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.

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

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.

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

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

One-off malt whisky that has travelled halfway around the world on a long sea voyage from the island of Tasmania, Australia, where it was distilled and aged, to Jerez de la Frontera, Spain.

Once there, half of the shipment was finished in a very old Oloroso sherry cask and the other half in a Pedro Ximénez one.

The typefaces used are ITC Franklin Gothic, Burgues Script, Clarendon, Caslon 3, and Sackers Gothic.

Description of the project by design studio The 1984:

Melipir is our initiative to decentralize design and literature beyond Jakarta. Ran by our creative events unit Double Happiness and launched last year, we've already hosted five successful events – in Solo, Denpasar, Cirebon, Semarang and Malang. The enthusiastic response from different cities has been inspiring, it was delightful to be able to exchange knowledge and perspectives with creative minds in other regions in Indonesia.

In this work, we play with multiple colors. With consistent application of neon colors, we change the palette in every Melipir event.

Strict grids does not always mean rigid or boring layouts. In Melipir, we developed geometric forms that go further beyond basic shapes and compose them fluidly against a structural grid. This creates a system that is both structured and playful.

We've chosen Franklin Gothic as our main typeface. It is a classic, workhorse sans-serif that had this slightly condensed letterform. This choice of typeface keeps the layout clean, allowing the information to fit comfortably within the playful shapes without feeling cramped.

We also added OffBit as display font, creating stark contrast against the utilitarian Franklin Gothic.

Jim Parkinson, who sadly passed away last Thursday, June 26th, 2025, was one of the designers of the groundbreaking ITC Bodoni series in three optical sizes (ITC Bodoni 6, ITC Bodoni 12 and ITC Bodoni 72), arguably one of the most spectacular Bodoni revivals of all time.

After decades of somewhat “watered-down” modern versions (from the likes of ATF, Bauer, Berthold, Monotype, etc.), ITC Bodoni was a godsend for lovers of the strong Italian flavour that makes the original Bodoni unique – and Parkinson’s own particular sensitivity and taste for gentle mischief (see his remarkable italics in the smallest optical size), were central to this achievement.

U&lc celebrated the release of the family in its Fall 1994 issue with a lengthy report by Sumner Stone, the lead designer on the project, fittingly entitled “Notes from Parma”.

The front cover shown here is set using ITC Bodoni Seventy-Two Book and ITC Bodoni Twelve Bold and Book, as well as ITC Franklin Gothic Demi.

From Wikipedia:

Agust D is the debut mixtape by the South Korean rapper of the same name, better known as Suga of BTS. It was released on August 15, 2016 by Big Hit Entertainment on SoundCloud.

The cover art features tight-and-touching Akzidenz-Grotesk Bold for the title, accompanied by text in ITC Franklin Gothic Heavy Italic and Letter Gothic in Bold and Bold Slant styles

[More info on Discogs]

A broadsheet fanzine published by Badrock Design. Each issue features one of the London clubs frequented regularly by the Beatles at the height of their fame in the 1960s. Clubs such as the Ad-Lib, the Bag O'Nails, the Scotch of St James amongst others, were the centre of music, art and fashion in London during a period of creativity and optimism in the 60s. Intrigued by George Harrison's much quoted repost when he left the band during the filming of Let it Be, the publications aim to summon up the little documented, tight world of clubs attended by the movers and shakers of the time.

Each issue recreates the graphic language of its subject, changing from issue to issue to capture the atmosphere and experience of each unique establishment. From Peter Jackson’s 2021 documentary The Beatles: Get Back:

Friday 10 January 1969
George: I’m leaving the band now.

John Lennon: When?

George: Now.
Get a replacement. Place an ad in NME and get a few people.
See you round the clubs…

Design of a calligram for the podcast dedicated to the book Una peripecia fotográfica por España / A Photographic Scramble through Spain by Charles Clifford.

Translated by María Luisa Balseiro and published by Ediciones de la Universidad de Castilla-La Mancha, Ediciones Universidad de Granada, and the Hispanic Society of America, the book reproduces countless images captured by British photographer Charles Clifford in the first half of the 19th century. Originally published as a 48-page booklet about 1862, Clifford conceived what basically is the first photobook in Spain.

Tableau is a richly illustrated magazine about fine arts from all ages. The issue for winter 2024 makes use of IvyMode and IvyPresto for headlines, combined with Futura and Frutiger for text. The magazine logo is in ITC Franklin Gothic.

From Wikipedia:

Poodle Hat is the eleventh studio album by the American parody musician “Weird Al” Yankovic, released on May 20, 2003. It was the fifth studio album self-produced by Yankovic. The musical styles on the album are built around parodies and pastiches of pop of the early-2000s.

Cheltenham Bold Extra Condensed is used for the artist’s name. The album title is set in circled caps from the Demi weight of ITC Franklin Gothic, in reference to the New York City subway system. Art direction by Jackie Murphy and Nick Gamma, with photography by Mark Seliger.

[More info on Discogs]

The track listing on the back cover likewise uses Cheltenham. The bold sans is Champion Gothic.

Dimension 20 is a show focused on table-top role-playing games (TTRPG; mostly Dungeons & Dragons), comedy, actual play, and anthology, created by Brennan Lee Mulligan at CollegeHumor, now known as Dropout.

