Spark of Fortune — Buying matches and salt at the beginning of Tết (the Lunar New Year festival) is a traditional Vietnamese custom, symbolizing wishes for luck, prosperity, and abundance throughout the coming year.

This product is a collaborative work between 61 Studio and Reo Ca Coffee. The matchboxes are handcrafted in a limited edition of 68 boxes, with each box containing 26 matchsticks, representing the year 2026.

The deatured font is Print Script Light by Faire Type. The phrase “Cát Hóa” expresses the wish for a harmonious and promising year, transforming difficulties into favorable outcomes and bringing good fortune and fulfillment. The supporting font is Libre Franklin Bold by Impallari Type.

Illustration and design by Lan Dao, with copywriting by Lam Linh.

The cover to Volume 1

The Witches’ Marriage is a yuri manga by Studio Headline. Initially published from 2021 to 2023, the series was localized by Yen Press from 2023 to 2024.

For witches, love is power, and to open the Door of Truth— the ultimate goal for any spellcaster—Melissa needs to forge the strongest bonds she can. By now, she’s perfected her routine: marry a naive witch, use her to gain power, and discard her afterward. Melissa’s next target is Tanya, a young girl who’s fascinated by magic and longs to follow in her new mentor’s footsteps. But Tanya has a charm unlike Melissa’s other brides, and her pure, innocent cuteness just might be enough to melt the ice-cold witch’s heart…

The title seems to use Dancing Script, with alterations made in red and white highlights added to replicate the style of the Japanese logo. Stars replace the tittles in the i’s. The author name uses Bodoni Bold. The header and numbers on the Contents page are set in Bernhard Modern, while the chapter titles use Aclonica. The letterer for the manga is Bianca Pistillo.

The Japanese volume 1 cover. The English title is set in Cochin Bold.

Sebastian Vigueras. License: All Rights Reserved.

De Melodías y Colores, 1 February 2026

This post presents a series of concert posters designed for the Orquesta Típica de la Ciudad de México (OTCM) in 2026.

The poster shown above officially inaugurates the 2026 Season 1, presenting a renewed visual structure. The composition centers on La Giganta, the monumental sculpture by José Luis Cuevas, which serves as a powerful iconic element. The design employs a high-contrast photographic style in which the background image engages in a dialogue with a typographic composition of two fonts.

The typographic system is a sophisticated fusion of four distinct voices. The main title, De Melodías y Colores (“Of Melodies and Colors”), creates a rhythmic dialogue between Chicago – a robust, dotted typeface – and Origins, a fluid, handwritten typeface that mimics the expressiveness of a calligrapher’s stroke. This combination reflects the dual nature of the concert: the technical precision of the music and the vitality of the visual arts. Questa – here in the form of Questa Grande – is introduced as the new institutional serif typeface, lending a modern and elegant voice to the orchestra’s name. Finally, Cabin remains the official typeface of the Mexico City government for secondary information, ensuring that details about the guest conductor and soloists remain legible against the monumental background. This design establishes the template for the first season in 2026, prioritizing striking iconography and expressive typographic combinations.

Sebastian Vigueras. License: All Rights Reserved.

Amor en clave de sol, 15 February 2026

The visual narrative for the third poster centers on a dramatic sunset over the facade of the Museo de la Ciudad de México, where the sky's warm gradients are mirrored by the lyrical and romantic theme of the concert, Amor en clave de sol.

The typographic composition introduces a new, sophisticated hierarchy. The main title is set in Mon Nicolette, an expressive typeface by Mexican designer Cristóbal Henestrosa. Its fluid, calligraphic strokes and elegant swashes – integrated here with musical clef and heart motifs – capture the emotional essence of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

El México de sus compositores, 22 February 2026. This poster was designed together with Vania Rabago.

The fourth poster for the concert at the Alcázar of Chapultepec Castle utilizes a dramatic architectural photograph that emphasizes the perspective of the venue’s iconic checkered floor and classical arches. The deep vanishing point serves as a natural visual anchor, guiding the viewer’s eye through the historic corridor and toward the musical information.

The typographic palette is led by Gelica for the concert title. This choice brings a warm, retro-contemporary charm to the design, with its soft serifs and organic terminals providing a lyrical counterpoint to the rigid geometry of the architecture. The friendly and expressive nature of Gelica perfectly captures the passionate spirit of the repertoire.

Sebastian Vigueras. License: All Rights Reserved.

Mujeres que suenan y transforman, 8 March 2026

The fifth poster for the concert at the Ángela Peralta Open-Air Theater utilizes a striking high-angle photograph that captures the venue’s unique integration with the surrounding greenery of Parque Lincoln. The radial symmetry of the theater’s seating serves as a natural visual anchor, drawing the eye toward the stage and the performers.

