MS NOW is an American cable news channel that was originally established in 1996 as MSNBC and is currently owned by Versant. The rebranding as MS NOW (a backronym of “My Source [for] News, Opinion, [and the] World”) took place on November 15, 2025.

As of May 2026, the website uses Cooper Hewitt in Medium and Bold weights for headings, navigation and short texts. Body copy as well as some headlines and teasers are in Merriweather. Provided as variable font, Merriweather is used with its optical size axis set to the smallest size, 7pt.

TT Firs Neue is part of the brand identity for The Future of Everything, a festival by the Wall Street Journal. The clean font conveys the business tone of the event and adds a modern feel and clarity to its identity.

The Future of Everything is a flagship event where WSJ journalists join leaders in business, technology, politics, and other innovators to discuss key trends and the most critical issues shaping the near future.

A newspaper of 24 pages designed for DenkBeeld. An advocacy group for the visual and audiovisual arts domain in part-time arts education, DenkBeeld represents and supports the academies by collecting, developing, and sharing expertise and knowledge. D’Academie is their annual magazine, and a timeless document of the art education in Flanders, Belgium. Issue no. 11 uses Sequel 100 Wide.

This is the 2025 “Great Performers” issue of the New York Times Magazine. Directed by Gail Bichler and designed by Victoria Escobar, Annie Jen, and Jacky Myint, the issue showcases a variable and dynamic use of the Fenul typeface across both print and digital platforms, paired with the magazine’s custom NYT Mag Serif and NYT Mag Sans.

In its first magazine, designed and printed in Ukraine, the Kyiv Independent offers a snapshot of Ukraine three years into Russia’s full-scale war. From the battlefields of Donbas to the streets of Kyiv, these stories capture the many dimensions of living through war.

Within these pages, experience coming-of-age during an invasion, celebrate the resilience of Ukrainian businesses, discover inspiring artists and activists, and meet those taking the journey from the front by train.

The Power Within stands as a tribute to the unwavering Ukrainian spirit, a beacon of hope in the darkest of times.

How can a tech podcast become Silicon Valley’s newest obsession?

For TBPN – the Technology Business Programming Network – the answer began with branding. In 2025, Los Angeles–based creative agency Day Job developed the network’s identity and website, positioning the show somewhere between a financial news channel and a sports broadcast. Drawing inspiration from Formula 1 sponsorship density, forest-green “country club” codes, and lo-fi VHS effects, the system embraced spectacle over startup minimalism. In 2026, Area Technology expanded the identity with a brand refresh and a new suite of live broadcast graphics, intensifying TBPN’s on-air presence across streaming platforms.

At the center of both phases is Record Laser, designed by Image Format and published under Sharp Type's season two catalogue. Used as the sole typeface across the entire system, Record Laser carries headlines, motion graphics, and interface typography without auxiliary support. The decision to rely exclusively on a single display family underscores its range and broadcast legibility, positioning the typeface not simply as a stylistic layer but as the structural and expressive core of a contemporary media brand.

TBPN website

TBPN logo lockup

Functional chyron system with extensive font and color configurations for live broadcast

Vertical card graphics for social media

QuaJou (Quality in Journalism Association) has been championing high-quality journalism in Swiss media since 1999. They also organize JournalismusTag (“Journalism Day”), the biggest regular meetup for journalists in Switzerland.

In 2021, studio Hej gave QuaJou a fresh new look, redesigning their visual identity, creating a new logo, and rebuilding the website from scratch. The rich blue adds a bold new presence to Switzerland’s journalism quality advocates, while the brand typeface NN Nouvelle Grotesk nods to the long tradition of Swiss typography with a clean, timeless, and highly readable feel.

Colossal presents itself as “an online art magazine based in Chicago that celebrates contemporary art and visual culture across a wide range of creative disciplines, and is focused on both emerging and established artists”. As a cultural agent, the team behind Colossal also “curates and produces several exhibitions annually, hosts artist workshops online and off, facilitates talks, and publishes opportunities for artists every month”.

From a typographic point of view, it is also a visual feast, which matches the mag’s editorial ambition with an impeccable art direction (as it should be).