The show's creator, Brennan Lee Mulligan, is also the primary Game Master (GM) at the table, with some seasons welcoming in different GM’s such as Aabriya Iyengar, Jasmine Bhullar, and Gabe Hicks. Dimension 20 takes place in ‘The Dome’ and features elaborate miniature battle sets (construction and art direction led by Rick Perry), and up close dramatic reenactments of battle scenes with said miniatures.

Each new season features a brand story and/or setting, as well as a new, or in special cases returning, cast of players. The main cast, also known as the Intrepid Heroes (Lou Wilson, Siobhan Thompson, Ally Beardsley, Zac Oyama, Emily Axford, Brian Murphy), started off the show in its first season and have continuously returned for new special seasons.

The Dimension 20 logo, designed by Paula Searing, uses Proxima Nova. The same font is also the primary typeface In their YouTube Shorts and TikToks. In newer video clips, they’ve had headings that summarize the content of the clips using ITC Franklin Gothic. In older videos, these captions were simply set in Arial.

Starting in Season 9, “Mice & Murder”, they changed the font used for cast members names and information from Proxima Nova to Cholla Unicase.

A clip from Dimension 20: Dungeons & Drag Queens, Season 2. Header text set in ITC Franklin Gothic, the caption quoting Bob the Drag Queen uses Proxima Nova.

Clip from Dimension 20: A Crown of Candy. Ally Beardsley’s quote “Ohh, put that down!” is set in Arial.

Screenshot from Season 9 Episode 1. Katie Marovitch is waving towards the camera. Text is set in Cholla Unicase.

“Parole… parole” (“Words… words”), 2009, drawing and computer graphics, 50×70cm. This poster was selected in the international competition “Good 50×70” on the theme of the nuclear emergency.

Installation at HALLE 14, Leipzig

The artist group Spiral Threads created a large-scale wall piece for the exhibition Monica Ross: Ghost in The Spinning Mill at HALLE 14, Leipzig (shown from 16 November to 18 December 2022). Entitled Now We Stand in a Crowded Gap, this work links to British artist Monica Ross’ speech History or Not, which recounts the activism and art of feminists in 1970s Britain. Drawing on their collaborations and alliances, Ross criticised the exclusion of feminist works from a survey exhibition of conceptual art in her March 2000 speech. She marks the lack of consideration and inscription of feminist art in art history, the attribution of the domestic and craft spheres, and echoes the activities and achievements of the feminist liberation movement.

The artists group Spiral Threads (Hanako Emden, Sophie Florian, Anja Kaiser) follows the narratives and demands of Ross and her contemporaries and spins additional narrative threads to them.

Detail of typeface CMM Coda Mono Serif

Detail of typeface CMM Coda Mono Serif

Performance by Lea Dippold & Nygel Panasco

AND ASSOCIATES STUDIO engaged in an intensive dialogue with Proper Dirty, a Vancouver-based unisex fashion label that operates at the intersection of subversion and self-expression. Known for its defiance of conventional norms, the brand situates itself as a medium for cultural discourse—melding art, music, and identity into a singular, resonant language. Our collaboration extended beyond mere rebranding; it became a process of excavation, revealing the foundational values that define the brand’s ethos.

In this inquiry, branding was not merely a visual or strategic exercise but a philosophical undertaking—a pursuit of authenticity as both a principle and a practice. Together, we sought to understand what it means to create work that is not only aesthetically compelling but also profoundly rooted in emotional and cultural truths. When a message emerges from such depths, it transcends the transactional, becoming a universal language that invites connection and evokes resonance.

By referencing the performative, the typographic system doesn’t just support Proper Dirty’s identity—it actively amplifies its narrative, transforming the written word into a visual enactment of the brand’s layered story. Together, these typefaces create a system that is both deliberate and improvisational, capturing Proper Dirty’s beliefs of balancing precision with playfulness. This dynamic tension mirrors the brand’s philosophy: a stage where belongings and emotions meet the freedom to explore and connect.

For the brand, typography serves as a bridge between the personal and the performative—a reflection of the brand’s strategy to blur the boundaries between identity and expression. Inspired by the world of theatre, a foundational influence for the brand’s creative director, the pairing of ITC Franklin Gothic and Sainte Colombe with a custom drawn logo draws from the aesthetics of traditional theatre messaging boards and the evocative gestures of performative art.

The result is a typographic language that not only represents Proper Dirty but also elevates its message, inviting audiences into a space where boundaries dissolve, and self-expression thrives. In this system, typography transcends its traditional role, becoming a medium for connection, introspection, and cultural discourse – a testament to the brand's commitment to authenticity and its defiance of the conventional.

The logo as seen in the intro

Bonus Stage is a web cartoon by Matt Wilson that ran from 2003 to 2006 on Keentoons.

Its logo uses Joystix for “HIGH SCORE’S” (though note that this subtitle was removed by season 7), ITC Franklin Gothic Heavy for “BONUS”, and Dimitri Swank for “STAGE”.

Official shirt design

2004 main page

Main page during season 6, using ITC Franklin Gothic Demi Condensed and Medium Condensed for the character descriptions

Main page during season 7, using the same fonts as the previous one for the character descriptions

The menu of the episode 89 “DVD”, using Myriad for the menu text