Cursor Design Studio is honored to have designed the 2026 annual publication for the Georg Solti Accademia, identifying, training, and supporting the next generation of outstanding opera singers and répétiteurs.

This 16-page edition serves as a dedicated communication for the Academy’s sponsors and benefactors. The project was brought to life in Venice by Grafiche Veneziane, printed on premium ivory paper and featuring the Academy’s logo (in Trajan) in gold foil on the cover.

Business cards

Branding and website for SisInBiz, the FINTA network of the Swiss music industry.

Since 2017, SisInBiz has been connecting FINTA individuals in the Swiss music industry. With the founding of the association in 2026, the moment had come to step forward with a clear public presence – and an identity that does justice to the network. The community as a living structure: the way it forms, expands and mutually supports itself becomes tangible as an animated element on the website. The logo mark carries this idea forward as an organic form. The wordmark provides the counterpoint – present, direct, unambiguous. This contrast runs through the entire visual identity: between playful serifs and bold italics, between a reclaimed pink and a powerful bordeaux.

Website

Greeting card

Footer

Albra Sans by Rellence is used for Fossula, a skincare brand from Korea that develops new ingredients and formulas based on extensive skincare experience. It was launched in September 2020.

The brand identity design and font selection were executed by Seoul-based design studio HuskyFox. Plus X were in charge of developing the website.

The supporting typeface for small English text is Benton Sans. The Fossula website (no longer online) additionally used Noto Sans KR, see Source Han Sans.

Xuba means corn in Zapoteco, a pre-Hispanic language, and that is the starting point for the visual identity of this contemporary taqueria in Barcelona led by Michelin star chef Antonio Saez, where all tacos are made with this unique ingredient with its blue variant. The system designed by ESIETE expands with a series of copywriting and emoji-type icons that are displayed in packaging, content and communication.

Sebastian Vigueras. License: All Rights Reserved.

De Melodías y Colores, 1 February 2026

This post presents a series of concert posters designed for the Orquesta Típica de la Ciudad de México (OTCM) in 2026.

The poster shown above officially inaugurates the 2026 Season 1, presenting a renewed visual structure. The composition centers on La Giganta, the monumental sculpture by José Luis Cuevas, which serves as a powerful iconic element. The design employs a high-contrast photographic style in which the background image engages in a dialogue with a typographic composition of two fonts.

The typographic system is a sophisticated fusion of four distinct voices. The main title, De Melodías y Colores (“Of Melodies and Colors”), creates a rhythmic dialogue between Chicago – a robust, dotted typeface – and Origins, a fluid, handwritten typeface that mimics the expressiveness of a calligrapher’s stroke. This combination reflects the dual nature of the concert: the technical precision of the music and the vitality of the visual arts. Questa – here in the form of Questa Grande – is introduced as the new institutional serif typeface, lending a modern and elegant voice to the orchestra’s name. Finally, Cabin remains the official typeface of the Mexico City government for secondary information, ensuring that details about the guest conductor and soloists remain legible against the monumental background. This design establishes the template for the first season in 2026, prioritizing striking iconography and expressive typographic combinations.

Sebastian Vigueras. License: All Rights Reserved.

Amor en clave de sol, 15 February 2026

The visual narrative for the third poster centers on a dramatic sunset over the facade of the Museo de la Ciudad de México, where the sky's warm gradients are mirrored by the lyrical and romantic theme of the concert, Amor en clave de sol.

The typographic composition introduces a new, sophisticated hierarchy. The main title is set in Mon Nicolette, an expressive typeface by Mexican designer Cristóbal Henestrosa. Its fluid, calligraphic strokes and elegant swashes – integrated here with musical clef and heart motifs – capture the emotional essence of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

El México de sus compositores, 22 February 2026. This poster was designed together with Vania Rabago.

The fourth poster for the concert at the Alcázar of Chapultepec Castle utilizes a dramatic architectural photograph that emphasizes the perspective of the venue’s iconic checkered floor and classical arches. The deep vanishing point serves as a natural visual anchor, guiding the viewer’s eye through the historic corridor and toward the musical information.

The typographic palette is led by Gelica for the concert title. This choice brings a warm, retro-contemporary charm to the design, with its soft serifs and organic terminals providing a lyrical counterpoint to the rigid geometry of the architecture. The friendly and expressive nature of Gelica perfectly captures the passionate spirit of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

Mujeres que suenan y transforman, 8 March 2026

The fifth poster for the concert at the Ángela Peralta Open-Air Theater utilizes a striking high-angle photograph that captures the venue’s unique integration with the surrounding greenery of Parque Lincoln. The radial symmetry of the theater’s seating serves as a natural visual anchor, drawing the eye toward the stage and the performers.

