his wife Lucy (Anna Maxwell Martin), a childhood friend of both brothers, enlists John’s help to solve the mystery. Pretending to be his brother, John infiltrates the local police station to investigate; inadvertently, he becomes embroiled in solving other cases.

John’s signature serves as both his pen name’s trademark and as the logo for the show. The font is Hummingbird Bold. The opening credits use various weights of Gravesend Sans.

Opening credits

Opening credits

A loose handwritten recreation of the signature in the first episode

Ludwig’s signature on one of his puzzle collections, as seen in episode 4, with an unidentified sans used for the cover title

Together we own all that is on earth. In that sense we are all royalty. And kings and queens of this earth. And we all deserve dignity.

This poster design featuring Droog was made as an entry to the 14th edition of Posters for Tomorrow, titled “What is Dignity?”

Nickelodeon’s iconic SpongeBob SquarePants celebrated its 25th anniversary with the launch of a new campaign and anniversary artwork “SpongeBob SquarePants 25th”.

The design is by Thanh Nguyen, Senior Designer at Nickelodeon, with art direction from Dana Kinlaw, using Asphalt by Frere-Jones Type. The celebration also included Wendy’s and Paramount partnering to launch Wendy’s Krabby Patty Kollab, as well as the release of a SpongeBob SquarePants special edition magazine by Den of Geek.

“Welcome to Times Squarepants”

Animation by Nicole and Jeremy Sawyer

Cover of the SpongeBob SquarePants 25th Anniversary Special Edition (art direction by Jessica Koynock). The Den of Geek logo is in DJR’s Bungee; the sans used for small type is Device’s Urbane Rounded.

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]

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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

Guillermo del Toro’s Frankenstein was released theatrically by Netflix in October 2025. Described by del Toro as “a culmination of a journey that has occupied most of my life,” the film plays up the gothic elements of Mary Shelley’s 1818 novel with elaborate costuming and sets, saturated colours, and expressive performances by its lead actors.

Prior to the film’s release, Netflix dropped several teaser trailers using Worthington Arcade – a classically-proportioned, capitals-only font from Device inspired by hand-painted architectural and civic lettering. Described by its designer Rian Hughes as “an attempt to create a peculiarly English titling typeface,” details such as raised crossbars on the H, E and F and extended lower leg of the E give the font an idiosyncratic elegance that complements the extravagant backdrop.

Key visuals from the film – lightning strikes, and the creature displayed on a crucifix-like structure – overlap and interact with the text throughout the trailers, to otherworldly effect.

Say Nothing is a 2024 historical drama about the Troubles in Northern Ireland, created by Joshua Zetumer and adapted from the 2018 book by Patrick Radden Keefe. The series premiered on November 14, 2024, on FX on Hulu.

Posters and trailers for the series use the font Dukane, designed by Rian Hughes for his foundry Device Fonts.

Audio book cover

Green Dot is the first novel of writer Madeleine Gray. Published in the UK by Weidenfeld & Nicolson, the book was praised by Caitlin Moran for its humorous take on an office relationship, and was shortlisted for the 2025 British Book Awards Debut Fiction Book of the Year.

The book and associated marketing make use of the font Droog, designed by Rian Hughes and released through Device. On the cover of the edition shown here, Droog is embossed in a glossy finish that gives tactile contrast to the flat, bold colours of the illustration.

The title of the book references the ‘green dot’ that indicates a person’s presence online – a motif echoed visually by the circular font and its distinctive holes, some of which are used in lieu of counters.

Cover design by Steve Marking with illustration by Tatyana Alanis.

The praise is added in ITC Avant Garde Gothic.

There is No Antimemetics Division is the title of an online story series by Sam Hughes, a.k.a. qntm, set in the fictional universe of the SCP Foundation. Originally written as confidential documents by agents of the Foundation, who struggle against the mind-bending effects of 'antimemes', the stories were republished in novel form by Ballantine Books in November 2025 and in .

The book cover uses Fomalhaut, a geometric sans serif display font described by its designer Rian Hughes as “having a hint of the alien”.

