Magical Athlete is a chaotic racing game that's fast, dumb, and without a doubt, the only game where you can race a baby versus a banana. The original version of the game, designed by Takashi Ishida in 2003, was beloved by serious gamers for its fantastic gameplay, but a bit lost when it came to aesthetic direction; not only was the board difficult to read, but it didn't reflect the joyous energy of the game.

For this new edition, the mechanisms of the game were expertly updated by Richard Garfield, game designer and creator of Magic: The Gathering—but that still left a big question mark as to how the game should look and feel. To help evoke the simultaneously simple and wacky nature of the game, I decided to lean on simple shapes and primary colors for the graphic design.

Our team knew from the start that the game had to be profusely illustrated, and our interest in 1970s illustration like Richard Hefter’s Shufflebook and Sweet Pickles series, Heinz Edelmann’s work for The Beatles’ Yellow Submarine, and Peter Max’s psychedelic color, led us to work with the exceptional Angela Kirkwood on the artwork.

The game is predominantly set in Grilli Type’s Flaire. Its “Extra” and “Basic” variations meant we could dial up pizazz when needed, as on the character names on cards, while also relying on the Basic as a heavy-lifting sans serif in spots with dense amounts of text like the rulebook. The external box follows the system devised by SMLXL, which exclusively uses the book weight of Lineto’s Supreme. The logo and board typography is hand-lettered by illustrator Angela Kirkwood.

After years of touring and releasing singles, emerging house DJ and producer sunflwr was preparing to release his debut album head it in a dream at the top of 2025. He approached Wish You Well, a multidisciplinary creative studio, to assist with developing design direction for the vinyl LP he wanted to release as part of the rollout. In collaboration with photographer Zachary Ruddell, who spearheaded the album’s front cover, Creative Director Jaye Thompson drew inspiration from sunflwr’s signature blend of dreamy indie dance and atmospheric house music, to translate sound into form. For the LP’s backside, he developed a uniquely hypnotic typographical treatment, built around chromatic distortion and circular rhythm, echoing the entrancing qualities of the album’s production. The result is a design that feels like a visual vortex, inviting listeners into sunflwr’s vibrant sonic world.

Beyond the LP sleeve, the design direction expanded into a broader visual ecosystem. Wish You Well equipped sunflwr with animated assets and motion graphics derived from the core typography and creative direction, allowing the identity to live across announcements, social content, and rollout moments. This approach ensured the album wasn’t just released, but revealed through multiple touchpoints for fans to engage with the project beyond the music alone.

Following the release on Unbelievably Spectacular, the album charted on NACC’s year-end Electronic and Chill lists and has since generated approximately five million streams across major DSPs. While vinyl sales data is limited, multiple physical drops sold through, signaling a strong demand and resonance with fans. Beyond performance metrics, the project established a cohesive visual identity at debut, helping position sunflwr as a distinctive voice within the electronic and chill music space.

For Wish You Well, the project exemplifies the studio’s belief in building worlds, not just assets. Where music, design, and craft work together to create lasting cultural presence.

[More info on Discogs]

In a Baroque church in the canton of Jura, the artistic duo Boudry/Lorenz has created a rollercoaster that also serves as a sound piece voiced by Colin Self.

The visual communication gives a feeling of psychedelia in reference to the sculpture. The geometry of the kaleidoscope could be a nod to the structure of the luna park ride, or the echo of Self’s lament in the space.

Making full use of the variable capacities of Purple Haze, the design uses several weights and instances overlaid on top of each other, and printed in a restricted set of spot colours, creating additional tones as a result of the transparency of the inks. The supporting typeface is an early version of Display Grotesk, designed by Chi-Long Trieu and set to be released with Dinamo.

When things go down, hopefully they go up straight after.

Promo for ReSolute’s 18th Year Anniversary party, celebrated in Paris, France.

