OT Jubilee and Neue Haas Grotesk are the typefaces used by Elias for the identity of DARC. The logo uses all-caps Cirka. From the studio’s case study (translated):

Darc is a next-generation agency that combines influencer marketing with video production. The agency excels in both areas. It identifies the right influencers, designs campaigns, and then produces high-quality content. This dual expertise ensures creative consistency and exceptional execution. Darc doesn’t outsource anything—it controls the entire value chain. […]

Darc takes its name from Joan of Arc—a symbol of bravery, authenticity, and purpose. The quest for the right images, the quest to elevate French heritage, the quest for growth. We built the brand around these values: authenticity versus artifice, creative courage versus timidity, elegance versus visual clutter. The quiet heroism of one who knows where she is going. A positioning that avoids the industry’s pitfalls—superficial coolness, forced youthfulness—to assert substance and ambition.

My portfolio is finally online! A two-year journey has come to an end.

This is more than just a website displaying my work—it's a complete rethinking of my philosophy in both web development and branding. Dozens of concepts, variations, and design approaches, created from scratch, led to the result you see today.

I aimed to reimagine classic website templates while maintaining the familiar logic of content exploration and adding my own ideas. This is how elements like the sliding contact panel, the detailed project information panel, parallax and depth-enhancing forms, and many others emerged.

The entire visual language was created to be clean and simple—not distracting, but complementary. Small animations, details, tooltips, icons, micro-effects—everything is carefully considered and an integral part of the system.

A huge amount of time and effort was invested in this project, and I am truly pleased with the end result. I hope you enjoy it as much as I do.

Stari is a partner student project created with Virginia Liu for the Color Theory class taught by Adam Ross at ArtCenter College of Design. This project takes the form of a hypothetical blind box series.

In a realm where ancient craftsmanship meets the cosmos, Stari were born: modern talismans inspired by traditional Chinese knots. Each knot threads together unity, harmony, and boundless fortune, while each color carries its own emotional frequency and symbolic energy. To collect a Stari is to collect a moment of synchronicity, and a small reminder that magic reveals itself when we remain open to wonder.

The identity system uses Neue Montreal by Mat Desjardins as the primary sans serif, grounding the brand in contemporary clarity and structure. Lucy Rose by Ellen Luff introduces elegance and sentimentality, subtly echoing tradition and storytelling. Ohno Softie by James Edmondson is reserved exclusively for the logotype, its rounded, plush forms reinforcing the warmth and playful tactility of the blind box experience.

For the September 2022 issue of Fast Company, Creative Director Mike Schnaidt and Design Director Alice Alves assembled a refined editorial palette to present the magazine’s annual “Most Creative People in Business” list, honoring innovators across technology, healthcare, entertainment, and design.

The cover prominently features Cosi Azure Bold and Black by Nikolas Type, whose sculptural elegance and crisp modulation bring a sense of clarity and authority to the key headlines. Article sublines are in Cosi Times. The magazine’s text typeface is a customized Meret from TypeMates, and the logo is based on R-Typography’s Grifo, see this post.

The typographic system of the special issue is complemented by PP Monument Extended Black (Pangram Pangram), A2 Beckett Light and Regular (A2-TYPE), and Centra No. 2 Bold (Sharp Type / Monotype), creating a balanced dialogue between expressive display forms and precise editorial text.

The italic is from Colophon’s Grenette.

Beastly (OH no Type Co.) is used for the initial. The text typeface is unidentified.

The initial Y is from Salvaje Display (Typozon).

Récit’Cité is a collection of tales written by storyteller Julien Staudt (Brussels), drawn from three years of residency in the Mortard neighbourhood, a working-class area of tower blocks and social housing in Lure, France. The book was commissioned with support from the City of Lure and the French Ministry of Culture.

The typographic system holds a tension between weight and light, pairing three typefaces from Pangram Pangram. Räder Bold carries the main titles – solid, rigid, a typeface whose origins in infrastructure and public space resonates with the urban fabric of the neighbourhood. It is accompanied by Acma Semibold: thinner, more luminous, with a quietly oriental quality that softens and complements Räder’s density. The body text runs in Writer Light – a serif with subtle luminous details, quiet and readable. Chapter numbers use Writer Thin, almost weightless. Drop caps return to Räder Bold, but in a soft tone, anchoring the chapter openings without dominating.

The whole is unified by a matte, slightly textured Munken Lynx paper stock that softens contrasts and reinforces the memorial dimension.

See the full case study on Pascallienard.com

Oaze is a foodhall in Palhoça, Brazil. The naming and visual identity of the business was handled by design studio Ajna:

Oaze was born as a new food hall concept: a sophisticated, diverse, and open-air food court located in the heart of a large entertainment hub. The challenge was to create a brand with a strong presence and memorable visuals, capable of communicating variety without losing unity.