On the About page, the editors state:

In a world brimming with information overload, an epidemic of loneliness, climate catastrophe, capitalism run amok, and social inequity, we curate Colossal to focus on the most positive, diverse, and impactful stories that bring about change and meaningful connection. We intend to amplify the voices of artists working toward more equitable and sustainable futures through innovation, unexpected materials, humor, spectacle, and vast reserves of skill and hope. We are supported largely by our extraordinarily generous members.

Such an editorial statement could only be paired with an excellent and vibrant design, and these people and their design partners deliver.

Colossal was redesigned by Firebelly, and it was one of the winners of the 2025 STA 100 Judges’ Choice, awarded by the Chicago-based Society of Typographic Arts.

Departing from the original logo designed by Armin Vit (Brand New), the Firebelly and Colossal joint redesign venture came up with a wordmark that spawned the bespoke Colossal Display, with two distinct wavy S glyphs that feel like they were ritually trimmed at the base with an ancient katana.

In the project page dedicated to their collaboration with Colossal, the agency says:

After rounds of aligning, playing, and imagining, we crafted a final direction on the logo that is dad & son tested and approved — really! This final, larger-than-life mark brand speaks to the core values: play, whimsy, and curiosity. Subtle adjustments to letterforms (especially the distinctive ​“S”) helped preserve Colossal’s recognizability while introducing a tongue-in-cheek referential nature.

As far as headline elements and body text are concerned, the two workhorses that power this publication and art endeavour are its trusty sans, Visuelt (Colophon), and a ridiculously elegant and legible Fabric Serif (Monokrom), which – dare I say – belongs in the same Hall of Serif Fame as Ivar Text, Tiempos, the Feature Collection, Newsreader, Victor Serif, Tid, IvyPresto, Aktuell, Reckless Neue, SN Litteratur Text, etc.

Both Visuelt and Fabric Serif are used in different hierarchy text instances, and they handle both responsibilities with ease.

Article headline with date, byline and share options in Visuelt

Text detail in Fabric Serif

Homepage detail (top)

Homepage detail (bottom with footer)

“The Lives They Lived” is an annual special issue of the New York Times Magazine, published at the end of each year. The edition honors notable artists, innovators, and thinkers who died during the previous twelve months.

The 2024 issue was designed by Annie Jen under the direction of Gail Bichler. The typography combines Farmacia by Nguyen Gobber for headlines with Timezone by HAL Typefaces and NYT Mag Sans and NYT Mag Serif by A2-TYPE for copy text.

The Field Meridians’ Observer is a printed, quarterly neighborhood newspaper highlighting local news and seasonal perspectives. Published at the turn of each season and distributed for free to the Crown Heights community, local neighborhood stockists include the Brower Park Library (155 Brooklyn Ave) and Another World (629 Nostrand Ave) and The Word is Change (368 Tompkins Ave). The first issue is tied to the winter solstice, including a warming soup recipe, a piece on the joy of winter birding, and a calendar of the season’s best activities. A digital copy of the first issue is available here.

Jordi Ng designed the newspaper, which is typeset in International Edition and HAL Repost. Céline Hurka created a customised masthead, drawing bespoke initials of the Repost caps spelling “OBSERVER”. The pictograms are taken from Noto Sans Egyptian Hieroglyphs and Noto Sans Symbols. The issue also features illustrations by Lillian Ansell, Thomas Colligan, and María Medem.

An entry with Egyptian hiero

Cugat Mèdia’s identity system – crafted by ESIETE – reimagines public media branding, think radio, TV, podcasts, and digital press. A minimalist typographic gesture unveils a microphone, honoring Ràdio Sant Cugat's 43-year heritage while symbolizing connection.

The mark positions design as a transformative agent for communication.

ESIETE’s solution gives authentic meaning to “We are your voice”: a confessional statement for community-powered media.

Mediapart is a French investigative online newspaper known for exposing numerous political and economic scandals. Its financing model is unique: funded exclusively through subscriptions, Mediapart reports independently without advertising influence.

During the redesign of its website and mobile app by cmjnrvb studio, the visual identity was harmonized across editorial content, the user interface, and the subscriber area (the Mediapart Club). A central challenge was differentiating these spaces while maintaining a coherent overall system.