A defining force in New York’s underground, ReSolute built its reputation through uncompromising curation, unforgettable warehouse nights and marathon sessions that shaped the sound and spirit of an entire community. Few collectives have managed to remain so consistent, independent and influential over nearly two decades – their impact continues to resonate far beyond their hometown.

This promo is designed by Mălin Neamțu and Dreamrec, to emphasize ReSolute’s New York energy for the fans and public in Paris. To do so, the perfect typogarphic combination and layout to shine for this occasion is Segmentor-03 and Volina. This combination sparks raw energy with grace and hi-end glow to underline the event's energy.

See the original promo video below, or watch it on Instagram.

A New Model of the Universe: Principles of the Psychological Method in Its Application to Problems of Science, Religion and Art is a book by Russian philosopher and esotericist P.D. Ouspenski. First published in Russian in 1914, it was translated to the English by R.R. Merton and issued in 1931 by Routledge (London) and Knopf (New York). Shown here is the paperback edition from the Dover Occult series, 1997.

Source: www.baumanrarebooks.com Bauman Rare Books. License: All Rights Reserved.

Roger Zelazny’s science fantasy novel Lord of Light was first published by Doubleday in 1967. The dust jacket features mesmerizing art by Howard “Howie” Bernstein, who passed away last year at the age of 81.

The perfect typeface to go with the psychedelic art is Kismet. First cast by the Boston Type Foundry in 1879 after designs by John F. Cumming, the swirly face had a new lease of life in the 1960s and 1970s.

Note how the leg in R was made diagonal instead of vertical in this application. Such an alteration can not be found back in the phototype adaptations by Headliners and Photo-Lettering.

[More info on ISFDB]

Source: www.abebooks.com Quintessential Rare Books. License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Detail from a specimen for Kismet as shown in a 1892 catalog with “Popular Designs for Artistic Printers. Selected trom the novelties manufactured by the Central Type Foundry, of St. Louis, and Boston Type Foundry, of Boston.”

Ad in LIFE magazine, October 11, 1968

New imaginative styles by Peter Max. Three wild designs to choose from. Repeat alarm wakes you – lets you snooze – then awakes you again. Daring and decorative – great gift.

Every time I come across a Peter Max work, whether it’s a pair of jeans (ad) or the cover of his own magazine—my eyes literally overdose on all the colors and swirling forms. Peter Max is not just another “hippie” artist, rather he’s a kind, caring and loving person who’s influenced a whole generation of artists and people abroad. Even if his name has never crossed your eyes or ears, you’ve probably seen his art somewhere. So many others around the world admire Max and his artwork, although these days it absolutely breaks my heart to see how others treat him in his current state.

Let's move on to something lighter… literally!

From 1968 to 1970, Peter Max was commissioned to design clocks and a poster for General Electric. The poster, advertising some absolutely wonderful wall clocks is set in Millstein Orientale for “New from General Electric” and below, with some Helvetica for the tinier text.

Moving on to the 1970 Snooz-Alarm clocks advertisement which shows Norton Futuramic, a Photo-Lettering face that was issued in the 1940s, paired with Obese E, a Psychedelitype (link two) released in 1967—note that this wouldn’t be the first or last time Obese would be used in Max’s work. Jefferson Aeroplane appears for the Symmetry clock, and Davison Arabesque for the Spectrum clock. Aura is just Futuramic, repeated, and below the three is presented in Futura for the price and bold words, Bodoni for the quoted text.

The actual Symmetry clock uses an illustrated form of Obese, Spectrum uses Art Nouveau-esque numericals not unlike Benguiat Laurent, and the Aura clock uses custom numerals not specific to any phototype… but still looks rad anyway!

Ad in Courier Journal, March 22, 1970

Symmetry

Spectrum

Aura (black version)

Flower Girl

These groovy candles from Avon are undated, although the use of West Casa Blanca could suggest it’s either from or before 1970. Some of the glyphs (A, E, L, M) differ from the sample, though do note that it’s a bit condensed on the packaging. Venus Extended Light also appears below the candle’s name. Although I’m focused on the rare font’s appearance, check out the box design! There’s another version called the Turtle Candle, which is… quite literally how it sounds.

