Website for international design agency Shed. From Awwwards:

Shed are an agile, international team of strategic thinkers, brand designers and interior architects who have shaped ambitious brands for over 25 years.

The website was designed by Issac Powell and Thomas Aufresne. The headlines use Owners by Jeremy Mickel, while the body and small texts use either Sequel Sans (OGJ Type) or Reckless (Displaay).

Divine Ruin, January 2026

From Wikipedia:

A series of books featuring Sister Holiday, “a chain-smoking, heavily tattooed, queer nun, puts her amateur sleuthing skills to the test.”

Douaihy’s debut novel, Scorched Grace: A Sister Holiday Mystery received numerous accolades, including a starred review by Publishers Weekly, which called it a “stunning fiction debut ... briskly plotted master class in character development.” Scorched Grace was twice recognized by The New York Times, as a New York Times Book Review Editors’ Choice, and as a New York Times Best Crime Novel of the Year for 2023. The Guardian twice recognized Scorched Grace as one of the best crime and thriller novels of 2023.

Originally published in hardback by Gillian Flynn Books, the paperback editions are by Pushkin Vertigo/Pushkin Press.

Alias Cactus is used for title type. The blurbs on the paperbacks are in Owners.

Scorched Grace: A Sister Holiday Mystery, February 2023

Blessed Water, March 2024

Elisa Gyssels developed the visual identity for Connessioni estetiche (Aesthetic Connections), a collective exhibition at Sala San Leonardo in Venice, Italy. This included the design of the identity system, posters, flyers, and wayfinding.

The main challenge was to promote the exhibition without featuring any individual artwork, given the show’s collective format. The identity is built around abstract calligraphic strokes and typographic compositions in Redaction. The color palette draws inspiration from the muted tones of the Venetian Lagoon.

Context Window takes a McLuhan-esque mosaic approach in the form of a visual essay on the ever-expanding role and effects of computers and digital technology on our lives. As our exposure to computers and digital technology has expanded, infiltrating nearly every aspect of human existence, their ability to change our behavior through subconscious cues and otherwise invisible environmental changes should prompt deeper consideration of who these changes ultimately benefit.

On the font choices throughout the book:

Like the books I've designed and produced, Context Window is a creative outlet to utilize a number of my favorite typefaces. Tiempos being an economic and reliable family for long-form text – and especially capable in print. And Nick Sherman's HEX Franklin has become a go-to workhorse but also fitting for its historical ties back to the writing of Marshall McLuhan.

The first printing, a limited edition of 100 copies was printed by Newspaper Club in the UK and includes additional related Risograph prints and other ephemera produced in the heart of Silicon Valley.

After some retailer and consumer feedback, Sxollie approached Noramble to help refresh the brand for the next phase of brand growth. Tasked with delivering a new 4-pack design for the brand’s new premium retail ventures and a visual identity refresh to help the brand communicate more precisely and more effectively across all their touchpoints.

With retailers and consumers confused by the brand’s artificial look, we set out to help the brand look exactly how it tasted and acted: refreshing, bold, and honest.

We paired a cleaner font family with slightly softer colours to give the brand a more approachable look while retaining the bold appeal people love. We applied this approach to the visual refresh and their new 4-pack design to create a more approachable brand that was true to its direction.

Fichi Caramellati (“caramelized figs”) is part of Romagna Piada’s product line. A perfect sweet temptation to pair with platters of cured meats and cheeses or even enjoyed individually.

A modern restyling that, together with the new brand positioning, enhances more the authentic taste of the timeless artisanal recipe. Fichi Caramellati are the perfect product to be paired with Romagna products such as piadina and crescioni or even enjoyed individually.

As with the packaging for their crackers, we used Formula Condensed (Pangram Pangram) as the primary font, featuring its wide alternate C in “Fichi”.

