Resident Evil 7: Biohazard is a survival horror game developed and published by Capcom, initially released on January 24th of 2017. The players control Ethan Winters, a seemingly average man in search of his missing wife, Mia, who disappeared three years ago. After receiving an email from her, it led him down to a plantation in Louisiana. Released after years of excitement and some trepidation from fans and the industry alike, the game has been widely praised and is largely credited for reviving the Resident Evil franchise among other achievements.

Resident Evil 7 is the first entry to use Plak Extra Condensed for the franchise’s logo, replacing Compacta Bold which was used in prior games such as the original Resident Evil. “Biohazard” uses Rama Gothic Rounded. In-game, the user interface primarily uses Franklin Gothic Book, which actually fits the Southern Gothic aesthetic very well. Futura is used more sparingly as a heading font of sorts and Rodin is used exclusively for the subtitles, possibly for localization reasons. Digital similarly is rarely used but can be spotted in number counters and the main menu.

Main menu. The player navigates the menu using a tape recorder that uses Digital for the UI.

Settings menu

The loading screens in RE7 consist of a short synopsis of the current chapter.

Ethan Winters confronting a very evil resident

Inventory menu

Death screen

An alternate UI for Jack’s 55th birthday, one of many RE7’s frankly unhinged DLCs. Digital is used for the timer. “Are You Ready?” is in Lydian Cursive.

Cover for the edition by Mandarin Publishers, Hong Kong / UK

The Mysterious World of Dinosaurs is a non-fiction book written by John Heritage and illustrated by Francis Phillipps and others. It was originally published in 1980 by Octopus Books, London, for WH Smith. The ravages of time have left their mark on Helvetica.

Title page from a 1983 reissue by Treasure Press, ft. Trooper Roman. The small print is in Times New Roman.

Table of contents ft. ITC Caslon No. 223 and Univers

Chapter beginning with the heading in ITC Caslon No. 223 Light. The text typeface is Century Schoolbook.

Poster design by Paula Scher of Pentagram, featuring Garage Gothic typeface by Frere-Jones Type.

Shakespeare’s Taming of the Shrew was presented by the New York Shakespeare Festival/Public Theater at the Delacorte Theater in Central Park from August 10th through September 5th, 1999, together with Molière’s Tartuffe.

From Playbill:

Tartuffe concerns a venal and libidinous religious hypocrite who holds a household under his thrall until being exposed for what he is. When first presented in 1664 France, the sharp satire created such a furor that the pious of Paris suppressed the play. It was not performed for another three years, and then in an altered version.

Bruno Tomberg. Disaini leiutamine / Invention of Design was an extensive retrospective exhibition and monograph of Bruno Tomberg’s work at the Estonian Museum of Applied Art and Design in Tallinn, curated by Kai Lobjakas. The exhibition offered an overview of Tomberg’s nearly six-decade-long career, exploring for the first time in greater depth his roles as both designer and educator. It also brought a wealth of previously unknown and unexhibited materials to the public.

Bruno Tomberg (1926–2021) was an interior architect, designer, artist and educator, recognised as a leading voice in Estonian design during its intense development from the early 1960s onward. Through his diverse creative, pedagogical and administrative activities, he embodies the story of Estonian applied art and design.

For this occasion, the display typeface Bruno 100 was created by Tüpokompanii. The font is based on Tomberg’s poster designs from the 1970s, strongly reflecting his style as a product and interior designer where diagonal lines and rhombic shapes were frequent motifs throughout his career. A fuzzy texture was added to the type in the graphic design (by Indrek Sirkel), and exhibition wall texts were roll-painted over stencils to achieve a fabric-like surface to echo the materiality of Tomberg’s textile work and rug designs. The accompanying typeface is Ladna.

While Bruno 100 was custom-made for this project, it can be licensed to the public, so feel free to reach out to Tüpokompanii if you’d like to use it.

TT Lakes Neue is used in Compressed Medium and Compressed DemiBold styles in the interface of the popular off-road racing game SnowRunner. The game’s logo is based on Dirty Headline.

In SnowRunner, players traverse difficult terrain to deliver cargo and complete various construction and repair tasks across the map. The game was developed by Saber Interactive and published by Focus Home Interactive in 2020.

