Key art for the 1.0 release of Abiotic Factor

Abiotic Factor is an open world survival single-player and cooperative video game developed by Deep Field Games and published by Playstack. It was released into early access on May 2, 2024 and was fully released on July 22, 2025. Players assume the role of a GATE employee, stranded deep within its underground research facility. After a catastrophic containment breach, players must use their brains and brawn to escape the facility by any means necessary all while avoiding military and paranormal forces.

Abiotic Factor uses Poppins as its branding typeface. It is seen used in most promotional material for the game. Poppins Black is used specifically for the game's logo. In game, the Black weight is also used as the headline font. It is paired with TeX Gyre Adventor for long bodies of text and can be seen used diegetically on wayfinding signs. Certainly very stylish if a bit hard to read on small text. Roboto is also used on the occasional piece of text, although this use feels more functional rather than stylistic. Interestingly, this is the pre-redesign version of Roboto that Unreal Engine 5 still ships with.

Logo. The A in the bottom line is replaced with GATE’s logo, the titular organization this game revolves around.

Main menu

Graphics settings

The game’s HUD, displaying multiple things such as button prompts, hotkeys, player status, active perks (seen on the left) and current mission objectives.

Inventory menu

A player ‘inventing’ a new crafting recipe by dragging in the correct ingredient, which unlocks when a player collects a new object. One of the few instances where the old Roboto is used.

Graphic design for Konstfack Research Week 2025, which is hosted by Konstfack University of Arts, Crafts, and Design, Sweden’s largest art school. Research Week is a five-day event consisting of lectures, workshops and panels focused on artistic research. many events are open to the public.

The logo and layout are fully coded in DrawBot and printed material is produced with Konstfack’s Risograph printer. Depending on whether the material is printed or digital, the colour combination is switched around.

Concept, design and printing by falk schröter, a current Masters student in Visual Communication at Konstfack. The fonts used are vägra!, as a display typeface and for titles; bonk for the icon; and Latin Modern Roman for everything else.

Digital A6 program booklet

Announcement banner graphic

Zine about design process, shown in Konstfack’s library

From the press release:

(...) MAC VAL (Musée d'Art Contemporain du Val-de-Marne) has undertaken a major investigation into the subject of the “fait-divers”, resulting in a major exhibition bringing together 80 artists from a wide range of backgrounds and formal practices. (...) The inspiration for the theme came from Roland Barthes‘ essay Structure of the Fait-Divers (1964). Described by the semiologist as the “unorganized discard of news,” the fait-divers help us to name and identify the aberrant causalities and coincidental relationships that disrupt everyday life.

The bilingual French-English exhibition catalog for Faits divers was designed by Félicité Landrivon. The typographic design features a range of typefaces, including KTF Rublena, KTF Metro Roman, and KTF Metro Blueline, all by Kyiv Type Foundry. The dot matrix font seen on the cover, the inner flaps and elsewhere is WL Rasteroids by Writ Large. The italic on the cover comes from 205TF’s Exposure, which is also used in upright form for the text inside the book, alongside Fluxisch Else, OSP-foundry’s digitization of the Selectric version of Univers. The monospaced font is GUST’s Latin Modern Typewriter. Credits at the end are set in Transducer by JTD Type. In addition, Landrivon used a few other fonts just once for titles, but these are not displayed here and are therefore not listed.

256 pages, 268 images, 20×27 cm. See more images on the designer’s Instagram account.

The title on the right pairs KTF Rublena with Exposure Italic and handwriting.

Outlined KTF Metro Roman for “Murder is a design hobby”

Text page set in Exposure

The list of contributors on the left combines KTF Rublena with Fluxisch Else.

Latin Modern Typewriter for the description of the MAC VAL, with Transducer for the credits

The alphabetic list of words on the back cover uses all-caps WL Rasteroids.

