The old knights' estate Gut Bennigsen in the countryside near Hanover, Germany, is a manor first documented in 1311. One of the decendants inherited the estate some years ago and turned it into a space for events and concerts with further plans to expand the experience.

Transatlantika created a visual identity and promotes Gut Bennigsen concerts and events with marketing campaigns. This promotional brochure explains the concept of Gut Bennigsen. It talks about the rich history of the place and future development plans.

The Gut Bennigsen logo features the name‘s phonetic spelling to make it pronouncable in an international setting. It also puts the brand into a literary and cultural context.

In the style of a newspaper from the Great War, L’Homme Tranché is the result of workshops led by Benjamin Marquet, a teacher for history and geography at Collège Paul Éluard in Montreuil, France. The articles were written by middle school pupils, while the layout and printing of the newspaper were designed by Bureau Roman Seban, with their assistance. The four-page newspaper measures 23×32 cm and was printed by Association Presse Offset, Paris

Contralto Xsmall Bold (8pt) and Xsmall Regular (7 pt)

Muflon studio, founded by Weronika Mehr and Maria Prochaczek developed the branding of Mehr Shape, a company born from a love of cats and founded to create “the last scratching post one would ever need to buy”.

The team designed the visual identity, conducted photoshoots, and handled copywriting for this brand. They used Morula Type’s Sapfir from Blaze Type, mixed with Grtsk by Black[Foundry].

Promotional poster for Habla de Mí en Presente concert at Dabadaba, the Donostia / San Sebastián club, combining Eurostile Extended with Vasca and Daubenton. The fishy arrows are taken from Bluu Suuperstar.

Seba Kurtis, 14 November 2022, ft. Compagnon Roman by Juliette Duhé and Léa Pradine

“Guess Who’s Coming to Dinner” is a talk series held at the Royal Academy of Fine Arts Antwerp. Since 2019, it has been hosting public lectures, debates, and book presentations, with Tim Ingold and Victoria Browne among their guests.

Designer Stephanie Specht was in charge of the visual identity. She developed a series of posters featuring title, venue and date set in Neue Haas Unica Medium and “Art Talk” in Coign 47 Bold, while the names of the speakers stand out with a diverse range of typefaces. All in all, Specht designed at least fifty different posters, almost always with different typefaces. Her eclectic approach adds a vibrant flair to the design, which is renewed for every event. Shown in this post is a selection of twelve posters. See the image captions for the respective font IDs.

Peter Fengler, 17 December 2020, ft. Lesansa by Anne Debaetselier

Multiples & Editions, 9 February 2021, ft. Pleasure Inktrap by Mothi Limbu, Luc Borho and Adrien Midzic

Annelies Van Assche, 16 March 2021, ft. Vicomte FY by Alisa Nowak, Jérémie Hornus and Joachim Vu

Peter Morrens, 1 April 2021, ft. Saol Display by Florian Schick and Lauri Toikka

Tim Ingold, 29 October 2021, ft. MAD Serif

Victoria Browne, 10 May 2022, ft. Faune by Alice Savoie

Urmas Lüüs, 4 October 2022, ft. Candy Darling by Miguel Reyes and Christian Schwartz

Jess de Gruyter, 6 December 2022, ft. Autograf by Måns Grebäck

Sophie Nys, 7 February 2023, ft. Ninna by Margot Lévêque

Young In Hong, 14 February 2023, ft. Selva Script by Fanny Hamelin

Gerlach en Koop, 19 April 2023, ft. Romie Italic by Margot Lévêque

The Licence Amicale is a software license that regulates a creative work's distribution within a private setting, fostering its organic propagation among individuals. Creation files may be distributed online or in person, including via email, direct messaging, or external hard drives.

This initiative originated in France with Anton Moglia and was further developed through collaboration with the Velvetyne team and David Jonathan Ross. The single-page website for Licence Amicale features Lack for headings and Inria Serif for text blocks.

Originally created for typeface distribution, Licence Amicale extends its application to various digital creations such as music, 3D files, software, and more. Users can share projects in progress or drafts with friends and family, simultaneously licensing them.