Fete des Bruyeres
2ème Dimanche d’Aout
Sur ce Site
Musique et Danse de Bretagne et d’Ailleurs

On our way from the parking to the cliffs of Beuzec-Cap-Sizun, Bretagne, we passed workers dismantling a stage from a festival that ended the previous day plus a sign explaining what we had just missed. Fête de Bruyères (“Heather festival”) is a local folk festival with dance and music held every second Sunday in August. The billboard shows a man in folk costume playing bagpipe and women in traditional clothing riding a horse carriage, with the côte sauvage (“wild coast”) as a backdrop. The airbrushed image is partly covered with vinyl lettering, using a different font for each line. It is signed by local sign firm Le Bars Publicité in the bottom left corner, but not dated.

Ferns, heather, rocks and sea: the côte sauvage.

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.

The identity for Poirier Coutansais establishes a dialogue between Art Deco and modern rationalism, between ornament and structure. Designed by eschenlauer sinic, it extends the philosophy of Victor Poirier Coutansais’s practice, where craft meets concept, and sensibility meets precision.

The wordmark follows an architectural approach to letter design. Loosely inspired by the decorative proportions of Gershwin, its construction recalls the spirit of Parisian Art Deco façades, where geometry became ornament. The rigid framework is balanced by more lyrical, almost calligraphic details reminiscent of hand-tooled metal or carved wood from the applied arts of that era.

This is countered by the use of Figure Monospace, whose mechanical logic introduces a contemporary tension – a dialogue between the analog and the digital, the handmade and the systematic.

Around the logotype, a custom visual vocabulary was developed: frames, borders, and star-shaped symbols act as rhythmic markers throughout the system. Echoing the geometric motifs and gilded fillets of the period, these elements bring a sense of controlled fantasy. Each motif serves a functional purpose, merging hierarchy and decoration in the spirit of modernist applied arts, where structure becomes ornament.

The identity finds its balance in a form of inhabited precision, where the rigor of the line becomes a vehicle for emotion.

Traces of Ladna in use for I Got a Great Lick of It Before It All Melted – an exhibition at ARS Art Factory by students of graphic design and product design of the Estonian Academy of Arts, guided by Kristel Saan-Soom, with a poster designed by Mark Kokotov.

The exhibition is described as follows:

We all have a certain number of experiences in life, on which we build the next one. It is like an archive. You can’t ever experience anything without the latter.. And then we end up with those choices that we unconsciously and finally consciously make every day again and again. We are faced with something that is self-evident, like putting one foot in front of the other when walking or inhaling and exhaling.. we don’t notice these actions, but yet we do them constantly. Our choices shape our experiences and, when combined, our dance through life.

Artists: Riko Smirnov, Richard Vainola, Gabriella Tarja, Laura Sööt, Katriin Saulus, Anna Elisabeth Remmelg, Kenneth Pert, Hanna Milk, Anett Elis Männil, Brit Maripuu, Paula Maria Mengel, Stella Maris Liiva, Kelli Kütt, Helen Kärt Käbin, Martin Kislõi, Mark Kokotov, Teele Kiisk, Grittel Kastan, Greg Mikael Juhanson, Daria Titova, Johannes Adrik, Aries Puusepp, Rebecca Lopez.

Wurzelgeflecht (German for “root network”) is a handbook on founding collectives – and insights into the creative work of artists and cultural workers. It contains (almost) everything you need to start a collective: step-by-step instructions, discussions, and ideas on how we want to work creatively in the future – and why we should stand up for the value of our work right now.

The desire for community is a fundamental human need – a natural process that also occurs in nature. This idea shapes the aesthetics of the handbook. At the same time, it is an experiment: an exploration of the possibilities of artificial intelligence – in the areas of text, code, and image.

The publication is divided into two chapters that combine theory and practice: founding and building collectives, and discussions that address ethical, economic, and educational issues. A handbook for anyone who works creatively and collectively – or wants to become part of a network.

Made as part of the seminar “making (of a) public” at UdK Berlin, led by Prof. Franziska Morlok with Jasmina Begović and Felix Walser.

Reinterpretation of the movie poster The Children’s Hour (1961) by William Wyler made for a special screening at the Queer Cinema Club Montreal.

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.

Flyer for a punk gig with Parnepar and Drim, October 5, 2025, at Le Winger Bar in Toulouse, France.

Canadian One Sheet (27″×39.5″)

The West ain’t no place for a man

English-language posters for The Legend of Frenchie King (original French title: Les Pétroleuses), a satirical western comedy set in the Francophone town of Bougival Junction, Texas in 1888. The film was directed by Christian-Jaque and stars Claudia Cardinale and Brigitte Bardot.