Pensum Pro was adopted for editorial content, supporting long-form reading with balanced proportions and excellent legibility. Pensum Display provides contrast and presence for special headlines. For the Mediapart Club and interface elements such as author names, dates, and metadata, Atlas Grotesk establishes a clear typographic hierarchy that distinguishes subscriber content from editorial material.

Historically, Mediapart’s typographic wordmark was set in the seriffed Trajan. The redesign shifted to the sans-serif forms of Trajan Sans to improve readability while preserving the essence of the original design.

The redesign also included a refined logotype, a systematic color palette, and a consistent illustration style. These elements were compiled into a comprehensive graphic charter ensuring clarity, consistency, and flexibility across digital and print platforms.

CBSN (or: CBS News) is a video news streaming channel aiming to provide live coverage of world news.

Following a rebranding led by Gretel and CBS in 2020, the CBSN logo uses the font TT Norms from TypeType. The geometric sans serif font is being used across most of CBS’s divisions as part of a company wide rebranding. The CBS broadcast network, CBS News, CBS Sports and CBS Media Ventures have all switched over to it.

The News Movement is a social-first newsroom created for a generation that encounters news incidentally rather than intentionally. Founded to serve audiences who care about what’s happening in the world but no longer engage with traditional news formats, TNM sits at the intersection of journalism, culture and platform behaviour.

Rebranded in 2025 by 20Something, the design uses GT Alpina, Brik (Mike Hill) and GT America.

Plaster is an independent art magazine covering visual culture and offbeat stories from the contemporary art world. Founded in 2020 as a poster zine and relaunched in 2023 as a print and digital publication, the magazine positions itself as “the art magazine that won’t hurt your head.”

The logotype is based on the sharp, zeitgeisty serif Cirka – informal and connected, yet structurally tight. It sets the tone for a brand that resists academic rigidity while staying firmly rooted in graphic design culture.

Three typefaces define the magazine’s typographic system. Brubeck, a condensed display typeface with loud, expressive forms, is used for headlines, section openers, and large typographic moments that demand attention. Its compressed rhythm and distinctive counters give the magazine an edge in web and social media applications.

For body copy and general content, Brut Grotesque provides contrast and readability. Its pragmatic, slightly awkward geometry lends the layouts a human, non-neutral tone – consistent with the magazine’s editorial voice. Boogy Brut, used for subheads and pull quotes, adds an informal punch with its compact proportions and gestural details. Rather than creating a strict hierarchy, the three fonts interact dynamically, creating shifting layers of tone and emphasis.

Claim is a free and ad-free magazine that aims to say a few things, but to say them clearly. Six issues will be published per year, each with a clear claim analyzed by a variety of voices.

Issue no. 1, “Di futuro si muore, di futuro si vive” (“We die of the future, we live of the future”) was launched in December 2025.

For the visual identity, Lola Giffard-Bouvier uses Maroni in a bold and impactful way: big capital letters to write the titles, and using texts as a form of manifesto, both on paper and on screen.

For the magazine’s logo she uses a custom drawn squared C, depicting a stylized megaphone. The text typeface is Romek.

Editor-in-chief: Gabriele Bartoloni
Deputy editor-in-chief: Mosè Vernetti
Project concept and general supervision: Edoardo Bucci and Cecilia Pellizzari
Managing editors: Chiara Sgreccia, Giada Arena
Graphic design and layout: Lola Giffard-Bouvier, with support from Frita

Founded in 1988, The Onion remains one of the most recognizable satirical news outlets in the world. Its visual design cleverly mirrors that of a traditional newspaper—anchored by its choice of type—giving it a real sense of newsy legitimacy.

Headlines are set in Rocky Compressed, designed by Matthew Carter and available from Carter & Cone. Carter’s long association with newspaper typography makes this choice especially fitting, giving the digital publication a confident, print-like presence.

Tablet Gothic Condensed and Semi-Condensed, designed by José Scaglione and Veronika Burian, foundry partners at TypeTogether, appear in subheads and smaller section titles. This crisp, space-saving sans serif family acts as a good visual foil for the two serif families.

Body copy uses Utopia, designed by Robert Slimbach for Adobe and their Adobe Originals program, providing a balanced, readable serif ideal for long-form journalism—real or imagined.

