This is the third studio album by Japanese singer-songwriter Taeko Ohnuki. This would be her first album under the record label RCA. She believed this album would be a hit, but sales were worse than her first two studio albums, so she took a two-year hiatus from the music industry before releasing her next album Romantique.

Similar to her last album, it has recently gained popularity and attention thanks to YouTube’s recommendation system. The song “4:00 A.M.” which comes from this album is the most-played track by her on Spotify.

At the front cover, the album title is set in Basilea by VGC. The artist’s name seem to be set in what looks to be Univers 45.

At the back cover, the tracklist are set in an oldstyle variant of Ishii Mincho (石井明朝). The sides, track duration, and staff personnel are all set in Futura with Ishii Gothic (石井ゴシック) for the staff personnel’s names.

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This is the second studio album by Japanese singer-songwriter Taeko Ohnuki. This would also be her last album under the record label PANAM. All songs were written by her, and arranged by renowned composer and keyboardist Ryuichi Sakamoto.

Despite having very low sales at the time of its release, it recently garnered attention and popularity due to Youtube's recommendation system, which eventually got reissued many times during the recent years.

At the front cover, the album title is manually italicized using Futura Inline and the artist's name is set in a bold italic weight of Futura.

At the back cover, the tracklist (and also the Latin/English titles) are set in a fine weight of Nāru (ナール). The musicians and staff seem to be set in a condensed variant of Trade Gothic.

Art direction by Kazuhiro Sato, with photography by Tohru Ohnuki.

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This is the first soundtrack album to be ever released for the anime series Lupin III by Monkey Punch. The music is played by You & The Explosion Band with Yuji Ohno as the head of the band.

At the front cover, the text used for “ORIGINAL SOUNDTRACK from” uses caps from Campanile, while the name “LUPIN III” is set in Filmotype Quentin. The credits at the bottom are in a light weight of Futura.

The character information at the inside of the gatefold sleeve uses the M weight of Nāru, while the name of the voice actors uses a medium weight of Ishii Gothic. The songs lyrics at the bottom part seem to be in Futura Book. The same typeface is also used at the back cover with the light weight being used.

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From Hololive Wiki:

Hyakka Ryoran Hanafubuki (百花繚乱花吹雪, Blooming Blossoms Fill the Air) is an official song of hololive IDOL PROJECT. It is the third song in the "Floral Circlet" series of songs, and the second song released for nine consecutive weeks. The short version was first shown on December 30, 2020. It was then officially released as a single on December 31, 2020.

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This is the fifth single by Japanese singer-songwriter Yumi Arai. It is also the lead single from her album Cobalt Hour, released four months later. The song "Rouge No Dengon" is most notably remembered as the opening theme for the Studio Ghibli film Kiki's Delivery Service, directed by Hayao Miyazaki in 1989.

The song title along with the coupling song are set in a fine weight of Nāru (ナール), while the artist's name is set in a medium weight (中) of Ishii Mincho (石井明朝).

On the back cover, the Japanese text uses a bold weight (太) of the sans serif Ishii Gothic (石井ゴシック). Meanwhile, the serif typeface is a fine weight (細) of Ishii Mincho. The tracklisting of her latest album at that time, MISSLIM, is set in Futura.

The photographer is unknown and not credited on the jacket.

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This is the eight studio album by Japanese singer-songwriter Minako Yoshida. This would be her last studio album under Alfa Records. Currently, resellers offer it at a high price because of its low sales during its release and its growing demand today. The album title on the front cover is set in Good Vibrations and the artist’s name is set in Process. Both typefaces were released by Letraset in 1973.

At the obi, the Japanese typefaces on the front and back are Ishii Mincho (石井明朝) and Ishii Gothic (石井ゴシック). The music personnel along with the title tracks use a mix of Ishii Gothic (石井ゴシック) and Alternate Gothic. Although covered by the obi, the typeface seen at the bottom right at the back is Futura.

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The text is set in Futura when the obi is removed.