The typographic palette is led by Instrument Serif for the concert title. This choice brings a classic, scholarly elegance to the design, echoing the operatic and historical legacy of the theater’s namesake. The serif structure of Instrument Serif provides a high level of sophistication that balances the organic textures of the surrounding trees.

Sebastian Vigueras. License: All Rights Reserved.

Natalicio del Benemérito de las Américas, 15 March 2026

This poster for the sixth concert of the 2026 season highlights the presence of the Orquesta Típica de la Ciudad de México (OTCM) in contemporary social spaces. The visual centerpiece is a panoramic photograph of Utopía Tezontli, a modern community center in Iztapalapa. The architectural geometry, with its white structural ribs and circular patterns, creates a rhythmic backdrop that symbolizes the utopian and transformative nature of the place.

The typographic strategy introduces Caligra, a contemporary Gothic typeface used for the main title. This choice creates a tension between the orchestra's historical roots and the modern, urban environment of the venue, while also evoking the complex framework of the building’s roof.

Sebastian Vigueras. License: All Rights Reserved.

Armoniás de primavera, 22 March 2026

The visual composition of the seventh poster is centered on an expansive landscape photograph of Parque Tezozómoc, featuring its iconic artificial lake and the pre-Hispanic-inspired topography. The open, bright blue sky and the reflection of the clouds in the water serve as a natural visual anchor, providing a serene and airy backdrop that reflects the “spring harmonies” theme.

The typographic hierarchy is led by a sophisticated pairing for the title: Amster, with its contemporary and sharp personality, and ATF Garamond, which provides a timeless, academic elegance. This combination creates a refined, editorial feel that contrasts with the organic, open-air nature of the park. The layout effectively utilizes the landscape’s “white space” to allow the intricate typographic layers to breathe, maintaining a balance between historical tradition and the modern urban environment.

“There are no seasons, no rush, no trends - only the natural rhythm of making things that feel true,” the founder told us. Drawn to the deep resonance of human presence and imperfection, we arrived at the name for a “meaningful things store”: Zoia’s Fingers.

The identity had to accompany the carefully made objects, delicate yet playful across its range of applications. We keep our fingers crossed for Zoia, and for all her thoughts, gestures, and feels.

The logo is composed of Eyja, and short copy is set in Herbik. Both are available from Counter Forms. On the website, type is set in Libre Franklin from Impallari Type.

Sebastian Vigueras. License: All Rights Reserved.

La Típica en la Vasconcelos, 5 October 2025

During 2025, the Orquesta Típica de la Ciudad de México (OTCM) offered a series of free concerts throughout the capital, for which these promotional poster was created.

The layout of the elements follows a vertical or radial hierarchy where photographs of musicians or instruments—such as the salterio or the marimba—act as indices of Mexico City’s sonic tradition. The use of illustrations or flat color shapes aims to modernize the Orchestra’s image, moving it away from a static perception and bringing it closer to a dynamic urban audience. Furthermore, the color palette likely aligns with the institutional identity of the Secretariat of Culture, applied with high contrasts to ensure legibility in public spaces. A system of visual weights was established where the OTCM name stands out above the time and location details, allowing for quick scanning. The typographic selection likely includes a seriffed, calligraphic typeface—Adobe Aldine—for headlines to evoke the history and elegance of an orchestra with over 140 years of heritage, complemented by sans-serif typefaces—Roboto and Cabin—for technical data to ensure clear readability at various distances. Finally, the management of leading and tracking is optimized to avoid dense typographic blocks, maintaining an “air” that allows the design to breathe.

Sebastian Vigueras. License: All Rights Reserved.

Ninfas y Nereidas, 12 October 2025

The poster for the Ninfas y Nereidas concert represents a transition towards a more layered and atmospheric visual language. The background is a rich, impressionistic tapestry of warm-toned flowers that anchors the composition, reflecting the floral tradition of the San Francisco Tlaltenco area.

The typographic system introduces Gabriola, whose fluid, stylistic alternates and elongated swashes mirror the “aquatic” and mythological theme of the Nereids. This expressive display face is used for the concert title, creating a sharp contrast with the structured, institutional presence of Adobe Aldine at the top. For the more complex information—such as the extensive repertoire list and venue details—Roboto and Cabin are again used to maintain high legibility against the textured background. The layout balances a large, centered photograph of the full orchestra with a clear, white footer for institutional logos, ensuring that the decorative elements do not compromise the informational clarity.

Sebastian Vigueras. License: All Rights Reserved.

