Demon ruchu (“The Motion Demon”, 1919) by Stefan Grabiński is a classic work of Polish horror in which the railway becomes a space filled with metaphysical mysteries. In this collection of stories, trains, stations, and tunnels form a dark universe where the inexplicable constantly breaks through everyday order. The characters, haunted by premonitions and visions, teeter on the brink of madness, and the very act of travel takes on an almost mystical dimension.

The new edition by Dwie siostry was designed by Jacek Ambrożewski, using Tor grotesk for cover, titles, drop caps, and emphasis; and BC Figural for text. It is enriched with evocative illustrations by Rita Kaczmarska and includes additional stories planned for the never-published third edition. The volume appears as the fifth installment of the “Świeżym Okiem” (“Fresh Eye”) series, offering a refreshed, visually striking version of this classic of the uncanny.

336 pages, 14.5 × 21.5 cm

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts. This year’s edition is themed “The Heidi issue”.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Roman, KTF Jermilov, KTF Rublena, and KTF Tiemann by Kyiv Type Foundry. The designer – Dual Room’s Emmanuel Crivelli – also uses Cornbread, OCR-X and Selecta from Maxitype, plus BC Monument and BC Unciala by Briefcase Type Foundry.

The magazine’s editorial team consists of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, and Mazlum Nergiz, together with the authors Johny Pitts, Enis Maci, Simoné Goldschmidt-Lechner, Hendrik Otremba, Marina Skalova, Clemens J. Setz, Anna Gien, Leonie Ott, Lotti Spieler, Leo Lemke, Tania Röttger, Dominic Oppliger.

Šufan is a Czech producer of nut butters, granola and other tasty treats for breakfast or snacks, all produced with pure ingredients without added sugar or chemicals. The brand has been on the market since 2014 and launched a new phase of its entire portfolio in 2024. With an emphasis on natural honesty, the redesign presents products with hand-drawn illustrations plus Euclid Square and Benda as brand typefaces.

Battlefield 3 is the seventh entry in the Battlefield franchise and the sequel to Battlefield 2. The game embraces the term “modern” more heavily paired with a Hollywood flair to it. This is reflected in the user interface which resembles a stereotypical military display you’d see in a blockbuster action movie.

Purista would make its debut here in the franchise. Its highly squared, sans serif design resembles lettering you would see on some military applications which no doubt played a large part in its choice. The typeface continues to be used in future titles including the most recent entry, Battlefield 2042.

The medium and semi-bold variant was used in almost every single material connected to Battlefield 3, which was likely for brand consistency. It’s used for promotional material, Battlelog (the PC version’s networking system which is paired with Bebas Neue, Tahoma and Arial), and is the only typeface used for the in game user interface.

Screenshots were taken on the Steam copy of Battlefield 3, since console versions contain a slightly different UI.

Main menu for the campaign mode

Options menu

Credits sequence

Multiplayer HUD

Losing a match in multiplayer, showing the scoreboard among other things you unlocked during the match

Singleplayer HUD, with health, ammo and objectives displayed

Piloting a tank. This is one of the few instances where Purista is used diegetically in the game world.

A page on Battlelog advertising Battlefield 3 Premium. Bebas Neue is used with Purista.

Battlelog’s character profile showcasing my horrible stats. Tahoma, Arial and Bebas Neue are used here.

A promotional ad for a weapon pack

From Wikipedia:

Battlefield 2042 is a first-person shooter, developed by DICE and published by Electronic Arts. The twelfth main installment in the Battlefield series, it was released on November 19, 2021, for PlayStation 4, PlayStation 5, Windows, Xbox One, and Xbox Series X/S. Unlike previous games in the series, Battlefield 2042 is solely multiplayer and does not have a single-player campaign. It features support for cross-platform play, a first in the series. Battlefield 2042 received mixed reviews from critics and a negative reception from players for its technical issues, lack of features, and certain changes to the gameplay. The game failed to meet the sales expectations of Electronic Arts.

The fonts used in the game are Purista by Suitcase Type Foundry and BF Modernista, a custom typeface designed by Lundqvist & Dallyn for the game. The latter is also used for the numerals in the logo of the game. The condensed grot caps used for “Battlefield” are from an unidentified typeface – Grand comes close.