Source: www.ign.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

From Wikipedia:

Kirby: Planet Robobot is a 2016 platform game developed by HAL Laboratory and published by Nintendo for the Nintendo 3DS. It is the eleventh mainline installment in the Kirby series and the spiritual sequel to Kirby: Triple Deluxe. The story follows Kirby as he defends Planet Popstar from an alien corporation known as the Haltmann Works Company that wishes to mechanize the planet so that they can plunder its natural resources. New to the series in this game is Kirby's ability to utilize a mecha suit known as the Robobot Armor to solve puzzles and fight enemies.

Fitting the futuristic theme of the game, several of the fonts used are mechanical or computerized in nature.

The title logo is set in Helvetica Rounded (“Kirby”) and Filmotype Flyer (“Planet Robobot”). Both are modified.

The “Kirby” logo is oblique and uneven, and the gap of the letter b is replaced with a star. Unique to this installment, the logo is filled with a glowing scanline effect.

The “Planet Robobot” subtitle is skewed inward and given a metallic, stenciled appearance. The first letter o in “Robobot” is replaced with a nut.

Source: wikirby.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

Title screen. Logo is set in Helvetica Rounded Black and Filmotype Flyer. Body text is in Rodin, except for “2016”, which is in Kafu Techno.

Source: wikirby.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

Gameplay screen. “Fire” is set in Rodin. “Drop Ability” and “Pause” are in Carat. Numbers are in Kafu Techno.

All in-game text utilizes typefaces from Fontworks.

Source: wikirby.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

Game Over screen. “Game Over” is set in Kafu Techno; “Continue” and “Quit” are in Rodin.

Display text is set in Carat and Kafu Techno, and body text is set in Rodin. Rodin's numbers are replaced with those from Kafu Techno.

Carat is a typeface with thick vertical lines and thin horizontal lines evocative of MICR fonts. Its characters are blocky but not rigid.

Kafu Techno has strokes of even width, and squared characters with subtly rounded-off edges and tips. It resembles the characters on an LCD screen.

Rodin is a common font family for body text in Nintendo games, easily readable at a distance with consistent stroke widths.

The short-tempered boss of the Haltmann Works Company, President Haltmann, has his dialogue set in Comic Reggae. This typeface uses jagged edges and straight lines, with the thickness of each stroke increasing as it reaches the end.

The sentient supercomputer Star Dream’s dialogue is set in Skip. Its vertical lines are slightly thicker than its horizontal lines, and its edges are tapered outward.

Source: wikirby.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

Headers are set in Carat.

Source: wikirby.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

Dialogue from President Haltmann is set in Comic Reggae. Character nametags are in Rodin.

Source: wikirby.com HAL Laboratory, Inc. / Nintendo. License: All Rights Reserved.

Dialogue from Star Dream is set in Skip.

This is the front cover artwork for the first volume of the light novel 負けヒロインが多すぎる! (Too Many Losing Heroines!) written by Takibi Amamori and illustrated by Imigimuru.

The title is composed of three different fonts. The kanji characters (負, 多) are from Tsukushi Old Gothic by Fontworks. The kana characters use A1 Mincho by Morisawa, and the particle が uses Shuei Antique by Dai Nippon Printing.

The names of the author and the illustrator are set in a lightweight variant of Shin Go by Morisawa. Lastly, the English title of the novel uses Linotype's interpretation of DIN 1451 called DIN Next, with slight edits to make the text outlined.

The book with the obi included.

This is the LP version of Tatsuro Yamashita’s album For You, released in 1982 by Air Records. The album title uses a light weight version of Glaser Stencil and the artist’s name uses tracked-out caps from Gill Sans Bold Condensed. The catalog number at the upper right portion uses Futura.

At the back cover, most of the text is written in demi-bold and bold weights of Helvetica. The text at the middle of the postcard most likely uses a light weight version of Futura. The text at the right portion of the postcard is set in Courier. At the lower portion of the back cover, the Japanese serif text uses Ishii Mincho by Shaken (写研), the weight of the font is unidentified. Lastly, the words “1982” and “RAT-8801” are in Univers Bold.