Wowie zowie!

West Casa Blanca in PLINC's One-Line Manual of Styles

Elastic is a print magazine of psychedelic art and literature, created by editor in chief and publisher Hillary Brenhouse.

Designers Chloe Scheffe and Natalie Shields designed the first issue of Elastic, using Focal by Commercial Type, ABC Daily Slab Mono by Dinamo, and Henry from 205TF. The logo appears to be custom, with similarities to Turtle.

Description from Elastic:

We publish visual art and writing that bend time and genre and perspective, blur waking and dreaming life, find sublimity and absurdity in the everyday, magnify the senses, multiply and distort the possibilities of narrative, and interrogate power by breaking form.

The first psychedelic era was a time of radical artistic innovation, and yet, in the popular imagination, “psychedelia” refers to little more than Day-Glo mandalas and contorted mushrooms—a narrow corridor. Elastic is interested in taking the walls down. Or, rather, Elastic is interested in demonstrating that the walls were never really there. These pages conjure a truly expansive vision of psychedelic culture, bringing together a vast body of contemporary psychedelic work and paying tribute to an overlooked archive.

Focal is used as its own design element playing off the vast pages of color and original and commissioned photos and illustration.

Elastic is made possible by Harvard and UC Berkeley’s Psychedelics in Society and Culture Program, funded by the Gracias Family Foundation and Flourish Trust. The magazine is a fiscally sponsored project of SOMArts.

This poster series for music events with different acts in various bars in Castanhal, Brazil, uses a combination of vibrant colors, paired with large, stylized text to capture the audience's attention.

A large cartoon-style character which appears to be a stuffed toy bird, features prominently on each poster. Centered against an urban backdrop, it contributes to a striking, surrealist visual aesthetic. The graphic designer(s) blended digital techniques, using flat colors and strong contrasts, without resorting to realistic shading or textures, reinforcing the pop and alternative approach of the designs.

Epoque Black was used as the main typeface. With an art nouveau-inspired aesthetic, heavy strokes, and semi-condensed sans-serif shapes, it provides a strong and immediate visual presence – essential for music posters, where the main message needs to be grasped quickly.

Secondary information, such as dates, times, and locations is set in Myriad. Its clean, legible style ensures easy readability even at smaller sizes, complementing the visual impact of Époque without competing with it.

Japanese elements reinforce a counterculture aesthetic, with references to the worlds of video games, cyberpunk, and experimental music. This visual touch speaks directly to the underground spirit of the events. The typeface used for Japansese text is yet unidentified.

From Session Victim:

Sidequests: Chapter One, the first part of a trilogy with subsequent EP’s featuring further explorations in creative rhythm and the nostalgic echoes of adventure!

Featuring four original tracks and a standout remix by underground hotshot Frits Wentink, Chapter One showcases Session Victim’s signature fusion of hazy house, broken beat, and trip hop—all wrapped in their trademark rich production and uplifting energy.

Alias Harbour is used for title type. It’s paired with a yet unidentified italic font [edit: it’s Perfetto, see comments].

After Stand!, Epic Records sought to release another new record after no musical activity came from the Family Stone – that new record being Greatest Hits; a compilation of prior album singles (excluding A Whole New Thing’s single), which would become their best-selling and most successful album, even peaking at #2 on the Billboard 200. Brand new non-album singles all released in 1969 such as “Everybody Is A Star” / “Thank You (Falettinme Be Mice Elf Agin)” (which uses a bold Burko) and “Hot Fun in the Summertime” also appeared as tracks on the album.