We just love anniversaries. When in that celebratory mode, clients tend to be open to something a bit more special. For utility company Čistoća’s 70th anniversary we created an anniversary logo and a company monograph. Due to the volume and diversity of content for the book, we developed a set of graphic elements which we used to create infographics, to break large amounts of text and to emphasise specific content.

There are a lot of scanned old documents included in the book, and since they're written on the typewriter, we opted for Jornada Mono to accompany such feel in the quotes and infographics. For the body text we chose a more neutral Tabac Sans, and for the big titles and emphasized numbers – a very bold Orientation.

Côte du Midi is the new brand of the tourist destination of the Grand Narbonne region. Their new logo – based on Epura – embodies the sweet life on the coast, with its coastline, its historic heritage, its various activities and its lands and vines.

Montserrat is the main typeface for all communication, supported by BistroScript.

Poster design by P+A / Showtime Creative

Yellowjackets is an American thriller drama about high school girls’ soccer players who try to survive after their plane crashes in the northern wilderness. The series premiered on Showtime on November 14, 2021.

The font used for the logo is Corner Store JF with some manual edits, including elongated descenders in j and Y, the latter forming an underscore. Corner Store is a handwriting font with strong vintage vibe, made by American artist and typeface designer Jason Walcott. It was released in 2007 by Jukebox Type.

The accompanying sans serifs are Showtime’s standard brand typefaces, Atyp and Antique Legacy.

Poster design by AV Print / Showtime Creative

Poster design by ARSONAL / Showtime Creative

Conoce EAE is a corporate brochure developed for EAE Business School, one of the top five in Spain. This type of brochure is usually very institutional and to be honest, a bit boring and distant. But when EAE commissioned us for this project their idea was to do something slightly different. It was important to review the narrative, introduce a more humane aspect of the brand and somehow deliver something that could be used by the stakeholders and that communicated the brands vision and purpose.

So apart from the normal content, such as the institution history, faculty, alumni, programs and all the data and infographics usually used in this type of publication we infused as more aspirational narrative.

We invited several employees to share their idea of what the school represented to them, we made them highlights of the brochure. We wrote about the brands vision and what to stands for in a more open and humane way, we talked about talent beyond data, and we created a small poster that if you wanted you could hang it on the wall of the your office.

The brochure is made out by two pieces, the brochure itself and a folded poster that was used as a book jacket. The jacket covered half of the cover creating a game between the corporate EAE red and the cover photo that illustrates the concept of discovery and the ability to conquer ones objectives (the brand motto: We make it happen).

The two corporate typefaces create a balance of styles. Montserrat plays the role of setting a more easy and contemporary tone for the long texts, and at the same time it helps with the legibility of infographics, wile Tabac Big brings a more serious and sharp but yet elegant tone to titles and quotes.

Playtype’s Berlingske Serif and Pepi from Suitcase Foundry are the brand typefaces for the redesigned visual identity of Starting Strength. From brand consultancy Diferente:

Starting Strength is an American brand created by Mark Rippetoe that was born as a book and a training method that explains how to develop strength in an efficient and effective way through basic barbell lifts.

The wordmark becomes the key asset of the brand evolving its wise-ancient appearence with a strong, balanced and attractive typography. This refreshed asset takes the starring role to expands Starting Strength brand equity working as guarantor to align the company qualities and essence to each brand extension in any market.

The final result is a brand new system that ensures a consistent and recognizable narrative for Starting Strength at every touchpoint with its audience, no matters if it’s used to create digital or printed content.

Rebrand for Wild & Coco, a company that produces a wide range of coconut-based products. The overall concept is based on balance and harmony. Illustrated in the logo, this is what the products brings to the gut of the consumers. For visuals, a concept of zen garden was created – a lush place full of tropical shadows where the products reside.

While the packaging itself is based on modern typographical layout and elevating gold accents, wilderness is communicated through usage of greenery and leaf shadows as if cast by sunlight. This allows for fresh and lively digital communication – and for the events actual greenery is used. From tropical 3D visualisations to product photography, the idea of bright sun light seeps through all the visuals.

The typography pairs Jaroslav by Tomáš Brousil with Eksell Display, a design by Olle Eksell that was digitised by Göran Söderström.

From Mecha Orga:

Nympholepsy is inspired by the immediate environment and history of ancient Messene. The work links the archaic with the contemporary by establishing a dialogue between the ethereal (sound) and the material (the ancient ruins). It is an exploration of the blurred limits between myth and history and the relationship between deities and human beings, nature and the supernatural.