The art of sculptor Florian Ecker is the result of an exploratory curiousness, in which he examines natural phenomena with scrupulous precision and the experimental set-ups of a scientist.

His artworks do not represent this explorative movement but its result, once Ecker feels it as being finished. Thereby the traces of its experimental undergoings are of varying recognizability. However, they belong to the artwork no less than the visual impression we get.

The book structures Florian Ecker‘s work in the form of a scientific journal into research, experimentation and results, and is thereby reflecting the creative process of the artist.

Rooted in editorial design and journalism, my work centers around visual storytelling. My artist books are driven by an intensive personal dialogue between artist and designer, verbally and creatively. Having had the great pleasure to have been invited into the archives and production of the artists, I help translate the artworks, mindset and process into a book object.

Magu is a Brazilian restaurant that celebrates vegetarian cuisine as a spectacle of mixed flavors, not simply the absence of meat. From in-depth knowledge of ingredients, culinary culture, and gastronomic techniques, an intimate relationship between the chef, the food, and the client flourishes.

Therefore, the visual language is composed of quite abstract and intriguing custom watercolor illustrations of common ingredient close-ups: zooming in to rediscover the universe inside each one.

The illustrations are accompanied by a sober color palette and a characterful combination of typefaces, with RP Digital Foundry’s Agipo leading the way alongside Latin Modern Typewriter (aka Latin Modern Mono) from GUST and Overpass by Delve Fonts.

Though Polish pioneer Henryk Tomaszewski (1914–2005) may well go down in history as one of the great masters of the hand-lettered poster, he never shied from using “regular” typefaces when appropriate. In this remarkable design advertising a 1961 performance of Sophocles’ tragedy Oedipus Rex at Warsaw’s Teatr Dramatyczny, he chose two typefaces from the local Jan Idźkowski typefoundry, Paneuropa (the bold weight, for the theater’s name) and Adam Półtawski’s Antykwa Półtawskiego (the central panel) in all caps.

Jej portret is the debut album of Polish jazz musician Włodzimierz Nahorny (b. 1941), released in 1971. For the cover, Marek Karewicz (1938–2018) created a collage showing Nahorny with his saxophone, surrounded by clouds, flowers, stars, and more. His name is presented in OP-Letter, an all-caps typeface drawn by Walter Haettenschweiler and reproduced in the Lettera 3 book from 1968. Read more about OP-Letter and Lettera as a letterform source in the post about Janet Hansen’s cover for Cherry. Karewicz used OP-Letter in yellow letters with a turquoise shade.

The secondary typefaces may seem less exciting in comparison, but they are rather special as well. The artist’s first name is set in Paneuropa gruba, the bold weight of a Futura copy made for the Polish market. Paneuropa was recently revived by Roch Modrzejewski of ROHH Studio. The album title uses Antykwa Półtawskiego, a didone designed in the 1920 by Adam Półtawski to meet the special requirements of the Polish language, e.g. by minimizing diagonals in the frequent letters k, w, y. Like Paneuropa, it was first cast by the Jan Idźkowski foundry in Warsaw in 1931. There is a freely available digital version made by Janusz M. Nowacki and others.

Silky Way is a magazine which allows the reader to understand the vibe of the place and encourage to experience it, rather than just see it.

The 2nd issue discusses and explores Europe's youngest capital; Cardiff, the capital of Wales, UK. It explores Cardiff from a local's point of view and utilises a number of script and bold typefaces to represent the scruffy nature of the city. It has been released in April 2018, following the 2017 release of the 1st issue, ‘Tokyo Experience Guide’.

Magiel is being used as the main font, present in the logo and also used as title type. Avenir Next in both Regular and Bold is used as a main body type. Olympic is used for subtitles.

Lombard and Quentin are used for Welsh, while Good Foot is used for the English translations.

Summer Hearts and Cyklop (as well as Pops, not pictured) are also occasionally used across the issue to emphasise the names and phrases specific to Cardiff.