In a world where anyone can create content, Sound & Colour stands out by prioritising storytelling and collaboration to produce powerful, perfectly captured work that connects brands and audiences. Their striking visual identity features bold gradients, versatile design elements, and nods to traditional craftsmanship – reflecting their creative flair, commitment to shared ideas, and the value of creative expression.

Beni and Inter are used throughout the identity. The other listed fonts are exclusively used for their ampersands.

You Can’t Make This Up was an exhibition by and about the work of Silke Schönfeld held at Hartware Medien Kunstverein (HMKV) in Dortmund:

You Can’t Make This Up is a fitting title for Silke Schönfeld’s solo exhibition at HMKV. Her films are political reflections that often take place in unexpected spatial and temporal contexts, seamlessly moving between documentary and fiction.

Ten Ten developed the appearance of the exhibition, consisting of high-contrast typography combined with stills from Silke Schönfeld’s films. Various media such as exhibition signs, catalog, posters and digital campaign motifs were created for this visual identity.

Exhibition view and signage

Designed by Gerard Sierra and Cristina Lavilla, this poster celebrates Els Tres Tombs de Constantí, a traditional Catalan festival honoring Saint Anthony, the patron saint of animals.

For the poster design, two typefaces were selected to craft a balance between tradition and modernity. The title and key details feature Glucosa, while the rest of the text uses Owners Text.

Glucosa (2024) is a fresh release by Jordi Embodas (tipografies), with contributions from type designer Gerard Sierra (gs-type.com). This contemporary typeface manages to stay clean and structured on a macro level while introducing a distinctive organic quality. Its soft, rounded corners and squared dots create a unique sense of warmth and sweetness, almost as if the characters have been dipped in honey. The balance between firm strokes and subtle softness makes Glucosa a versatile yet characterful choice for headlines.

Owners Text, designed by Jeremy Mickel and released in 2021 through MCKL, is a sans-serif grotesque that offers a modern yet understated presence. Its clean, functional design pairs perfectly with the playful elegance of Glucosa, ensuring a seamless reading experience for the supporting text.

The combination of these two typefaces reflects the dual nature of the festival itself: rooted in history yet alive with contemporary vibrancy.

SCRIB3 is a team of web3 growth experts specializing in content, social media, public relations, community, design, and business development for crypto companies.

Backdrop mural designed and painted for a promotional event by Adidas and JD Sports with Glass Events, using a mixture of Owners XXNarrow XBlack by MCKL and custom lettering by Andrew Wolfenden.

The new website aesthetic for Talula's Pizza in Ashbury Park, New Jersey, is playful and bold, featuring font choices that echo those characteristics perfectly. The combination of Hobeaux and Cheee from OH no Type Co. channel a nostalgic twist into the headlines and pair perfectly with the fun illustrations and cheeky vibe of the restaurant, as well as with the wordmark in Letraset’s Lazybones. For body text and menu items, Redhat Text is keeping things clean and legible. The restrained color palette lets these type choices shine, creating a cohesive and warm visual identity that matches the restaurant’s upbeat spirit.

The rebrand was conceived by L&L. The website design was carried out by Mason Omara and Current Media Company, Open Source Solutions.

Embrace Variety is a zine to be released in several volumes and published occasionally, as new articles appear on the personal blog of Ira Nezhynska.

Every volume will contain guides and design advice useful for anyone building a brand for their own project or for others. These guides range in their advancement from setting the overall direction for a brand to the nitty-gritty, such as explaining typefaces to non-designers.

The first volume saw the world for a beta reading at DWeb Camp 2023. The updated and public version is released on Metalabel in two formats: e-zine and print-at-home French-fold zine files.

Vol. 01 contains three guides about the core and often overlooked aspects of visual branding:

1. What is brand personality and how to discover one?
2. What is your design taboo? Or, a lost-treasure exercise to get your product noticed in a competitive market
3. How to design a North Star, or the most complete guide to brand moodboards

The zine is set in two typefaces, Lunchtype 22 by Stefan Wetterstrand and Lab Mono by Martin Wecke.