The cover makes use of the font’s open and solid variants, mixing them for legibility and otherworldliness.

Secondary fonts used on this poster include Girga for the tagline “A story of two ladies going south”, Univers Bold Italic for the names, and Bee for the credits. The wide sans at the very top and bottom was identified as Sequel Sans, see comments.

Drive-Away Dolls is a 2024 crime comedy directed by Ethan Coen and co-written with his wife Tricia Cooke, who was also the film’s editor and uncredited co-director. It stars Margaret Qualley and Geraldine Viswanathan as two lesbian friends on a road trip that takes a wrong turn. Set in 1999, the film has a gritty aesthetic that fits its classic caper plot.

The film posters and trailers use Freehouse by Rian Hughes for the title. The distressed version of Freehouse, designed “to evoke rough print on a wet beermat”, was used on an earlier poster release.

“Official trailer 2” is added in all-caps Brandon Grotesque Light.

This poster designed by AV Print additionally uses Trade Gothic Next Compressed.

House of Kong was an immersive installation featuring music, art and artefacts from the virtual band Gorillaz that took place from August 8 to September 3, 2025, at the Copper Box Arena in London.

With high lowercase x-height and short ascenders and descenders, Pitch lends itself to tight line spacing for a high-impact effect. The design team behind the House of Kong event used Pitch on posters, leaflets and large banners directing visitors around the exhibition venue.

Album cover

Raw Data Feel is the sixth studio album from English art rock band Everything Everything. The quartet has once again teamed up with Adult Art Club – comprising Charlotte Audrey and Jonny Costello – for its art direction. GT America Black Extended was used for all titles on the album, singles, and website. The body text and captions were set in Aperçu Mono. On the tour posters, the band name is set in caps from Korolev.

[More info on Discogs]

Website

Instore poster

US tour poster

Around 2022, TT Drugs and Serenity were featured on the website of Hotel Sturm.

Sturm – an eco-friendly hotel, is located in one of the most beautiful and exciting regions of Europe – the Rhön in central Germany. A breath-taking landscape that impressively proves that humans and nature are connected. Enjoy unique natural treasures, primeval forests, and rich plant and animal life.

The logo is custom brush lettering.

From Wikipedia:

Autumn Ball (Estonian: Sügisball) is a 2007 Estonian drama film directed by Veiko Õunpuu, adapted from Mati Unt’s 1979 novel of the same name. The film depicts six desolate people of different yet similar fates in characteristically Soviet pre-fabricated housing units (khrushchyovka)^. It premiered at the 64th Venice International Film Festival, where it won the Horizon Award.

On the movie poster, the original title is shown in spaced stencil caps from Flak. The English title as well as the description are set in Rotis SemiSerif and Rotis SansSerif Italic. Praise from the New York Times is in Regular and Bold Condensed styles from Rockwell, and the winner mentions in Helvetica.

The title sequence used in Gaspar Noé’s Cannes-selected movie Enter the Void has amazed me over the years in terms of typography and graphic design, and thanks to a friend of mine, Puz, (some of) these fonts have been identified.

It was created by Tom Kan, a Japanese designer based in Paris. From Ian Albinson’s interview with Kan for Art of the Title:

The sequence is a typographer’s wet dream (or alternatively their nightmare). How were the various fonts and characters chosen?

The choice of typefaces came rather naturally. After coming up with a large selection in line with the film’s mood, we simply chose the ones that best suited the characters and the personalities of those in the team. Gaspar wanted each title to reflect the person it concerned. It was a beautiful homage and proof of his respect for the members of the team — a way to thank them.

Many typefaces and designs did not get used because the time limit was set — the sound mix was already done and it was impossible to extend. I think we used only 60% of the designs, all in all.

Every typeface used in the sequence seems to be a reference to other famous film title or poster fonts. What was the typeface you selected for your own credit and why?