The logo is based on Eagle, David Berlow’s interpretation and expansion of ATF’s Eagle Bold, with modifications.

In a time when real news can feel stranger than satire, The Onion’s typographic choices reinforce its role as both parody and institution.

Various pages viewed through a narrower viewport demonstrates that the typography holds up even on smaller devices.

Kugel und Niere is a podcast production company that operates from Munich, Germany, since 2017.

Studio Veh led the 2025 (re)branding of the company, with a highly typographic approach. From the case study:

With words being the brand’s most important asset, Studio Veh delivered a typographic solution: a flexible type system using a wide typeface that not only emphasises the larger-than-life stories, but also the impact of the podcasts’ conversations.

For the logo and titles, Veh went with Druk Wide. Then, contrasting in weight as well as structure and width, we have NaN Rage Beau Condensed Thin (mostly). NaN Rage Beau is used for secondary titles and contrast, when needed. On Kugel und Niere’s website, Neue Haas Unica is used for all body copy and sub-headings too, while NaN Rage is curiously absent.

The main headline is a layered combination of Puffin Arcade Liquid, Nerf, Wipe, and Loadout.

Dutch type designer Pieter van Rosmalen has shown a long-time fascination with pixels and modular display fonts. His BlahBlah (2000–2021) is a brick-by-brick interpretation of the American Gothic. Quokka (2019–2021) “took shape by duplicating and layering the same bitmap letters in Adobe Photoshop”. Both are available from CakeType, a boutique label for distributing some of his early typefaces. Alterego, started in 2001 and released in 2018 with Bold Monday, is another design that evolved from layering bitmap letters on top of each other and subsequently playing with transparency and layer sequence.

Van Rosmalen’s most extensive series of bitmap fonts to date is Puffin Arcade (2012–2021). Its twelve members are based on the heaviest weight of Puffin Display Soft, which in turn is a spinoff of Puffin (a revision and extension of the earlier Pinup). With the exception of Foozle, all individual styles can be combined in layers for chromatic effect.

That’s exactly what Julika Altmann, designer at DIE ZEIT, did for an article by Florian Eichel that celebrates forty years of (Super) Mario. Each of the multicolor headlines is rendered in four of eight styles from Puffin Arcade: Regular, Chrome, Dither, Liquid, Loadout, Nerf, Warp, and Wipe. This was done by including the text four times, positioning the elements on top of each other via CSS, and hiding the decorative duplicates via the aria-hidden attribute from the accessibility API (think screenreaders and other assistive technology).

Puffin Arcade Regular also serves for secondary single-color headings and for the scores of the interactive mini games included in the article. The text typefaces are Jakob Runge’s Franziska and TypeTogether’s Tablet Gothic, used for the online edition of the newspaper since 2014.

An overview of Puffin Arcade’s style range from the printed specimen booklet by Bold Monday

Jump menu to the three sections, or levels, of the article

Puffin Arcade Regular, Nerf, Chrome, and Loadout for “Der Retter”

“How many coins can you collect in 5 seconds?”

“Der Held” combines Puffin Arcade Regular, Nerf, Warp, and Loadout.

“Der Wandelbare” combines Puffin Arcade Regular, Nerf, Dither, and Loadout.

“Test your reaction time ”

The style range of Puffin Arcade as presented on the Fontstand website

Mirko Ilić:

One curiosity for my friends in the Balkans. This is the portrait of Radovan Karadzic, on the cover of The Nation, drawn in 1997 by Milton Glaser.

From Wikipedia:

Karadžić was accused by the International Criminal Tribunal for the former Yugoslavia (ICTY) of personal and command responsibility for numerous war crimes committed against non-Serbs, in his roles as Supreme Commander of the Bosnian Serb armed forces and President of the National Security Council of the Republika Srpska. He was accused by the same authority of being responsible for the deaths of more than 7,500 Bosniaks (Muslims). Under his direction and command, Bosnian Serb forces initiated the Siege of Sarajevo.

Karadžić also was accused of ordering the Srebrenica genocide in 1995, which began on this day thirty years ago. At the time the magazine was issued, he had gone into hiding, and would not be arrested until July 2008. On 24 March 2016, he was found guilty of genocide, war crimes, and crimes against humanity, and sentenced to 40 years imprisonment.