Teresa Alfieri is credited as the album's cover designer, with Stephen Paley for photography credits (in which similar photos appear in another Family Stone album). Robert Montgomery’s Pousse Cafe B appears for both artist name and album name, meanwhile Trade Gothic and the lighter Lightline Gothic are used for additional lettering on the front, gatefold and back. There are other Family Stone reissues/releases that use Pousse Cafe.

[More info on Discogs]

Recently, Sly Stone passed away on June 9, 2025 at the age of 82.

Gatefold by Morgan Ames

Back cover

Uncommon Japanese 1973 quadraphonic release with Riyousuke Mori for design credits

Another 1973 Japanese release

On June 9, 2025, we lost Sylvester “Sly” Stewart, a Black genius and major innovator of funk, psychedelic soul and rock – in return developing progressive soul, influencing artists and musicians of all backgrounds. Prior to Sly’s passing, trumpeter and “original hypeman” Cynthia Robinson left us on November 23, 2015.

From AllMusic:

In 1966, Stone formed the Stoners, which featured trumpeter Cynthia Robinson. Though the Stoners didn't last long, he brought Robinson along as one of the core members of his next group, Sly & the Family Stone. Formed in November 1966, the Family Stone also featured [Freddie] Stewart (guitar, vocals), Larry Graham, Jr. (bass, vocals), Greg Errico (drums), Jerry Martini (saxophone), and [Rose] Stone (piano), who were all of different racial backgrounds. The group's eclectic music and multiracial composition made them distinctive from the numerous flower-power bands in San Francisco, and their first single, “I Ain’t Got Nobody,” became a regional hit for the local label Loadstone. The band signed with Epic Records shortly afterward, releasing their debut album, A Whole New Thing, in 1967. The record stiffed, but the follow-up, Dance to the Music, generated a Top Ten pop and R&B hit with its title track early in 1968. Life followed later in 1968, but the album failed to capitalize on its predecessor's success. “Everyday People,” released late in 1968, turned their fortunes back around, rocketing to the top of the pop and R&B charts and setting the stage for the breakthrough success of 1969’s Stand!

The cover of A Whole New Thing, released on Epic Records in 1967, features the widely identifiable and clowned upon Hobo, tightly set in white for the artist’s name and green for the album's name, both in all caps. Helvetica appears on the rest of the back cover. It is not known who designed the cover, as no designer credits appear, although for the 1970 reissue, Teresa Alfieri is credited as designer, with Stephen Paley for photography credits.

The reissue cover of A Whole New Thing uses Bauhaus Prisma Q for “SLY” and Jazzbeau for “& THE FAMILY STONE”, along with the album’s name. The reissue uses images from 1969’s Greatest Hits, although the cover is incorrect considering Rose Stone did not join the Family Stone until Dance to the Music – yet she appears on the cover.

[More info on Discogs]

Back cover with liner notes by John Hardy

1970 reissue

Event poster for the Bassiani 10 Years Showcase at Zhao Dai Club in Beijing. The poster was designed by Pan Haojun’s design studio Bad Preacher:

For the past two years, we‘ve compiled a hefty collection of electronic archives for Zhao Dai Club, as always, keeping the creativity flowing has been an absolute joy and we’re excited to share this happiness with you all, and of course, it goes with our poster picks from picks.

The poster is set in partly distorted Cortese by Mark van Leeuwen.

No Way Out is the debut album by American garage rock band The Chocolate Watchband, released in 1967 by Tower Records. The album blends garage rock, psychedelic influences, and elements of R&B, featuring a mix of original songs and covers, including “Let’s Talk About Girls” and “Come On”.

The album cover features bold typography, combining two distinct typefaces. The band’s name and album title are set in Braggadocio, a geometric stencil typeface designed by W.A. Wooley in 1930 for Monotype. Below the title, the band's name appears again in Caslon Rounded. Track names are set in Akzidenz-Grotesk schmal fett, also known as Standard Bold Condensed. “Keep the 18th Amendment” is added in Helvetica, and “LP” at the bottom features Agency Gothic Open. The cover designer remains unknown.

