From the MoMA Design Studio:

This exhibition features one of the last remaining capsules from the Nakagain Capsule Tower in Tokyo. The building, demolished in 2022, was an example of Metabolism—a Japanese architectural movement whose members believed that buildings could adapt over time.

MoMA’s capsule, A1305, anchors the exhibition and is visible to passersby on 53rd street. To pique their curiosity, we worked with the curatorial team to design a street-facing prompt that shares the history and significance of the capsule and invites them in with a question, “would you live here?”

Inside the museum, a bold title wall draws visitors in via a crowded lobby. The rounded typography is inspired by the capsule, and textured vinyl on the title wall directly references the capsule’s stucco-like exterior. Throughout the exhibition, the design balances English and Japanese titles as a respectful gesture to the building’s origin.

The exhibition’s signage combines Baste (from Lift Type) for the headlines with Source Han Sans for the Japanese text.

Special Valentine’s Day 2025 collection by adidas Originals, created in collaboration with Made by Nelson. Designed as a graphic and emotional statement, the campaign revolves around the slogan “Love Lifts Us Up”, composed in Tartuffo (from Lift Type), whose expressive and warm design reinforces the collection’s message of connection, gentleness, and optimism.

Carré Croix was behind the overall artistic direction, photos, video, jersey design, and storytelling for F.C Rocquancourt, a French amateur soccer club.

They created a warm-up jersey and researched the story behind it. Named “l’ennui” (boredom), this jersey celebrates small towns and medium-sized cities where nothing ever happens. It highlights the nostalgia of boredom through a video and photo shoot. The font used for the jersey’s wordmark is Tartuffo from lift-type. The script used for “par dessus l’étang” is Bathilda by Subectype .

Fanfic. Vers de nouveaux usages passionnés et graphiques (“Fanfic, towards new passionate and graphic uses”) is a book made by Laurie Liviero as thesis project at Ésac Cambrai in 2025. It was designed using Baste (from Lift Type) and Times New Roman.

Liviero describes her book as follows (translated from the French):

This thesis might never have existed, as it is the successor to many abandoned and discarded topics. It was born from a sentence thrown out into the wind, almost as a joke: Imagine, a thesis on fanfic. Why take the risk? Too popular, too intimate, too loaded with connotations. As if I were going to have to expose myself, no longer able to hide. But behind these doubts, ideas persisted: reinvented stories, reappropriated graphics, shared passions. These issues were ultimately the key, since they now constitute the object you are reading. A testimony that I hope is passionate, critical, and educational, and that I now leave to its own devices. Right here, in the palm of your hands.

Stéphanie Desjeunes is responsible for the visual identity and artistic direction of the 2025 edition of Départ d’Incendies, a performing arts festival in Paris, featuring theater, dance, and contemporary circus.

The visual system is based on a series of illustrations and Tartuffo (from Lift Type) and its ligature system.

Formed by three Vancouver breweries—Boombox, Slow Hand, and Temporal—Threefold is a new collective brewery and shared taproom located in the former Andina Brewing space on Powell Street. Together, the breweries operate under one roof while maintaining their individual voices, creating a space built around collaboration, experimentation, and independence.

The Canadian studio Post Projects was asked to develop the visual identity for the new venture. The goal was to create a system that could reflect the collective nature of the project while offering enough flexibility for each brewery’s unique character to come through. The result is a modular identity centred around a three-part wordmark created in Vroum Gti (from lift-type) supported by a bold typographic system and minimal colour palette. Denim INK (from Displaay) is used for details, body text, addresses, and captions.

The French Federation of Mountaineering and Climbing (FFME) is the organization responsible for the development, supervision, and promotion of mountain and climbing disciplines in France, from leisure to high-level competition.

This communication was designed ahead of the 2024 Olympic Games in Paris to introduce sport climbing to the general public and to support its promotion in the Olympic context, during an event organized in France. Ginka (from lift type) is an important element of the project, used as the sole font for both title and secondary information, thanks to its versatility.

Visual identity for the Sapristi !! association, active since 1994 in the development of contemporary music in the Ardennes. It organizes concerts and plays an essential role in supporting the local scene. The association provides rehearsal and recording studios, organizes creative residencies, and supports regional artists in their projects. It also pays particular attention to arts education and cultural mediation for young audiences.

The visual identity of the association Sapristi !! revolves around a distinctive element of its name: the two exclamation marks – powerful and universal symbols that embody the joy, energy, and rhythm of live music. Incorporated as recurring graphic elements, they become visual markers that enliven the communication materials.

The wordmark is composed in Funksjon (from Store Norske Skriftkompani) and is accompanied by Ginka (from lift type) for all other text compositions.

DesignStudio reimagined the identity of DNEG, a world-leading visual effects and animation studio. The new branding reflects the company’s cutting-edge creativity and technical expertise. A key element of the identity is DNEG Script, a custom version of Sans Plomb (from Lift Type), developed specifically for titling. It is paired with Attila Sans (from Kometa) for secondary text, creating a balance between bold expression and clarity.

Justified Studio crafted the brand identity for Native, a next-generation investment platform designed to empower creators, entrepreneurs, and communities. The branding translates Native’s vision of financial inclusivity and innovation into a bold and distinctive visual language.