Creation files distributed under Licence Amicale can be freely used by each recipient for a range of projects, whether commercial or otherwise. One of the fonts distributed under Licence Amicale is Vercetti.

Flyer for a poetry reading in Provincetown, Massachusetts. There is a decent amount of text to fit into this flyer legibly, so I was angling for typefaces that have narrower character widths…and particularly condensed variations for the headlines. Kapra is a great choice for this type of thing.

Like a bird is a line of green buckwheat, wild rice and quinoa in a very small packaging that makes you think of a bird, and a winner at the Red Dot Design Awards, Sreda, and White Square festivals. The looks and the color of a bird drawn on the packaging change depending on the product, yet the typographic solution — yellow Vesterbro Poster in the title coupled with white Vesterbro Light in captions — is always the same.

Read the entire article on our website.

MIA VIA is sourcing fine organic foods only from Italian Demeter certified producers.

Transatlantika created the brand identity in collaboration with Picpacker Motion Design including name, logo, packaging, illustrations and a modular color concept to build a brand that is bold and elegant while subtly hinting at the company’s Italian origin.

The MIA VIA name (meaning ​“my way” in Italian) and logo is inspired by old Roman milestones. The typeface Garda Nova is based on the ancient Capitalis Monumentalis.

While the typeface has luxurious classic Italian feel, the generous letter spacing gives the logotype a touch of modernity.

Three typefaces are paired to create the MIA VIA brand identity. Garda Nova is used for the logo and slogan, the general text is set in Wigrum and quotes use the font Galien.

See the full case study on Transatlantika’s website.

The branding for the 2022 League of Legends Mid-Season Invitational using Brik Regular by Burn Type, available via The Designers Foundry. The typeface is heavily modified with slanting, compression, stretching, pixelation and other effects The typeface is predominantly used within video formats. It’s paired with Colfax [it’s actually Grtsk, see comments] and what appears to be LL Akkurat Mono.

The theme song for the event “Set It Off” showcases these treatments, see below:

From LoL Esports:

MSI is a time for regions to showcase their bold and unique identities and foreshadows the work needed for pros looking to claim a World Championship title of League of Legends, one of the words most popular games/esports. […] The event moves between host regions each year; this year, teams will compete in Busan, South Korea.

This year’s creative theme, “Take Notes,” is a confident, attitude-infused call to action that highlights the epic moves and original style of MSI’s greatest pros. It continues to build out MSI as the bolder, grittier battleground of LoL Esports.

FunPlanet is a Swiss chain of recreation centers, combining in one building activities such as bowling, billard, laser tag, miniature golf, virtual reality games, and arcade games with restaurants and theme nights. FunPlanet was an institution some years ago, but in 2020, it needed a rebrand to attract a new audience.

Communication agency Bader designed a whole new identity for FunPlanet. It suits the new games and activities the recreation center offers, which are aimed at a wider target, not only families with children but also youngsters and adults who can spend the evening playing, dining, and drinking. Regarding this new context, FunPlanet needed to show how contemporary it is: to do so, Bader designed a logotype with the wordmark set in Media Sans Extended Bold from Production Type, accompanied by a circular sign. Its shape reminds us of a planet, in which we find back little bits of Media Sans letters (the drop of the a, the endings of the e). On the website, Media Sans Extended is paired with Finder by Black[Foundry]. The communication campaign shows trendy kids, teenagers and young adults having fun in different situations, which associate the place with their new target. The color code in RGB is also a reference to digital culture and a way to catch the attention of a generation born with the rise of digital technologies. The logotype is applied to all kind of mediums, such as the building, bowling balls, and also becomes a pattern for posters. The mobility of the logotype is a way to make the identity more contemporary, as the sign is not only a signature on the corner of a format, but a visual element in itself.

Campaign poster

Campaign poster

Elements from Media Sans are echoed in the graphic shapes of the planet logo.