Ritmos de Otoño, 19 October 2025

The poster for the Ritmos de Otoño (“Autumn Rhythms”) concert features a frame-within-a-frame composition that emphasizes the relationship between the venue and the season. The top of the layout is dominated by a lush, colorful floral arrangement that creates an organic border, contrasting with the bright blue sky.

The typographic hierarchy is centered and highly structured. The concert title is set in Adobe Aldine’s Display size, utilizing its graceful, flaring terminals to reflect the organic nature of the floral motifs. It is used for the “Orquesta Típica” name at the top, providing a stable, classical anchor for the design. A distinctive detail is the venue address, which is set in an arch following the architectural curve of the museum’s orange facade, effectively integrating the text with the photographic image of the building’s entrance.

Sebastian Vigueras. License: All Rights Reserved.

La muerte se quiere llevar a la Típica, 9 November 2025

This poster for the Día de Muertos special concert, titled La muerte se quiere llevar a la Típica, showcases a sophisticated integration of typography and architectural photography. The composition uses a diagonal perspective provided by the museum’s historic stone columns, creating a sense of depth that guides the eye toward the papel picado and the dark interior where the concert title is placed.

The typographic system relies on a high-contrast hierarchy to manage a large amount of information. The main header and the concert title are once more set in Adobe Aldine Display, whose classical serif structure is paired with a hand-drawn illustration of a skeleton, evoking the iconic style of José Guadalupe Posada. This choice reinforces the cultural heritage of the celebration. To balance the ornate title, venue details and technical data are organized using Roboto and Cabin, utilizing different weights and sizes to maintain clarity. A notable design choice is the placement of the location details on the stone pillar, treating the text as a physical part of the architecture. The color palette is somber yet accented by the vibrant colors of the traditional papel picado, ensuring the poster captures the festive yet solemn spirit of the season.

The official South African website of the global manufacturing corporation BIC rises above and sets an example for its peer localisation sites with pristine crisp photography, pixel-perfect web layout elements, and a strong branding implementation including its typography.

BIC South Africa’s main landing page falls on a welcoming image displaying an array of pens, stationary lighters and razors, with a BIC mascot, logo, and title message set in CJ Type’s Dunbar Tall in ExtraBold style. The sleek and sharp lettershapes of Dunbar reflect the utilitarian simplicity and efficiency of BIC’s products with a hint of quirk such as the lighter buttons or the Dunbar letter e.

Dunbar is consistently applied through headings and product category landing page titles with the body paragraphs set in Julieta Ulanovsky’s Montserrat in a mix of its Medium and Regular weights. The website menus are set in Montserrat Regular and Bold styles.

Interestingly, upon entering the shopping pages, the website defaults all its fonts including the menus, headers and body text to Impallari Type’s Dosis typeface. Other localised sites of BIC default to Noto Sans, however several of these websites currently land on a “coming soon” page.

CJ Type’s founder shared that “they licensed Cyrillic in addition to Latin” and “they requested Kazakh glyphs” – possibly for future localized uses on the webpages for Bulgaria, Kazakhstan, Russia, and Ukraine.

The CSR pen donation initiative page uses Avenir and the handwriting font Journal in addition to the Dunbar and Montserrat brand fonts.

Shop pages maintain Dunbar in lighter weight for page title, however default to Dosis for menus, headers, buttons, and paragraphs.

Shop pages maintain Dunbar in lighter weight for page title, however default to Dosis for menus, headers, buttons, and paragraphs.

Branding from South African localized site rolled out to social media graphics

TT Commons Pro is featured on the website of Uniqlo, a Japanese casual clothing retailer. Japanese text is rendered in Hiragino Kaku Gothic.

The logo of LifeWear, Uniqlo’s web magazine, appears to use Times New Roman with the a borrowed from Big Caslon. The text serif is Libre Baskerville.

Brands&People developed the complete identity system for Mutt, a modern pet wellness brand that produces high-quality food for life companions. The logotype is set in Taxi (by Typeverything), whose distinctive personality gave the brand its confident and friendly tone. It is paired with ITC Garamond, Fragment Mono and Libre Caslon Text.

Corbin Mahieu and Victor Verhelst collaborated on a bold new identity for Nova, combining unconventional monochrome illustrations and a logotype made with Ursa Mono by Tekio with classy typography featuring Gaisyr by Dinamo Typefaces. On the website, the latter is substituted by Libre Baskerville by Impallari Type.

Nova is a creative fine-dining restaurant in Sint-Niklaas, Belgium, led by chef Guy De Jonghe, and offering an intimate experience for about twenty guests. It features a daily carte blanche menu rooted in local, seasonal, and ethical ingredients sourced primarily through short supply chains and close relationships with local farmers and producers. Nova operates with a strong sustainability philosophy, guided by its public “manifesto of fine food,” emphasizing innovation, zero waste, and a warm, collaborative atmosphere. It offers a refined yet principled cuisine that highlights purity, flavor, and creativity, often incorporating BBQ elements and inventive uses of local products.