Typography plays a crucial role in this identity. Ginka (from Lift Type), with its sharp, expressive forms, is used for impactful statements, reinforcing the brand’s forward-thinking nature. It is complemented by Affairs (from SM Foundry), a refined and elegant serif typeface that adds a sense of trust and editorial clarity. This contrast between experimental and classic typefaces mirrors Native’s balance between disruptive technology and credibility in the financial sector.

Tortillas are an omelette dish and a Basque institution. For Amatxi, studio Morbo created a brand identity to break with the dish’s exclusivity in pintxo bars. Between tradition and modernity, the identity is based on a custom-drawn wordmark, which can be shortened to a monogram A, and the slogan “tortillas sin hostias” (“tortillas without wafers”).

The visuals are created with Baste (from Lift Type) as the titling font, paired with the 45° version of Bourrasque (form Bureau Brut) to bring rhythm to the typographic compositions.

The Fondation Bakea, dedicated to artistic and cultural initiatives, required a visual identity that embodies both elegance and modernity. Designed by Pierre Jeanneau, the branding conveys a refined and contemporary aesthetic, using typography as a key design element.

The chosen typeface, Ginka (from Lift Type) plays a central role in shaping the foundation’s identity. Its distinctive letterforms, a balance of organic curves and structured geometry, provide a unique and memorable presence across various applications. The type’s subtle yet expressive nature aligns perfectly with the foundation’s mission of fostering creativity and cultural dialogue.

Austrian festival Electric Love is a major electronic music event known for its high-energy atmosphere and dynamic visual identity. For its visual identity, Moodley crafted a bold and electrifying design that encapsulates the festival’s vibrant spirit. The visual system relies heavily on expressive typography, dynamic color gradients, and fluid motion to reflect the festival’s fusion of music, technology, and community.

The festival's branding uses a combination of Gustavo and Purple Haze to create a striking and futuristic aesthetic in promotional materials, stage visuals, and digital assets. These typefaces contribute to the electric and immersive feel of the festival’s communication, enhancing its identity with sharp angles, neon-inspired hues, and a sense of movement.

For the logo, FK Screamer was chosen to embody the raw energy and bold personality of the festival. An italic version with a few graphic glitches creates the wordmark.

Fresha is a platform for businesses in the beauty and well-being sector. The brand identity was created by DesignStudio to give it a contemporary and dynamic aesthetic.

Fresha uses the expressive serif Tartuffo (from Lift type), to give a unique personality to the brand's headlines and key messages, introducing an element of charm and sophistication. Complementing this, Roobert (from Displaay), with its clean, modern sans-serif structure, provides a solid foundation for readability and consistency in both digital and print applications.

The refreshed identity is applied to various brand touchpoints, including the website, mobile app, marketing materials and social media, creating a consistent and engaging experience for businesses and consumers alike.

Back Forum is the must-attend event for Back Market’s most committed pros. The brand wanted a powerful identity to create a real community, evoking a club and team spirit, just like the major sports leagues: the Back Market Champions League.

Studio OUAM created the identity for the sellers’ club, drawing inspiration from sports clubs and integrating the brand’s DNA through elements such as a flag, a series of badges and vintage typography based on Sans Plomb (from Lift Type) and Ivar Soft (Letters from Sweden). This identity was applied to a variety of media for the evening, including a personalized checkroom.

OSHI is a talent development platform that creates fertile ground for driven musicians and aspiring creative professionals through collaboration and connection. Inspired by R&B, soul, jazz, hip hop and related genres cultures, the visual identity of OSHI is based on a colorful and impactful graphic system.

The typography combines Baste from Lift Type, used for logo and titles, paired with Denim INK from Displaay Type Foundry, used for all other texts.

Studio Boulon created the art direction for the first issue of the Observatoire des Tiers-Lieux (“Observatory of Third Places”), named La revue de l’Observatoire by France Tiers-Lieux (an organization that supports the development, professionalization and sustainability of third places in France).

This project is based on a pair of typefaces: Ginka (from lift-type) and IBM Plex (from IBM), with illustrations by Laurie Agusti Derimay.

Julie Soudanne, the type designer behind Ginka, shares her perspective on the project:

The first issue of the Observatory of Third Places immerses you behind the scenes of third places mobilized for the ecological transition, through portraits of initiatives, interviews, and analyses focused on three main themes: sustainable Experimentation, Food, and Local Production.

Théâtre Joliette is a theater in Marseille, South of France. For the 2024/2025 season, design studio Super Terrain further developed the visual identity introduced for the previous season (see the post on Fonts In Use). The design comes with its season program and expressive posters.

The typography combines Baste from Lift Type (used for logo and titles) and Miller by Carter & Cone (used for all other texts).

Théâtre Joliette is a theater in Marseille, South of France. For the 2023/2024 season, design studio Super Terrain has introduced a very cool and sunny new visual identity. The design comes with its season program and expressive posters. The typography combines Baste from Lift Type (used for logo and titles) and Miller by Carter & Cone (used for all other texts).

Swedish studio Bukett Grafik created the identity, signage, and a small catalog for the second round of the exhibition Sopor är bra at Rian designmuseum. In the spirit of the theme, it became a low-tech solution with recycled signage materials and laser prints on colored office papers.

For this project, they used a pairing of Baste (from lift type) for titling and Founders Grotesk Text (from Klim Type Foundry) for text. The Rian designmuseum logo is set in Wigrum (from Production Type).