The typographic palette is led by Instrument Serif for the concert title. This choice brings a classic, scholarly elegance to the design, echoing the operatic and historical legacy of the theater’s namesake. The serif structure of Instrument Serif provides a high level of sophistication that balances the organic textures of the surrounding trees.

Sebastian Vigueras. License: All Rights Reserved.

Natalicio del Benemérito de las Américas, 15 March 2026

This poster for the sixth concert of the 2026 season highlights the presence of the Orquesta Típica de la Ciudad de México (OTCM) in contemporary social spaces. The visual centerpiece is a panoramic photograph of Utopía Tezontli, a modern community center in Iztapalapa. The architectural geometry, with its white structural ribs and circular patterns, creates a rhythmic backdrop that symbolizes the utopian and transformative nature of the place.

The typographic strategy introduces Caligra, a contemporary Gothic typeface used for the main title. This choice creates a tension between the orchestra's historical roots and the modern, urban environment of the venue, while also evoking the complex framework of the building’s roof.

Sebastian Vigueras. License: All Rights Reserved.

Armoniás de primavera, 22 March 2026

The visual composition of the seventh poster is centered on an expansive landscape photograph of Parque Tezozómoc, featuring its iconic artificial lake and the pre-Hispanic-inspired topography. The open, bright blue sky and the reflection of the clouds in the water serve as a natural visual anchor, providing a serene and airy backdrop that reflects the “spring harmonies” theme.

The typographic hierarchy is led by a sophisticated pairing for the title: Amster, with its contemporary and sharp personality, and ATF Garamond, which provides a timeless, academic elegance. This combination creates a refined, editorial feel that contrasts with the organic, open-air nature of the park. The layout effectively utilizes the landscape’s “white space” to allow the intricate typographic layers to breathe, maintaining a balance between historical tradition and the modern urban environment.

The Irishman is a 2019 epic gangster film directed and produced by Martin Scorsese, based on the 2004 book I Heard You Paint Houses. The film chronicles the life of Frank Sheeran, a WWII veteran and union truck driver who becomes both a top hit-man for the Bufalino crime family and a close friend of Teamster’s former president, Jimmy Hoffa. Now in his final years, he looks back on how much that life has truly costed him.

The Irishman's logo uses ITC Grouch in a stark red color, echoing the gangster films, time period and its aesthetics that preceded this movie. This logo is never actually used in the movie which in my opinion is a missed opportunity. It is paired with Netflix Sans and FF DIN in the poster.

Throughout its runtime, The Irishman uses freeze frames accompanied by a text card mainly for characters who play a small role and pass away outside of the movie. These text cards, as eerie as they are, use ITC Franklin Gothic Book and look classy doing so. It is also used for the end credits. The title sequence near the start uses Arial Black. I love Arial as much as the next guy but this is a very strange choice, especially since this is the only time the movie uses it.

Title sequence. “I Heard You Paint Houses” was also Scorsese’s preferred name for the movie; that’s why it appears in the beginning.

“Angelo Bruno – shot in the head sitting in his car outside his house, 1980”

“Joseph P. Kennedy, Sr. – died 1969 after a long illness”

End credits, which features the title once more.

Sebastian Vigueras. License: All Rights Reserved.

La Típica en la Vasconcelos, 5 October 2025

During 2025, the Orquesta Típica de la Ciudad de México (OTCM) offered a series of free concerts throughout the capital, for which these promotional poster was created.

The layout of the elements follows a vertical or radial hierarchy where photographs of musicians or instruments—such as the salterio or the marimba—act as indices of Mexico City’s sonic tradition. The use of illustrations or flat color shapes aims to modernize the Orchestra’s image, moving it away from a static perception and bringing it closer to a dynamic urban audience. Furthermore, the color palette likely aligns with the institutional identity of the Secretariat of Culture, applied with high contrasts to ensure legibility in public spaces. A system of visual weights was established where the OTCM name stands out above the time and location details, allowing for quick scanning. The typographic selection likely includes a seriffed, calligraphic typeface—Adobe Aldine—for headlines to evoke the history and elegance of an orchestra with over 140 years of heritage, complemented by sans-serif typefaces—Roboto and Cabin—for technical data to ensure clear readability at various distances. Finally, the management of leading and tracking is optimized to avoid dense typographic blocks, maintaining an “air” that allows the design to breathe.