Lumina Travel Co. is a travel company that creates unique, story-inspired trips for women. They offer slow travel experiences, like exploring Europe at a relaxed pace, and literary tours based on favorite books. The goal is to make you feel like the main character of your own adventure, combining fun, culture, and a bit of magic. It’s for people who want meaningful, immersive travel that goes beyond typical vacations.

The typefaces used in the Lumina Travel Co website are Westiga by Pixesia Studio for the logo and main heading, Libre Caslon Display for some headlines, Poppins for subheadings and EB Garamond for reading text. Additionally, Pinyon Script is used for an editorial flourish in sub-headlines, IvyMode is used for the call to action and Italiana and South Wind for some selected text.

Editorial meets vintage – romantic brand design for Olive & Co, a wedding planner in Calgary.

We created a refined typographic logo that feels both timeless and modern, paired with custom illustrative elements inspired by olive branches. The branding incorporates subtle baroque details, with ornate flourishes and vintage-inspired motifs, nodding to the founder, Elizabeth's love for classical music and European architecture.

The visual identity walks the line between modern editorial design and ornate, vintage-inspired luxury, reflecting Olive & Co.’s signature approach to event design: thoughtful, romantic, and diverse.

A promotion for Blake Lively’s It Ends With Us movie, in which she plays a florist called Lily Bloom. The Betty Blooms name is a tie-in with her Betty Buzz cocktail mixers and Betty Booze canned cocktails.

Alias Elephant is used for the logotype, and extensively as secondary type for social media for Betty Buzz and Betty Booze.

Dropout logo (2025)

Dropout TV—owned by Dropout, previously known as CollegeHumor—is an independent comedy-focused streaming service that hosts their wide variety of television shows and previous internet content.

CollegeHumor’s font is Saucy Millionaire, and Dropout’s earliest logo used a modified Transandina Ultra.

Dropout’s current logo uses Raleway Black, and their service uses Raleway for all of the UI.

First Dropout logo from around 2018, titled “CollegeHumor’s DROPOUT”

Screenshot of the dropout.tv browse page.

New nonfiction from Daraja Press discussing the experience of being a Black Polish man, looking at the experience both historically and personally.

This novel by Tariq Mehmood was first published in England in 1983. This new edition features cover art by Daniel Heikalo, with the image from the original Penguin edition on the back cover. The new and updated edition was published in Canada by Daraja Press.

Amelie Bormann has designed the titles and posters for Peter Salling’s short film Sælhud (“Seal skin”), a graduation project produced by 18 Frames and Adomeit Film. The script is written by Morten Schmidt, and the movie is produced by Zara Bækkelund Kristensen.

The movie titles are set in the Middle cut of Store Norske Nora, from Skriftkompani. The fonts used for the credits appear to be Libre Baskerville by Pablo Impallari
and Rodrigo Fuenzalida and Instrument Sans, also by Fuenzalida.

Ciencia y Solidaridad (“Science and Solidarity”), a publication by Aquí Nos Cuidamos gathers the stories of community leaders in Puerto Rico. We highlight the stories of eleven community leaders and how they use science to address the needs and priorities of their communities. The impact of the leaders portrayed in Ciencia y Solidaridad extends beyond their hometowns. They serve diverse communities in different regions of the archipelago, including residents of public housing, the elderly, people with disabilities, and the deaf community, among others. We celebrate their work through an illustrative publication filled with visual references to their projects and stories.

The publisher’s brand typefaces, Libre Franklin and GT Alpina, are used throughout.

Birra Stout serves as the display font for Ralph’s Famous Italian Ices.

The company was founded in 1928 by Italian immigrant Ralph Silvestro, who sold his delicious product throughout Staten Island. Today Ralph’s has 83 outlets from Montauk, New York, to Lanoka Harbor, New Jersey.

Joshua Darden’s Birra Stout features for social media announcements and for headings on the website. It’s supported by the sans-serif Raleway. The menu uses Yellowtail and the Ralph’s logo is based on Baksoda.

Mifood Miraisin is a restaurant situated in Geneva, Switzerland. It also acts as a wine cellar, and a grocery store. You can go there to taste dishes, buy wine or local products. Nuances Extended is used as the brand typeface, and paired with Metropolis and Raleway. For social media, another sans serif is used which is yet to be identified [edit: it’s Sora, see comments.]

Gaya Italic, paired with Libre Baskerville and Montserrat for the graphic identity of the exhibition James Ensor. Inspired by Brussels at the KBR in Brussels.