On the insert, the song titles and track duration for each side along with the production staff at the backside are rendered in an italic variant of Univers of varying weights. The English song titles use Gothic No.1B (ゴシックNo.1B) and the Japanese lyrics most likely uses a medium weight of Ishii Gothic called Ishii Chū Futo Gothic (石井中太ゴシック), both by Shaken. To add this, musician credits underneath each song’s lyrics are in Gothic No.2 (ゴシックNo.2) which is an English-only alphabet also made by Shaken.

Design by Hiroshi Takahara featuring an illustration by Eizin Suzuki.

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Title screen for Luigi's Mansion.

Taking the Mario franchise into the territory of light horror and spookiness, the designers and artists of Luigi's Mansion reflect the game's duality in their choice of typefaces, mixing lighthearted display typefaces that would find their way into other games in the Mario franchise with horror display typefaces.

From Wikipedia:

Luigi's Mansion is a 2001 action-adventure game developed and published by Nintendo. The game was a launch title for the GameCube and was the first game in the Mario franchise to be released for the console; it was released in Japan on September 14, 2001, in North America on November 18, 2001, in Europe on May 3, 2002, and in Australia on May 17, 2002. It is the second video game in which Luigi is the main character instead of Mario, after Mario Is Missing!. Players control him as he explores a haunted mansion, searches for Mario and deals with ghosts by capturing them through a vacuum cleaner supplied by Professor E. Gadd.

Pop Happiness is used for the game's logo and as the primary interface typeface. Pop Happiness was designed by Fontworks and first released in 1997, per the company's release date timeline.

The logo is reused for other games in the Luigi's Mansion series. Tying into the game's premise of catching ghosts, eyes are imposed onto certain glyphs, and a wave distortion is applied.

The colors and the glow effect for the logo differ between several versions. The international print logo uses a blue-to-light blue gradient and an off-white glow; an alternate version of the international logo used in some promotional material uses white letters and a pink glow, with no gradients or a subtle pink gradient; the Japanese logo uses a dark blue-to-blue gradient and a blue glow; and the in-game logo uses a light-blue to white gradient and a purple glow. Additionally, the Japanese print logo features the game's title in English and Japanese and omits the game's possessive. The Japanese text is placed in the middle of the logo above the English letters, with white glyphs framed by a pink glow.

Various effects are applied to the in-game use of Pop Happiness depending on the context and interface, such as glow effects, outlines, and drop shadows.

For the control settings screen, Pop Fury is used for button labels, Comic Mystery is used for the names of control options, and Chiaro is used for the body text. Comic Mystery is also used for names of locations in the in-game UI and some text on the pause menu. All three fonts were designed by Fontworks; Chiaro was released in 1997, Pop Fury in 1998, and Comic Mystery. Notably, the release date of Luigi’s Mansion predates Comic Mystery’s listed release date. Given Nintendo's extensive use of Fontworks typefaces, this may imply that Luigi's Mansion use of Comic Mystery is a pre-release use.

The Game Boy Horror is an in-universe device based on the Game Boy. Its logo is based on the real-world Game Boy logo, which uses Gill Sans (see also: Game Boy logo, console, and packaging), but adds the word “horror” at the end in hand-drawn lettering. Gill Sans was designed by Eric Gill and first released in 1928 by Monotype.

On the file select screen, the text “Welcome to your mansion” uses Times New Roman. Times New Roman was created by Stanley Morison and Victor Lardent and first released in 1932 by Monotype. The type occasionally briefly changes to “Welcome to our mansion”, reflecting not only the setting (a haunted mansion inhabited by ghosts) but also the inciting incident of the game (Luigi winning the mansion in a contest he did not enter).

Fonts for “Press start!” on the title screen, the Gameboy Horror interface, ghost health, health/Boo count HUD, and names of the ghosts and treasure amounts on the area results screen, are unidentified. Some may be made in-house by Nintendo.

Information from Fontendou and the Super Mario Wiki.

Controller setting screen

In-game screenshot of the discovery of Mario’s Painting

Japanese box art, featuring the Japanese variant of the game’s logo

File select screen

In-game screenshot, taken after defeating Chauncy but before retrieving the area key

If the Nintendo Entertainment System is the cultural icon for 1980s video games, then the Game Boy and its bold, direct logo does the same for the 1990s.