Sebastian Vigueras. License: All Rights Reserved.

Ninfas y Nereidas, 12 October 2025

The poster for the Ninfas y Nereidas concert represents a transition towards a more layered and atmospheric visual language. The background is a rich, impressionistic tapestry of warm-toned flowers that anchors the composition, reflecting the floral tradition of the San Francisco Tlaltenco area.

The typographic system introduces Gabriola, whose fluid, stylistic alternates and elongated swashes mirror the “aquatic” and mythological theme of the Nereids. This expressive display face is used for the concert title, creating a sharp contrast with the structured, institutional presence of Adobe Aldine at the top. For the more complex information—such as the extensive repertoire list and venue details—Roboto and Cabin are again used to maintain high legibility against the textured background. The layout balances a large, centered photograph of the full orchestra with a clear, white footer for institutional logos, ensuring that the decorative elements do not compromise the informational clarity.

Sebastian Vigueras. License: All Rights Reserved.

Ritmos de Otoño, 19 October 2025

The poster for the Ritmos de Otoño (“Autumn Rhythms”) concert features a frame-within-a-frame composition that emphasizes the relationship between the venue and the season. The top of the layout is dominated by a lush, colorful floral arrangement that creates an organic border, contrasting with the bright blue sky.

The typographic hierarchy is centered and highly structured. The concert title is set in Adobe Aldine’s Display size, utilizing its graceful, flaring terminals to reflect the organic nature of the floral motifs. It is used for the “Orquesta Típica” name at the top, providing a stable, classical anchor for the design. A distinctive detail is the venue address, which is set in an arch following the architectural curve of the museum’s orange facade, effectively integrating the text with the photographic image of the building’s entrance.

Sebastian Vigueras. License: All Rights Reserved.

La muerte se quiere llevar a la Típica, 9 November 2025

This poster for the Día de Muertos special concert, titled La muerte se quiere llevar a la Típica, showcases a sophisticated integration of typography and architectural photography. The composition uses a diagonal perspective provided by the museum’s historic stone columns, creating a sense of depth that guides the eye toward the papel picado and the dark interior where the concert title is placed.

The typographic system relies on a high-contrast hierarchy to manage a large amount of information. The main header and the concert title are once more set in Adobe Aldine Display, whose classical serif structure is paired with a hand-drawn illustration of a skeleton, evoking the iconic style of José Guadalupe Posada. This choice reinforces the cultural heritage of the celebration. To balance the ornate title, venue details and technical data are organized using Roboto and Cabin, utilizing different weights and sizes to maintain clarity. A notable design choice is the placement of the location details on the stone pillar, treating the text as a physical part of the architecture. The color palette is somber yet accented by the vibrant colors of the traditional papel picado, ensuring the poster captures the festive yet solemn spirit of the season.

A badge created by Sam Potts for the Judge John Hodgman podcast.

Neerlandistiek is an online journal for Dutch language and literature. It was first called Neder-L and has existed under the name Neerlandistiek from 2016 on. It was also in that year that their logo was introduced. The initial version had a colour gradient that extended over both the icon and the letters. The version shown above has been in use since March 2021.

I don’t really remember noticing the initial version of the logo. But ever since they have switched to the new version, in which the letters are more clearly readable due to the absence of a gradient on them, I have been wondering about the typeface that was used to create it. Judging by the fact that it took me so long to finally solve that riddle, I was apparently not that intrigued after all – but I did not forget about it either.

I tried using various font identification services (such as WhatFontIs or the font identifier by Identifont), but they only produced a partial match: Alwyn New by Chris Dickinson. Some letters matched well, some matched poorly, others did not match at all. I think that I settled for ‘Maybe they modified the letters for the logo’ when I first tried to identify the typeface, and then I adjourned the case for another year or two.

It was only very recently that I picked up on the second part of the typeface name that was the result of my first attempt at identification: New. If there is Alwyn New, there must be Alwyn (Old), too, right? Well, yes, there is.

Alwyn was the first version of a typeface that was released in 2007 by the Identikal Foundry. Here is the archived FontShop listing of the font family. Apart from that, not too many digital traces of it remain: There are one, two, three, four, five, six pictures on Flickr, uploaded by Chris Dickinson, that show the font in use as the (former) corporate typeface of a housing corporation in Amsterdam, which came into existence in 2008.