[More info on Discogs]

The dedication on the back cover appears to be set in all-caps News Gothic Condensed.

Sonic Acts is an interdisciplinary arts organization based in Amsterdam presenting new developments in electronic and digital art forms. Their biennial international festival is an art, theory and technology gathering motivated by changes in the ecological, political, technological and social landscape.

The visual identity for Sonic Acts 2024 edition “The Spell of the Sensuous” was designed by Anja Kaiser and Knoth & Renner, who also programmed the accompanying website. The design pays homage to Georgia O’Keeffe, an artist renowned for her mythic and uninhabited landscape masterpieces. Channeling her distinctive palette, the visuals employ earthly and lively hues hinting at images beyond human senses – a mystical entrancement in O’Keeffe’s landscapes or the liquid interconnectedness of (non)beings.

In An American Place, 1941, remarking on the sensuously intimate and familial act of noticing nature, Giorgia O’Keeffe wrote: “in a way – nobody sees a flower – really – it is so small – we haven’t time – and to see takes time like to have a friend takes time.”

The typographic gesture assumes the roles of observer, chronicler, and perpetual traveler, traversing the linear notes of monospaced typography. Intertwined with the typography, asemic writing plays the role of silent companions. These signs defy conventional decryption methods, evading semantic clarity. Instead, they beckon us to embrace subjective, inquisitive interpretations, inviting us to delve into uncharted territories of understanding.

The visual identity combines the open-source typeface Geist, used for title typography, with CMM Coda in Proportional, Proportional Normalized and Mono Serif cuts, used for body copy and small print.

Source: archive.org Internet Archive. License: All Rights Reserved.

This live album by The Animals with Eric Burdon was recorded on December 30th, 1963, at Club a’Gogo in the band’s hometown of Newcastle upon Tyne, as their first recording ever. It was first released by Wand Records in 1970, after The Animals rose to fame, and subsequently reissued under various titles and with various cover designs.

The original cover was designed by Dick Smith, featuring artwork that represents a naïve interpretation of band name and album title as a Garden Eden populated by creatures, mixing illustration with collage. The type is integrated into the image on two arcs, and set in Battleship, PLINC’s phototype revival of Modern Style by Peignot & Fils.

[More info on Discogs]

Source: www.hhv.de License: All Rights Reserved.

The cover for the 2019 reissue by Replay has a loose reinterpretation of the original theme, cranking up on the psychedelia – complete with a trippy manual rendition of Battleship.

The Spicy Coffee brand offers an innovative range of ready-to-drink premium coffee products infused with spicy flavors. Their lineup includes four unique blends inspired by diverse global regions: Amalfi, Bengal, Condesa, and Zanzibar.

Spicy Coffee is crafted from organic ingredients and is aimed at adventurous coffee drinkers looking for a subtle chili kick on their caffeine experience.

The Gyst and GT Ultra Standard fonts combined on the packaging go well together with their pointed terminals, such as in the C. In contrast, the backgrounds are carrying soft, psychedelic shapes, possibly (but loosely) based on Eckmannpsych or a similar typeface. Chong Modern is sparingly used only on the website, alongside DM Sans.

Electric Circus is an iconic typeface designed by the famous New York studio, Brownjohn, Chermayfeff & Geismar for the legendary Electric Circus nightclub. A few months ago, Fonts In Use contributor Quinn Davis noted that the typeface was likely based on Anzeigen-Grotesk / Neue Aurora IX. This makes a lot of sense, as Anzeigen or Aurora was used as a secondary face on this (uncredited) concert program, and on many other designs by the firm.

Performing at the 1968 Electric Easter concert were electronic music pioneer, Morton Subotnick; a light show by Anthony Martin and Jerry Brandt; Medieval and Renaissance ensemble, New York Pro Musica; and psychedelic soul band, The Chambers Brothers.

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.