Bowling balls

Mockup of the new identity as applied to the façade of a FunPlanet building

Social media post featuring Media Sans Extended in several weights

Website with a menu for the two FunPlanet locations in Rennaz and Bulle, plus the upcoming center dedicated to Kids

Finder by Black[Foundry] and the custom LS Display designed by DesignStudio and manufactured by Filip Blažek are the two brand typefaces used for the new visual identity of Polish sport data company LiveSport.

Brainz Disruptive prepared the new online presentation according to the brand manual created by DesignStudio, a prestigious studio from London. However, digital elements were missing and needed to be done separately. Jan Patawa, the author of the design and creative director, describes it as follows:

We wanted the new identity to work flawlessly in a digital environment. It is perfectly designed and smartly reflects the essence of LIVESPORT - technology and sport. Our goal was to make a clever redo that would work in digital conditions. The client believed in our skills from the beginning of our cooperation and gave us creative freedom. Thanks to that we were able to create a modular system that is flexible and is also suitable for using and fostering other future projects.

The new website was created during a few weeks. The project team consisted of Creative Director Jan Patawa, Project Manager Adam Mlýnek, IT Development Coordinator Branislav Onderišin, Developers Ladislav Durchánek, Jiří Váňa and Lead Developer Ladislav Janeček.

Schwindelerregende Höhen is an exhibition by artist Katja Aufleger shown in the Rudolf-Scharpf-Galerie of the Wilhelm-Hack-Museum Ludwigshafen. Berlin based Studio S/M/L designed the exhibition catalog, combining Werksatz and Bluu Suuperstar. The bilingual publication (English/German) was edited by Julia Katharina Thiemann and René Zechlin.

Last year, we designed a calendar in retrospect to 2019. We went into 2020 hoping for a better year but it turned out to be even worse than the previous. We’re back this year with a new calendar, in retrospect to 2020.

We decided we wanted a similar style to our last calendar by having big headlines as titles for each month and by using a different typeface for each topic. The calendar title uses ToY (Out of the Dark) with exclamation marks from Black Mamba (Swiss Typefaces). We also made the decision to attribute a famous painting from the classical period to each month, because of how they dramatize the content. Bye 2020, Hi 2021!! was a way for us to close the wound of this painful year.

We had a little more fun this time by printing our calendar on three different materials: one was printed on a solid white paper background, another on a Rhodoïd clear sheet, and for the last one, we created an alternative version of the design that we printed on white organic cotton t-shirts. Hoping you have a great year and if not, we’ll try again next year.

Product photography by Paul Perrault.

Since 1994, researchers, critics and graphic design professionals in France have been sharing their viewpoints and research on the major themes that animate the graphic design field in the annual publication Graphisme en France published by the Centre National des Arts Plastiques (Cnap).

The 26th issue has been designed by Théo Miller, graduate of the École Estienne (Paris), and focuses on the link between the work of graphic designers and the notion of writing, considered as a matter to compose and shape, but also as a means for expressing the thinking of graphic designers, a tool which allows one to structure and define this domain and its history. It includes texts by Léonore Conte, Ellen Lupton, Nolwenn Maudet, Richard Niessen, and Vivien Philizot.

The graphic design of this issue structures the various contributions with particular attention paid to reproducing the images in formats that make them legible, in order to confront the texts of the authors and the texts present in all the iconography.

Five typefaces are used across the whole publication: Ductil (Marion Sendral), Grandmaster (Lucas Descroix, The Designers Foundry), Grtsk (Ilya Naumoff and Benjamin Blaess, Black[Foundry]), Minotaur and Minotaur Sans (Jean-Baptiste Levée, Production Type). These choices express a certain typographical plurality, referring to the diversity of writings present in this issue. In the same way, four different covers have been drawn, displaying a sort of “visual table of contents” of the various articles of the publication. These images-texts with multiple authors give form to an “enunciative polyphony”, accentuated by a work of editing, cutting and collage.

The publication is available for download in French and English. Editorial direction and coordination: Véronique Marrier, head of the graphic design department; and Béatrice Salmon, director of the Centre national des arts plastiques.