The Embrace Variety logo is using glyphs from Sloop Script, Lunchtype 22, Redaction 70, and Saint.

Festa 8 Settembre celebrates the Nativity of Mary, the patron saint of the Italian city of Fusignano. The visual identity of the event was designed by Cobra Studio, using a combination of Authentic Sans and Redaction Italic. Smaller texts additionally use Suisse Int’l for its better readability. The concept behind the design was to celebrate the city's rich traditions while adding a unique and modern touch.

Project [Blank] is a San Diego-based arts non-profit that produces immersive, interdisciplinary events and performances, including chamber music concerts, art exhibitions, and contemporary operas. They asked Dom Cooper Design for a refreshed visual identity, presenting the brand as accessible, inviting, and bright.

The updated visual identity revolves around the ‘fill-in-the-blank’ concept, using the bracket motif as a graphic touchpoint throughout. The pre-existing logo is paired with custom illustrations and two typefaces. Headlines use Owners Black. Informational body copy is set in Inter.

L’Art du Quotidien is a hybrid living space, fully integrated into its neighborhood in Paris, centered around a seasonal bistro and a marketplace. The offerings are exclusively products from small local producers committed to traditional and organic farming methods.

We created a tailor-made visual identity that aligns with L’Art du Quotidien: highlight the product, transparency, craftsmanship, small producers, conviviality, and quality, all while respecting an ecological and responsible approach. The goal for them was to become an institution in a vibrant Parisian neighborhood, showcasing exceptional expertise with an excellent quality-to-price ratio.

With a space thoughtfully designed in every detail, the visual identity aimed to be modern without being trendy. The concept of becoming an institution was conveyed through classic and timeless elements such as the stamp. The use of illustrations reinforced the idea of closeness, simplicity, and transparency with the customer.

Sign painting by Ateliers Victor Bert, illustration by Sébastien Gay, photography by French Bre(a)d Studio.

NadineCorp. is an open-source accounting tool created for designers affiliated with the Maison des Artistes, the national body managing the social security system for visual artists in France. In 2020, CRC Studio collaborated with Guillaume Bonneau to design and develop NadineCorp.’s branding, UI, social media presence, and full functionality.

On the website, Helvetica is substituted with Nimbus Sans.

The NadineCorp logo pairs Helvetica with Redaction and kana from Mondwest. The division logos use Cooper BT, M PLUS Rounded, STHupo, Microsoft YaHei and Stick. The social media brand logos additionally use Cooper Black, Eurostile, and ITC Avant Garde Gothic.

The fonts used for the fictional partners and sponsors are not listed under this post’s typeface credits, but they are Frankfurter Highlight. Gill Kayo, Frankfurter, NaN Jaune, and Nympha.

Assorted social media posts. The script fonts featured on some of them are Astenia and Ultra System Script.

Bandersnatch is a graphic interpretation of an interactive episode from the Black Mirror series, in which we follow Stefan, a young developer from the 1980s who is trying to create a game based on a “choose your own adventure” book: Bandersnatch.

To create this book, I focused on gathering all the possible endings from the episode. The inside of the book consists of halftone screenshots and dialogues rewritten in a tone reminiscent of a “choose your own adventure” book.

The Redaction typeface serves as a bridge between the halftone images and the video game featured in the episode.

No Somos Robots is Rob López’s naming practice. On this new version of its website, the type selection relies on two sans serif typefaces: ABC Rom Condensed (for main text), and Owners (for details).

“States” is the third installment of NOIA magazine.

States are the conceptual and physical constructions of borders – however tenuous – to define ideas and purport control. They are artifices presented as logic, defended as truths, manipulated as oppressions.

From Magculture:

A self-identified ‘open and participatory’ publication, Noia offers a physical space for ‘creatives and thinkers to visually react to the complex problems of our contemporary times, both as individuals and as a society.’ Oh, and the name? It means ‘boredom’ in Italian.