From Wikipedia:

The Game Boy is an 8-bit, fourth generation, handheld game console developed by Nintendo, launched in the Japanese home market on April 21, 1989, followed by North America and Europe later that year. Designed by the team behind the Game & Watch handhelds and NES games (Satoru Okada, Gunpei Yokoi, and R&D1), it was Nintendo's first portable console, combining features from both.

The Game Boy logo uses Gill Sans, set in all caps and italics and utilizing tight kerning. Gill Sans was designed by Eric Gill and first released in 1928 by Monotype. Two logo variants exist; a primary logo set in Gill Sans Italic, and a secondary logo using bolder letterforms. These are not from Gill Sans Bold Italic, but were rather emboldened artifically. Box art for Game Boy games uses the secondary logo, rotated vertically and set along the left side of the cover (see also: Pokémon – “Gotta catch ’em all!”). Print advertisements for the Game Boy console and games use both logo variants. In television advertisements, the bolder logo variant is printed large on the front of the console and the Nintendo logo is omitted. In commercial units, the lighter logo variant is used, printed smaller and with the Nintendo logo set to the left of the logo.

Labels on the Game Boy (excluding the face buttons) use Futura. Futura was designed by Paul Renner and first released in 1927. The face button labels use Corporate [edit: or rather its close copy, Limited, see comments], in all caps, mirroring the typeface’s usage on the Nintendo Entertainment System (see also: Nintendo Entertainment System console and components). Corporate was created by Roc Mitchell and released in 1971 by Alphabet Innovations. The face button labels are set on an angle, mirroring the alignment of the buttons.

Japanese box design for the Game Boy with the lighter logo variant using unmodified Gill Italic. “Handy game machine” uses italic caps from a yet unidentified typeface similar to Eurostile. [edit: it could be Gona, see comments.]

International (or American) box design for the Game Boy. The logo uses much bolder letterforms than on the Japanese box and the Game Boy itself. “Compact video game system” is in italic caps from Gill Sans as well. The list of items is set in Futura Extra Bold Condensed, again in italic caps.

Cover of the instruction booklet for the original Game Boy. The white line at the bottom is Futura in bold italic caps.

Early promotional material for the event, featuring the original planned set of participating VTubers of NIJISANJI EN (“Livers”). Dates are set in DIN 1451 Engschrift.

NIJISANJI EN is the overseas branch of NIJISANJI, a virtual YouTubers' agency run by ANYCOLOR Inc. On 22 January, 2023, NIJISANJI EN announced their first concert, titled NIJISANJI EN AR Live “COLORS”. This event was later delayed, citing coronavirus concerns, up until 14 April, 2024.

Graphic designer Shota Aoki, and his agency RICOL, who had previously worked on other projects by NIJISANJI and other virtual YouTubers' agencies, were tasked on designing the logo, key visuals, and website for the event.

The main logo of the event. It features Gotham, accompanied by a condensed sans, which is either an unidentified typeface, possibly slightly modified, or custom drawn.

An updated version of the main promotional poster, with a different date and removal of “graduated” (retired) and “terminated” (fired) members.

The promotional poster for the Pastel Stage, featuring the participating female members of NIJISANJI EN. The ribbon with the text “Pastel Stage” set in Termina is wrapped around the event’s main logo. The poster features a bold weight of Brandon Grotesque. Other than that, the members' names and concert date are set in DIN Engschrift.

The promotional poster for the Vivid Stage, featuring the participating male members of NIJISANJI EN. The “VIVID STAGE” label, set in Neue Machina, is placed over the event’s main logo. The serif at the top is New York. Once again, the members' names and concert date are set in DIN Engschrift.

These flyers for the T.T Block arcade video game were issued by Taito in 1977. The name is shown in a two-color setting using the “Highball” variant of Eightball by Alphabet Innovations. The Japanese Maru Gothic is unidentified.

Released in 1999, one year after his sensational debut Unrest, Opa*q is the second album of Rei Harakami, and described as a masterpiece of the Japanese techno scene.