The title at the top is set in a typeface with horizontally hatched Egyptian top and decorated Tuscan bottom halves, which were additionally given different colors in this application. According to Nicolete Gray, this design was shown in Britain by Figgins around 1870, but already much earlier by French foundries. Fonderie Typographique Française revived it in the 1950s as Romantiques No. 5.

In the bottom half, the title is shown in Quentin (c.1958), which I believe to be Filmotype’s copy of Carousel as drawn by Dave Davison for Photo-Lettering before 1950.

The names are set in Egyptian. This phototype adaptation of a battered French Clarendon was issued by VGC as part of their T.J. Lyons Antique Type Collection in 1967. The font included two to three alternates for most letters, with different “blemishes, for a more authentic look. What it didn’t offer were lowercase letters. That’s why the tagline was rendered in Playbill – the wear and tear of the glyphs here was added by hand.

All four dispay typefaces were available for VGC’s Photo Typositor at the time.

Claudia Cardinale died on 23 September 2025 at her home in Nemours, France. RIP.

British Quad (30″×40″) poster. Eat this, racist!

In May 2024, Le Labo and dance school 4ème Art presented Diane Tsitera’s piece Mémoires dansantes ou lettre à un jeune danseur (in English: “Dancing Memories or Letters to a Young Dancer” at Le Rocher de Palmer.

In keeping with the reflections and writings of choreographer Maurice Béjart, the visuals I designed for the show refer in particular to this phrase: “Struggle, work and fly away”, represented here with dancer Marius Tsitera, where several movements form a graphic whole.

The photographs of dancer Marius Tsitera are by Reportage sud. The drawings used in this presentation are from my process and were not used for the show’s visual communication. Sherman Display is the main typeface, assisted by Intro Bold.

The project aims to reflect Pradenn’s collective energy through a simple and authentic visual identity inspired by rural craftsmanship. This includes the redesign of a clear, lively website, that aligns with the collective's image.

Pradenn defends a collective, artisanal approach to agriculture and food, through its farm, bakery and canteen. To convey these values, the graphic identity is based on strong, sensitive choices: linocut work evoking manual gestures and raw materials, and Compagnon typography, the central element of the project. With its frank, expressive design, it aptly embodies the authenticity, rural roots and human dimension that run through all of the collective’s activities.

Key art (print)

Anchorage is a 2021 feature film directed by Scott Monahan and written by Dakota Loesch. YENCE Studio provided the art direction and design.

Jacob (Scott Monahan) and John (Dakota Loesch) are two low-level Florida drug hustlers with a busted Crown Victoria and a dream. Their plan is to drive a trunk full of opioids stuffed inside Teddy Bears to Anchorage, Alaska, to cash in big in the Land of Gold. A split-second act of violence in the high desert of California derails their trip and sets the brothers on a crash course with tragedy. Anchorage is a journey to the heart of a family, the heart of addiction, and the heart of the American Dream... or whatever is left of it.

Powered by stunning performances, wild locations, and haunting cinematography, Anchorage is a jarring and drug-addled exploration of brotherhood, aspiration, and the degradation of a generation. Unsettling but existentially captivating, this authentically raw road movie thoughtfully traverses the dark and often unseen world of drug addiction, harvesting beauty from the struggle of trying to achieve an inglorious dream.

In his directorial debut, actor Scott Monahan stars alongside Dakota Loesch, who penned the script. Anchorage was shot chronologically in only five days with a cast and crew of ten people for $20,000 cash. The film would go on to win eleven awards and ten nominations, including the German Independence Award for Best Feature Film and the Best Actor Award at the 2021 Oldenburg International Film Festival.

See the official trailer:

Main title

Trailer

Trailer

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Trailer

Les Bacchanales du comité informel was a multidisciplinary micro festival involving an art exhibition, tattooing, a DJ set, and hedonism. It took place at Brussels’ Brasserie ILLegaal in June 2023.

In classical antiquity, the cornucopia (from the Latin cornu “horn” and copia “abundance”), was a symbol of abundance of food and wealth. The invitation, designed with Laurie Giraud, took the form of an envelope filled with small cards, illustrations, and texts about the exhibition. We developed a rich collection of images as a starting point, as if to create a visual map evoking the theme of the exhibition. The text is set in FD Garamon(d/t).

Steam banner prior to V70 (June 1st, 2025 update)

Lethal Company is a cooperative survival horror game developed and self-published by Zeekerss. It was released into early access on October 23, 2023. As contracted employees of "The Company", players are tasked with landing onto abandoned moons to collect and sell scrap, all while avoiding hostile creatures in order to meet profit quotas.