Yiorgis Sakellariou is a composer of experimental and electroacoustic music. Composed in May 2018 in memory of his father Costas Sakellariou, Nympholepsy was released in December 2019 in an edition of 200 copies via Noise Below.

Artwork by Sotiris Gekas, using a photo by John Grzinich and the typefaces Friday and Atypical, both by George Triantafyllakos.

From design studio busybuilding:

Akis Petretzikis constantly innovates with new products and fresh books. At the same time, he is becoming increasingly established in public awareness as a connoisseur in modern Greek cooking. His book aims to become a reference point of the traditional and modern Greek cuisine through its hundreds of favorite recipes and its timeless, friendly design.

We focused on a “Greek” white and blue color palette to highlight tradition and authenticity. Familiar photos with playful illustrative interventions, hand-written notes by Akis and a minimal design create a more personal look and feel and present a contemporary, youthful outcome.

On the cover and in the interior, headlines are set with the reversed contrast BPrever. The all-caps Atypical is used for chapter openings and short texts; the recipes are typeset with Averta. The cookbook, published by Psichogios as Η δική μου ελληνική κουζίνα (“My Greek Cuisine”), is also available in an English-language version named Greek comfort food.

For the German edition of Josef Formánek’s novel Mluviti pravdu (“To Tell the Truth”), experienced and prolific Czech book designer Martin Pecina has chosen Urban Grotesk for the cover, chapter titles, subheadings and page numbers, and JAF Lapture for the body text. The designer explains his choice:

we have developed a graphic design that not only differs fundamentally from the Czech edition, but above all more reflects the German tradition, characterized by Albert Kapr and the purist international typographic style, as it crystallized in the 1960s.

Dirty Pretty Productions is an award winning, full service, creative production agency based in New York City, working with top fashion brands and magazines across the globe. Specializing in creative direction, photo & video production, Dirty Pretty creates dramatic imagery for campaigns and editorial features that evoke a moody elegance that has become synonymous with their approach.

When briefed with developing the visual identity for the brand by founding partner Mateen Mortazavi, there was a desire to cut through the noise of the quiet and considered approach so many studios position themselves with. Los Angeles based designer Jeff Hunt approached the solution with rock-n-roll vernacular as a starting point, understanding the need for the brand to convey sophistication and attitude. Looking as much to fashion design editorials as to punk rock and heavy metal typography — the final identity packs a punch with a flexible system based around typography and a minimal color palette of black and red.

The sharp, chunky logotype family is built from a modified version of the typeface Metalista designed by Tomáš Brousil from Suitcase Type Foundry. This is paired with Freight Big Pro designed by Joshua Darden for GarageFonts — embodying the brand ethos with its elegant curvature and thorny spurs. The system comes together to clearly communicate a defiant-but-refined attitude that is Dirty Pretty Productions.

In 2010–12, Terry Posters (collector and dealer) and Pavel Rajčan curated the Konfrontace [Confrontation] exhibition, comparing Czechoslovak and Polish film posters side by side. The poster and catalog were designed by Jan Havel of Belavenir Design Studio in Prague. Appropriately, the main typefaces come from Czech designer Tomáš Brousil: Corpulent and Nudista.

Juven is a startup technology software company based in Hong Kong. This project is focused on membership management ecosystem and aims to create an effortless user experience for end users.

Student project for HEAD Media Design, Genève. A critical design project on the behaviour of governments.

Improve your life while keeping peace on the streets! Get tax cuts, food stamps and other benefits by fulfilling your patriotic duty. Help the police force, overwhelmed in this chaotic era. Search the map for the nearest riots and increase your standard of living while keeping fit! ––– David Héritier

The logo for French indie rock group Bison Bisou (“Bison Kiss”) cleverly utilizes the repetitive nature of the band name. Designer Sébastien Lordez stacked the two words and selected a typeface with narrow proportions so that the resulting wordmark is nicely compact. In Metalista (Suitcase Type Foundry), N looks just like an upside-down U — the second line appears like a mirror image of the first.

Epicure is dedicated to providing delicious meal solutions that use only real, whole ingredients you can trust, while never compromising on taste. Hint developed Epicure’s new brand system: identity, photography, website design, and packaging; from the smallest spices with the simplest labels to the largest cookware and the most complex kits. The packaging system encompasses 250 products across 25 product categories. Upon successful implementation these new systems resulted in costs savings and increased consumer enthusiasm.