We appropriated different typefaces, but we never wanted to copy the titles from other films in an obvious way since I thought that would be misleading. For my own credit, I went in many different directions: aged typefaces in metal, Kanji and Japanese calligraphy, techno typography… In the end, I let Gaspar choose and he went with the biggest, most legible type!

Watch the title sequence on YouTube, or right below (epilepsy/flashing lights warning):

Futura Extra Bold Condensed in all caps is the primary typeface for the credits. Here it’s used in combination with Kozuka Gothic for Japanese, alongside some logos.

Music credits include Egyptienne Medium Condensed, Garamond, Eurostile, Bodoni Condensed, Neue Helvetica 93, Futura, and Helvetica Condensed. It’s unclear if the LFO logo uses a font (Disco Deck is similar) or whether it’s custom drawn.

In addition to Futura Extra Bold Condensed, the logos of the production and distribution companies feature Euphoric (Wild Bunch) and Futura Extra Bold (Fidelité).

Producer credits feature FB Agency, Kozuka Gothic, ITC Machine, Futura Display, stretched and slanted Woodblock, and Antique Olive Nord

The names of the co-producers are set in Egyptienne Medium Condensed, Univers Ultra Condensed, Futura, an unidentified font similar to Crown Title, two unidentified stencil(ed) fonts, and Trajan.

More Egyptienne Medium Condensed for Suzanne Girard

Manager credits feature Haettenschweiler, Council, Neue Helvetica Extended (?), Clarendon, Pump Triline, Fiorello, Eurostile, Thorowgood Sans Shaded, and Futura Condensed.

The name of location manager Masahiro Hondo in Glaser Stencil serves as a mask.

Bank Gothic with rainbow glow effect for Lucio Tomaro

Photography credits with slanted Bank Gothic (Benoît Debie), bold italic City with added and extended top and baseline serifs (Gaspar Noé), TFAvian (Akira Kanno), outlined Futura (Yasushi Miyata), Bell Gothic (Jacques Bernier), and Franklin Gothic Extra Condensed (Yves Le Peillet)

Art credits featuring an unidentified blocky unicase face with 3D bevel effect similar to Mark (Marc Caro), FF Vortex (Kikuo Ohta), another unidentified blocky sans (Jean Carrière), and Zeppelin (Nicoletta Massone)

The dripping letters for Tony Crosbie appear to be custom(ized) – Shlop is a similar ready-made font.

Sound and editor credits with Eurostile (Ken Yasumoto), stretched Ironwood (Ryotaro Harada), contoured Nasalization (Claude Lahaye), an upright LCD typeface, probably Digital (Thomas Bangalter), a heavily modified Sonic or another font inspired by the Star Trek TNG logo (Lars Ginzel), Galledis with hyperextended lines (Gaspar Noé), modified SF Archery Black (Marc Boucrot), Zaius, a typeface family emulating the Planet of the Apes movie series logo (Jerome Pesnel), and ITC Machine (Pierre Buffin).

The fonts used for these cards include an unidentified inline face similar to Rubaiyat and Gothicum (Geoffroy Niquet), SF Archery Black (Yann de Cadoudal), OCR-A (Nicolas Delval), Mexcellent (Xavier Allard), fractured caps from a bold sans, possibly Compacta Black (Julien Aullas), Synchro (Bastien Laurent), Helvetica Rounded Bold Condensed (Anne-Sophie Bertrand), and an unidentified squarish sans similar to SB Carbon, Resistance Is Lowered or Apollo Rocket (Loris Paillier).

City Bold, slanted, with double contour and extended baseline serifs, for Tom Kan, Director of Typography

Gaspar Noé in outlined caps from Futura Extra Bold Condensed, without accent on the E

The blackletter typeface chosen for Lucile Hadžihalilović is Linotext (or Mariage, Wedding Text) with some modifications: e and c got bottom serifs and the swash in v was moved from the left to the right stem,

Paz de la Huerta gets various typographic treatments, including Eagle (in a weight between Bold and Black), Futura Dot with Citadel Script, outlined Egyptienne Bold Extended, and ITC Neon.