The cover was designed by Masashi Iwasaki, with a photograph by Tomoko Iwata. The typeface is the Black weight of Helvetica Rounded (or maybe Bitstream’s version named Swiss 721 Rounded), used in all lowercase characters, with stretched proportions and a glow effect.

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The main page of the PlayStation 4 user interface

The PlayStation 4 user interface features the SST typeface. Designed by Akira Kobayashi for Sony Entertainment, it's become their wholesome brand typeface.

Each PS4 comes installed with the main typeface (Latin, Cyrillic, Greek); and in addition, the Thai; Arabic; Vietnamese; and Japanese extensions. Each of the languages, excluding Japanese, comes in a set of four weights, from Light to Bold. Japanese only comes in Bold and Regular. Each of the main typeface’s weights comes in both upright and italic styles. SST Typewriter, a single-width offshoot of the main typeface, is installed in Regular and Bold weights. Internally, they're stored in the directories “/preinst/common/font” and “/system/common/font2”, in OpenType format.

In the default interface, the typeface is set white on a blue background. Alternative colors to blue are available, though in each case the text remains white.

The system configuration menu, with the system language set to Arabic

A view of a Trophy, with the system language set to Japanese

A view of the language selection menu. SST's Cyrillic, Vietnamese, Arabic, Greek, and Japanese glyphs are on display.

Artwork for Catch-Wave, an album of solo improvisations for violin, electronics, and voice by Fluxus artist Takehisa Kosugi. The cover features a vibrating op art treatment of a photo by Tamotsu Fujii designed by Aritsune Terada & Shizuo Ishizuka. Released on CBS/Sony Records in 1975.

The title is set in caps from the left-leaning Alfereta. The artist’s name uses Futura Bold.

[More info on Discogs]

“Sounds speeding on lights” appears to be Trade Gothic. The other fonts on the back cover including the Japanese ones are unidentified.

This wafer card featuring the character Isolde from mobile role-playing game Monster Strike uses the Kei Font, known in Japanese as けいふぉんと. Its Hiragana and Katakana glyphs were inspired by the anime K-On!

Front and back panel of the GR-700, as shown in the 1984 Roland GR-700 and G-707 Brochure.

The GR-700 Guitar Synthesizer, G-707 Guitar Controller, released in late 1984, and the GR-77B Bass Guitar Synthesizer, released around a year later, from the Roland Corporation.

The device names and model numbers are typeset in Earth, with altered A’s and a slightly different G. Numbers are also slightly different to those seen in listings. These may be yet unseen alternate glyphs or modifications. Earth was also used for the device names and numbers on many other Roland products released around the mid-1980s. Other text featured in the brochure and on the devices appears to be set in Helvetica. The type in the Roland logo, designed by Takuji Tomita and in use since 1972, is set in Univers 53.

Front cover of the 1984 GR-700 and G-707 Brochure. Model names are typeset in Earth. Note different A and G used.

Detail from the GR-77B

The GR-700 compared to the GR-77B. Note the different A’s used on each model, potentially constructed from an inverted U or V, or maybe unseen alternate glyphs included in Earth.

Front panel of the Roland TR-909, with model number and device name set in Earth.

From Wikipedia:

The Roland TR-909 Rhythm Composer, commonly known as the 909, is a drum machine introduced by Roland Corporation in 1983, succeeding the TR-808. It was the first Roland drum machine to use samples for some sounds, and the first with MIDI functionality, allowing it to synchronize with other devices. Though it was a commercial failure, the 909 became influential in the development of electronic dance music genres such as techno, house and acid.

The device name and model number are set in Earth, which is also used on other Roland products released around the mid-1980s. Additional text is set in Helvetica.

The TR-909 was designed by Tadao Kikumoto.

Angle view of the TR-909.

Front panel of box for the Casio electronic game Astro Chicken. The game's title is set in Earth.

Front panel of box and device for the Casio electronic game Astro Chicken, model CG-130. The version released in France is titled Planete Interdite. The game's title is set in Earth. Additional text looks to be set in Helvetica. The Casio logo is set in Microgramma.

See also the Marine Hunter game from the same year.

French version, titled Planete Interdite.