Lethal Company's aesthetic is best described as retrofuturistic. Low polygonal assets are blended with modern rendering techniques. Technology is large, bulky and decaying rapidly. Everything in general has a rather strange, rustic and uncanny look.

Lethal Company's logo seems to be set in Segoe Semi Bold. Its appearance is glitchy and worn, giving a strong first impression and a sense for what's to come. In game, the user interface is set only in 3270font, a typeface based on the IBM 3270 terminal. It fits the aesthetic very well in game and appears much more rough during gameplay due to the game's pixelation effect applying to UI elements.

Main menu

Server browser

Inside the Company’s ship, which is your only mode of transportation, storage and the closest thing you can call home.

When landing on a moon, the HUD reveals basic information of that moon.

The terminal, which is used to buy items among other small tasks, uses 3270font.

Players could scan multiple objects, which reveals a rough estimate of the total value of those objects

The standard album cover for The Normal Album.

Pictured is Musician Will Wood leaning out of a window waving, surrounded by a black border on a retro zig-zag line image pattern design reminiscent of the 1950s. “Will Wood” and “The Normal Album” are displayed in URW Antiqua, and the pink promotional sticker's slogan displayed in a modified version of New York. The sticker reads “INCLUDES THE HIT SINGLE ‘LOVE, ME NORMALLY!’ AND MORE NEW, ORIGINAL SONGS!”

The Normal Album is Will Wood’s third studio album, released July 10th, 2020. The album’s genres range from ska, punk, jazz, cabaret, surf rock, pop, and even doo-wop. The track “I / Me / Myself” is Will's most streamed song, after it went viral on TikTok and exponentially grew his popularity.

The Normal Album got a new mix after parting with one of the original album’s main producers. The new mix, The New Normal!, included three extra 2018 demo tracks, and a remaster of every song, each now paired with a sillier version of their original titles, except for the track “Love, Me Normally”. The New Normal! was released on August 9th, 2024.

The covers for The Normal Album and The New Normal! display both Will’s name and the album’s title in Georgia. Both album versions include a sticker in the bottom left corner with a silly commercial slogan saying various messages depending on the version.

The Normal Album has only had one version of the sticker on its album art, with the message “INCLUDES THE HIT SINGLE ‘LOVE, ME NORMALLY!’ AND MORE NEW, ORIGINAL SONGS!” displayed in stretched Sitka.

The New Normal! has had many different album covers, plausibly depending on the type of media it’s consumed through. It and the very elusive 2023 Edit use Times New Roman for their slogans.

Artwork by Angelica Pasquali and Mike Diebold.

[More info on Discogs]

The album cover for The Normal Album (2023 Edit).

This album cover is the same as the original, except for the central image of Will being titled at an angle, and the promotional sticker is now green and displayed in Times New Roman. The promotional message reads “~ NEW ~ MODERN STEREO MIX! *2023 EDIT*”

The standard album cover for The New Normal!

The album cover is very similar to the original The Normal Album cover art. Instead of Will waving, his arms are spread open as if to welcome a guest. The zig-zag pattern background has been hue-shifted to look green and yellow instead of pink and blue. And the sticker in the bottom left corner is a bright purple instead of pink. The promotional sticker reads “~13~ MOOD-SWINGIN’ TUNES & EMOTIONAL OUTBURSTS! ~NOW WITH~ 400% MORE HINDSIGHT!”

Another The New Normal! Album cover found through Apple Music.

Will Wood rests one elbow on the banister, holding his fist to his chin, while his other arm rests out the window as looks out the window longingly. The promotional sticker reads “NOW IN STEREO! ~ plus ~ 33% MORE ‘CONTENT!’”

Another The New Normal! Album cover found through Deezer.

Will grasps the window banister and holds his other hand flat to his forehead, perhaps trying to see something in the distance. The promotional sticker reads “NOW IN RECOVERY! ~ plus ~ THREE BONUS DIAGNOSES!”

The album jacket for the tour exclusive vinyl pressing of The New Normal! / 2023 Edit. This is also known as the “worst edition” because they had to rush production for the tour according to reddit user u/AutumnnMay

The zig-zag background is hue shifted to look blue, green, and purple. The space where the type for “The Normal Album” is has a very tiny “2023-2024 Mix” squished right beneath it, also in Georgia. The promotional sticker is now salmon colored, and displayed in Superclarendon. The promotional sticker reads “*100% GENUINE WORST EDITION PRESSING! ~RARE!~”