The Japanese transcription of Paz dela Huerta’s name (パス・デ・ラ・ウエルタ) appears to be Hiragino Maru Gothic or similar, with added contour.

Nathaniel Brown’s name is shown in Pump, ITC Bolt, Aachen, West Barnum Block filled with stars and stripes, and ITC Lubalin Graph Demi.

The fonts chosen for Cyril Roy include Aachen, American Text, Monotype Garamond, and at least two Japanese ones.

The MICR-inspired face used for Olly Alexander is handmade, as confirmed byo Tom Kan. Other fonts include Compacta and all-caps ITC Bolt.

The fonts used for Masato Tanno are Akzidenz-Grotesk Stencil and Ainsdale. The others are yet unidentified.

Gothicum and a (custom?) stencil version of Aachen for Ed Spear, Helvetica Rounded and Neue Helvetica 95 for Emily Alyn Lind, more Helvetica Rounded, an unidentified Japanese font, and Eagle for Jesse Kuhn and Nobu Imai

More ITC Neon and Helvetica Rounded for Sakiko Fukuhara. The bitmap font is 04b_08.

Sarah Stockbridge is set in Haettenschweiler with hyper-extended glyphs).

The names of Janice Sicotte-Beliveau and Stuart Miller are shown in Cooper Black, Impact Wide, Monterey and ITC Officina Serif, Braggadocio, Fiedler Gothic, and Blackoak.

Yemi Carol is presented in Impact Wide, Helvetica Rounded, and a Japanese Maru Gothic. The font shown at the bottom right is unidentified.

Several of the fonts used for Gaspar Noé’s name are yet unidentified. This includes alll fonts in the top row and the left one in the second row, which is similar to Moore Computer and Data 70. Other fonts include ITC Lubalin Graph, Futura Extra Bold Condensed, and Eagle.

La Vénus d’argent (English title: Spirit of Ecstasy) is the latest film by French director Héléna Klotz, starring Claire Pommet – better known under her stage name Pomme – in her first acting role.

Jeanne is 24 years old. She lives on a military base with her father, a police officer, and her little brother and sister. She’s determined to make it in the world of finance. Not for the glory or wealth, but because it’s leading her on the path to freedom.

The drama about family abuse was written by Klotz together with Noé Debré and Emily Barnett, and produced by Les films du Bélier. Having premiered at the Toronto International Film Festival (TIFF), it reached French cinemas on 22 November 2023. Paris-based designer Elena Germain of ENFEU designed three posters for the release. For each of them, she chose a different typeface for the title.

The blue one shown above features Production Type’s Origin Super Condensed in caps from its Backslant style, supported by TypeTrusts’s Heroic Condensed in its conventionally angled Italic. A version of this design is also used for the soundtrack.

A second design shows Pomme in profile, with dramatic lighting and the title in central position. The typography of this poster exclusively uses Guildhall, a heavy flared serif with boxy shapes by Device.

Last but not least, the poster shown at the end of this post features text set in Typofonderie’s Anisette, a typeface inspired by Cassandre’s Banjo and lettering of Paul Iribe. Germain combined wide glyphs for the title with narrow ones for the credits. This design is used by distributor Pyramide Films for promoting the film.

Malba Tahan is the alter ego of Júlio César de Mello e Souza, a celebrated Brazilian mathematician looking for a way to bring some of the mysteries and pleasures of mathematics to a wider public. Tahan’s publication The Man Who Counted: A Collection of Mathematical Adventures (1938) presents the adventures of Beremiz Samir, who takes the reader on “a journey in which, time and again, Samir summons his extraordinary mathematical powers to settle disputes, give wise advice, overcome dangerous enemies, and win for himself fame, fortune, and rich rewards.”

In 2021, Editora Record published the book’s 100th edition as O Homem que Calculava. The design uses Le Murmure and Vampiro for title and author, with their Arabic counterparts set in Noto Naskh Arabic and Reem Kufi. The edition notification is set in Impetus, and blurb and text are set in Warnock.