Brand identity and packaging design for Grower Cosmetics, a local brand of eco-cosmetics based on hemp oil and local natural ingredients.

Designer Yan Zaretsky transcends a “raw, handmade and honest experience” using recycled, ecological paper materials and conveys the feeling of care and beauty with the display font Cosi Times from Nikolas Type, expressively highlighting individual product names, while PT Sans by Para Type as well as Grtsk from the Black Foundry find a considered and well-balanced functional usage.

Paper and materials: Favini Crush Olive 250 gsm by Favini / Mohawk Loop Antique Vellum 118 gsm by Mohawk Fine Papers / Micro-cardboard by Gofrotara na Tsvetochnoy

Silkscreen printing and package manufacturing: Alan Bur
Photography: Anatoly Vasiliev

O ziołach i o mocy jich (“About herbs and their power”) was the first Polish encyclopedia of natural history and medicine. It was published in 1534 by the well-known Cracow printer Florian Ungler. Selected fragment talks about the belief that birds body parts could be used to cure various diseases. Both Algo FY and Alegreya (used for body text) refer to typography used in the early 16th century books. Algo FY combines both roman and blackletter construction in a very modern and unique way.

O ziołach i o mocy jich is part of the New Dimension of Old Typography series which consists of 10 redesigns of Polish books from the sixteenth to the nineteenth century. The designs were produced as a part of a doctoral dissertation at the Akademia Sztuk Pięknych w Gdańsku (Academy of Fine Arts in Gdansk, Poland).

Read more about the project on Fonts In Use, or find out more about the project and the author on my portfolio website and Facebook.

The Bacchus Pub in Bozeman, Montana has renewed its identity for its re-opening in 2019. The new logo features two blackletter-inspired typefaces: Algo FY is used for the pub name; additional information uses (boldened) JAF Herb. From Armstrong Marketing Solutions:

Before it reopened, we worked with the new owners to refine the brand and eliminate any confusion about its heritage (Bacchus was the name of the Roman god of agriculture, wine and fertility) and move it back toward its German pub roots. Through visuals, like an updated German stein logo and usage of the German blackletter type, we infused the pub’s heritage back into the Bacchus brand.

JAF Herb is also used on the menus, and on the website, assisted by Volkhov.

Cassette packaging

Matthew J. Rolin's Moment issued in a hand numbered, second edition of 50. C40 cassettes dubbed at home, in real time on a Tascam 202 MKIII. Graphic design by Matthew Boteilho. Cover art by Erin Elizabeth Winter. Mastered by Brian Sulpizio. Artwork text is set in Vesterbro by Black[Foundry] paired with Sharp Grotesk by Sharp Type. Catalog number BHR006, released by Blue Hole Recordings on March 15, 2020.

Blue Hole Recs’ packaging was developed by Matthew Boteilho and William Csorba after more than a decade of buying and listening to cassettes from the global DIY experimental community. The c-card inserts are an obi strip- and book spine-influenced (see: the early 70s paperback Foxfire series) element that uniformly relate across the whole discography by utilizing the same type treatment, print method, and paper lines.

Using commercial vendors with digital machines allows quantities to be kept low while opening up the ability to experiment with the 5th color unit. Loose download cards commonly found inside modern physical media were done away with the help of variable data so that unique codes could be printed direct to the art.

While adhering to a no templates, no mockups mentality—Blue Hole Recs instead places emphasis on making sure that it is the creators and makers themselves who are given the space to spec out the process from start to finish.

Cassette packaging

Cassette packaging

Shell imprinting

Digital artwork

After 16 years in business, family-owned coffee shop Joe Coffee Company launched a rebrand of their iconic cup of Joe. The project was led by Godfrey Dadich Partners who created a serif logotype which seems to be based on Vesterbro Poster. They chose Centra No. 2 as a primary typeface on its website, packaging, and advertising, as part of a design system “inspired by the rigorous commitment they apply to their coffee.” Secondary typefaces used are Angus and Georgia.

Read and see more images on Sharp Type News.