And when you compare the letters of Alwyn to those in the logo of Neerlandistiek, they match perfectly. Mystery unraveled – eventually, after almost five years.

As of 2026, the fonts used on the website are Bitter and Roboto.

New York-based Zero Studios reimagined Chomps with a bold, cohesive identity built to dominate the snack aisle and scale across digital and retail environments. From packaging to social media, the work balances immediacy with clarity. The direct messaging, high contrast color, with a playful tone and visual presence position the brand as energetic and a little bit rebellious.

The typographic system is anchored by Mindset from PintassilgoPrints, an all-caps sans serif designed by Erica Jung and Ricardo Marcin, in just two weights (Regular and Slim) with enough range to establish hierarchy while keeping the brand voice tight and unmistakable. Colby from J Foundry runs deep (six widths, five weights, italics) but Zero pulls just a single cut, letting its character do the work. That kind of restraint says something about the confidence of the system. ITC Franklin Gothic handles the smaller text, bringing familiar American sans serif authority where structure and readability are key.

Together, the type palette reflects the broader strategy: strong, efficient, and built for impact. Zero’s work shows how a restrained typographic system—when deployed with precision—can carry an entire brand with confidence.

See more of the project on on Zero Studio’s site.

When I Feel Afraid, 2003

Learning to Get Along is a series of children’s book written by Cheri J. Meiners and illustrated by Meredith Johnson. It was published by Free Spirit Publishing from around 2003.

Marika Heinlen’s cover designs use a warm, approachable mix of typefaces to support the theme of emotional reassurance for young readers. The hand‑drawn softness of Minya Nouvelle gives the title a friendly, inviting presence, matching the book’s gentle illustration style. Supporting text set in ITC Stone Informal continues that approachable tone while remaining highly readable for adults guiding children through the material.

For structural clarity, the design relies on ITC Franklin Gothic for straightforward informational elements, balancing the more playful display choices. Together, these typefaces create a visual hierarchy that feels safe, calm, and accessible –perfectly aligned with the book’s purpose of helping children understand and navigate fear.

Golova showcases its brand with PragmataPro as the default typeface across its app, websites (golova.ai, golova.one, golova.io, golova.help) and social networks.

The combination of this font with geometric and minimalistic illustrations creates an impressive visual identity that enhances user engagement and brand recognition.

The secondary font used for the website menu is Roboto Flex.

A defining presence in the global lo-fi beat scene, Wun Two and Made in M – two of Germany’s most refined hip-hop producers – joined forces for their collaborative album Sole Spirito, released on June 28, 2024 on Sichtexot.

Steeped in the nostalgic glow of 1970s Italo wave, Sole Spirito drifts through a cinematic Italy of sun-drenched coastlines, decadent interiors, sensual tension, and faded film grain, echoing an era where style and emotion were inseparable.

Swedish graphic designer Andreas Pedersen channels this spirit visually, pairing hot, saturated hues with a slightly condensed version of the seventies-inflected typeface Ouroboros to capture the album’s retro-modern pulse.

The classic sans-serif ITC Franklin Gothic serves as the secondary typeface, in different widths, also set in uppercase, grounding the composition with understated clarity.

[More info on Discogs]

Crystal Eyes Stalk at Midnight album cover

Album and promo art for Sean Wolcott’s 12th album, Crystal Eyes Stalk at Midnight. Macbeth is used as the primary display typeface, along with Harry supporting. Futura can be seen in the Clockwork Records logo, and Eurostile was used for the BGM logo along with the catalogue number.

For the promo posters, a variety of fonts were used including Nuevo Passion (a 2013 digitization of Mecanorma’s Contest), Cooper Black, and ITC Serif Gothic. Akzidenz-Grotesk Condensed is used for body copy throughout the cover and promo posters.

Crystal Eyes Stalk at Midnight vinyl with obi

Crystal Eyes Stalk at Midnight promo poster #1

Crystal Eyes Stalk at Midnight promo poster #2

Crystal Eyes Stalk at Midnight promo poster #3

Crystal Eyes Stalk at Midnight promo poster #4

Volume 6 is the fourteenth installment in the You Don’t Know Jack franchise, and the sixth general knowledge edition. Titled “The Lost Gold”, it is set in a strange dimension, with the goal to make enough money to free the pirate trapped inside. It was originally released on December 1st of 2003 and is hosted by Josh “Schmitty” Schmitsinstein.

While the YDKJ logo is once more in Franklin Gothic (see the dedicated post), the installment title on the eye patch uses Jack Lantern BB which had been released earlier that year. “Volume” is in Segoe or similar.