Dapifer Black is the display typeface used on the Metal Hammer Paradise website. We think that’s an interesting choice, and a nice addition to the range of tones that Dapifer can express. The low-contrast slab by Darden Studio is mostly used for things like weddings, resumes, and haircare products. Here Dapifer proves that it also dares to enter the mosh pit.

The designers of Berlin-based studio Canvas & Frame used Dapifer exclusively in its heaviest weight, for almost everything including headlines, the line-up, menus, and button labels. Occasionally it’s being supported by another slab serif, Albiona by Device. Hanseatics took care of the web design and development.

Metal Hammer is a heavy metal music magazine and website founded in 1983. Its German branch has been organizing an annual festival in collaboration with FKP Scorpio since 2013. The tenth anniversary edition of this Metal Hammer Paradise took place in November 2023 in the Weißenhäuser Strand park at the Baltic coast. Headlined by thrash metal dinosaurs Kreator and Dutch symphonic metal band Epica, the event was fully sold out.

From CrimeReads:

Jessica Knoll is a careful writer, and this, her third novel, is a perfect match for her cold dissection of social mores and her fierce rage at misogyny. Knoll takes on the story of Ted Bundy, told from the perspective of a student who survives a horrific attack on a sorority house… Some may claim that the crime genre is rift with misogyny; those people have not read Jessica Knoll. She tears apart the restrictive world of women’s roles and lays bare the purpose of such hobbles: to keep women from making a scene, to keep them from seeking justice, and most of all, to keep them from seeking their own lives.

The book was published by Marysue Rucci Books, an imprint of Simon & Schuster. Kaitlin Kall designed the jacket, with art direction from Jaya Miceli.

The title typeface is Dazzle by Rian Hughes. It was released in 2006, but stylistically it references Op Art typefaces like Aki Lines and Concentra. Those were popular in the mid-1970s, the time in which the novel is set. Such extravagant multiline faces work best in small doses, and three lines of it would have been too much. For “Bright” and “Women”, Kall resorted to Dazzle’s Solid style, which provides a welcome contrast, and also is appropriately dark and ominous. Dazzle is caps-only, but offers two forms for a couple of characters (G J Q S W). Neither form of G was considered unambiguous enough, it seems: the aperture was opened up, and a fine bar added, for better legibility. You can see the font’s original G in the pink line at the very top.

HumTree is a small batch fair trade brand with products sourced from Sundarbans, India. Out to prove that affordable does not have to mean low-quality, the brand has two aims: offering high-quality at accessible prices and giving back to the local forest workers by generating employment opportunities.

Studio Ping Pong worked with HumTree to create the brand name, brand identity, and packaging for their honey, helping to bring their story to life. HumTree works with indigenous communities of Sundarbans using forest-friendly practices. This sense of harmony and community was highlighted in the naming and branding. Hum, from the Hindi word for ‘us’ and the sound of bees, and Tree, reflecting its commitment to natural practices.

The visual design was made using linocut-style hand-drawn motifs and illustrations inspired by imagery from nature. Evoking the harmony of flora and fauna that the brand stood for and highlighting the handcrafted nature of its products.

With families and children as one of their identified customers, use cases were added to the packaging itself bringing out the unique benefits of each of the variants.

The logo was created using custom lettering, borrowing from vernacular alphabets (M) of the region. A modified Pally was used for titles and subtitles to stand out in shelves, while Basic Sans was used for body text. Good Dog New and Chantal was used within the packaging to complement the hand-drawn style illustrations.

The colour palette was kept to earthy greens and browns, evoking the forests where the products were made. The honey packaging relied on heavy use of deep brown-the colour of the honey, along with flavour based tones of magenta, green and gold.

Paris Podcast Festival is the first festival dedicated to French-speaking native podcasts. It celebrates new forms of creation through workshops, meetings, preview listenings, and an official competition. The identity for the festival’s fifth edition in 2022 was imagined by Havas Paris, intertwining grainy memory of analog signals with new digital technology. Fine, technical graphics, yet full of warmth.