The game interface uses various weights and widths from Bureau Grot. This typeface family by David Berlow is based on predigital designs by Stephenson Blake, compare to Grotesque No. 8 and 7.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Le Jouet Enragé, 2nd edition, 2011, translated by Isabelle and Antoine Berman

Rouge Gorge is a series of books by Parisian publisher Cent Pages, designed by SpMillot. It includes several books written by Roberto Arlt (1900–1942). Shown in this posts are:

• Le Jouet Enragé, a short novel first published in 1926 as El juguete rabioso (Mad Toy)
• Le Petit Bossu, a short novel first published in 1933 as El jorobadito (The Little Hunchback)
• L’éleveur de gorilles, a novel first published in 1941 as El criador de gorilas (The Gorilla Handler)

Cover titles are set in a modified version of Matthew Carter’s Skia. In the latest editions, the interior pages were redesigned to be set in Arlt (by Loche, PampaType), a type family that is inspired in Roberto Arlt's literary works.

See also the previous post about Greguerías by Ramón Gómez de la Serna, published in the Rouge Gorge series in 2005.

Le Petit Bossu, 3rd edition, 2012, translated by Jean-François Carcelen and Georges Tyras

L’éleveur de gorilles, 3rd edition, 2013, translated by Jean-François Carcelen and Georges Tyras

With a rich collection of modern and contemporary art in which abstraction plays a major role, the Nantes Museum of Art and the Buffalo AKG Art Museum presented a unique exhibition from April 4 to August 31, 2025, showcasing the historical, theoretical, and formal links between optical art and video and computer art from the 1960s to the present day.

The exhibition design was created by French graphic designer Antoine Groborne. He used the typeface Garaje (Thomas Huot-Marchand, 205TF) for the titles and Roboto for the text.

All-caps Flash for the poster signed by D. Wust-Calame, printing: Imprimerie du «Journal de Genève»

Drawing is a common practice in the field of botany to visually describe a plant. Allowing interpretation, even cheating, a drawer dare said, scientific illustration has didactical advantages over photography. From 1960, when Charles Baehni was director of the institution, and during more than 30 years, the Botanical Garden of Geneva in Switzerland employed a dedicated team of women for the task. Their names appear vertically, often along the stem of each illustrated plant: Line Guibentif, Saskia Pernin-Wikström, Suzanne Van Hove, Danielle Wüst-Calame.

Housed by the lake, on the first floor of the historical building called La Console, the “atelier de dessin et décoration” comprised a complementary team dedicated to decoration (advertising or graphic design nowadays).

The series of posters entitled “Tulipes” announces most likely outdoor “exhibitions” of the tulip flower in bold colours with various typefaces leading to a striking effect. Showcased below, these posters symbolise the porosity of practices, the warmth as well as importance of drawing by hand, from that era.

To conclude, when I was conducting my research for proper dates and names, working in this very institution as an in-house typographer, I spotted this remark in one article by Line Guibentif from 1984: “Made with simplicity and economy of means botanical illustration should be as easy to read as clearly typeset text.” (translated from French by the author).

Acknowledgments: Samuel Anderegg, Pierre Boillat, Patrick Bungener, Martin Callmander, Sylvie Dunant, Mona Mahmoudian, Raoul Palese, Nathalie Rasolofo, Rodolphe Spichiger, Gisèle Visinand

Letraset’s Desdemona for a poster signed “SaskiaW”. Note that the 9 is an upside-down 6.

All-lowercase Baskerville Old Face

All-lowercase Monotype Grotesque and Helvetica for a poster signed “Line G.”, printing: Imprimerie du Journal de Genève

Hand-rendered (?) Cooper Black with non-standard forms for U (inspired by ITC Souvenir?) and P. “Rocailles” is shown in an unidentified wide slab serif. Volta fett with a trimmed R leg and unbracketed serifs would come close [see also the comments]. This poster is signed “SaskiaW” and was printed by imprimeries populaires. Smaller text is in Helvetica.

Zipper and Helvetica for a poster signed “SaskiaW”, printing: Imprimerie du «Journal de Genève»

Artistik for a poster signed “D. Wust-Calame”, printing: Imprimerie du Journal de Genève

More Helvetica, including stacked glyphs for the months for a poster signed “D. Calame”, printing: Blanc-Wittwer SA (not part of the Tulipes series, provided here as a bonus for the eyes)

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.