Inspired by the concept of an “oasis,” we created a visual and verbal identity that reinforces Oaze Foodhall as a place of pleasure. Through the naming, we evoked the idea of ​​a refuge amidst urban chaos, conveying the proposal to offer a rich and diverse gastronomic experience, with different restaurants and establishments in one place. The vibrant color palette brings life, while the bold logo carries personality for a sophisticated and welcoming environment.

The identity pairs typefaces in contrasting weights and widths. Roc Grotesk from Kostic is used in condensed, regular and extended widths, and in lighter and heavier weights. Its Heavy style served as a basis for the logo. The sans serif is juxtaposed with a few weights of Right Didone from Pangram Pangram. The less showy Gilroy from Radomir Tinkov is used for small type.

From Ajna Design’s website (translated):

Bakeaway Coffee emerged from the desire to combine the coziness of artisanal confectionery with a modern, affectionate, and professional brand experience. The challenge was to create an identity that expressed affection, care, and technique.

We created the name “Bakeaway,” which unites the act of baking (bake) with the lightness of taking away (away), evoking the concept of comfort food. The bakery had already existed for over 20 years, but the time had come for its repositioning. The visual identity translates this sensitivity with a visual atmosphere that connects affective memory and quality.

Bakeaway embodies the archetype of the Lover, promoting a gastronomic experience that transcends the simple act of eating. Every detail of the brand was designed to awaken desire and connection, from the engaging verbal identity to the sweet color palette and the welcoming shapes that make up its visual identity.

The identity is set in Right Serif by Alex Slobzheninov and Editorial New by Mat Desjardins, both distributed by Pangram Pangram.

As a category leader in automotive surface repair, Evercoat’s sprawling portfolio had created a chaotic brand. Hyperquake consolidated the architecture into a tighter, more intuitive structure and streamlined the visual identity through a refreshed packaging system. The transformation was accelerated by a strategic marketing plan powered by social and influencer-led content, performance-driven initiatives, and updated traditional collateral. Together, we brought clarity to complexity—ushering in a more cohesive era for the Evercoat brand.

Set in all uppercase, the modified logotype uses Neue Montreal Medium, a versatile grotesque font that felt right at home in the auto body repair industry for its hard working and understated qualities. The custom O is based on the catalyzation process—the precise filler-to-hardener ratio that activates the product. We refined the mark to highlight this signature detail and reinforce its leadership in the category.

To complement the logo, the packaging system combines multiple weights of Neue Montreal and Transducer—each bringing a strong and no-nonsense vibe to the collateral. Transducer provides strong category cues that was inspired by vintage car ads and livery and speaks to Evercoat’s heritage. Neue Montreal becomes the straightforward, utility font that allows for important detail information to be clearly communicated.

Motion design poster

This identity for the fictive Cosmic Trips Festival was conceived as a student project in the Graphic Design program (4th semester) at TH Nürnberg.

In 3024, the innovative team at Orbit Horizon partnered with Future Sphere to launch a groundbreaking event unlike any other: Beyond – A Cosmic Trips Festival, immersive journeys around our universe.

Beyond offered visitors a glimpse into the future of art, technology, and exploration. Highlights included an inspiring flight presentation with AR-reality flight tests, introducing visionary concepts that left the crowd buzzing with excitement.

Designing the identity for Beyond – A Cosmic Trips Festival, I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

For the typography, I used Editorial Old from Pangram Pangram, Rene from Fedor Abroskin Typefaces (via tomorrow.type.today), and Suisse Int’l from Swiss Typefaces.

I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

Web design

Logo design

Poster design

Banner design

Zpíváš, jako bys plakala (“You sing as if you are crying”) is a book by Czech novelist Zuzana Kultánová.

From publisher Paseka (translated):

Zuzana Kultánová, the author of the award-winning historical novel Augustin Zimmermann, has this time written a story about a contemporary young woman who came of age in the 1990s. First a poor student, then a desirable lover, and finally a doubting wife and mother yearning for an “ordinary life.” Andrea confesses to her missteps and failures and is not afraid to reveal the dark side of motherhood.

The book cover is set in Right Sans by Alex Slobzheninov, distributed via Pangram Pangram. The text typeface is Samuel Čarnoký’s Inka, released by CarnokyType.

Poster for a performance at REDCAT, the first-ever retrospective of Vertical Blanking, a video art, performance, and experimental music duo consisting of ia Kamandalu (formerly Kim McKillip) and Michael J. Masucci. REDCAT is the Roy and Edna Disney CalArts Theater in Los Angeles.

The Bodies We Call Home is a student project created at ArtCenter College of Design as part of the Type 4 class taught by Stephen Serrato. This publication is presented as a hypothetical art catalog, imagined as a curated collection of works exploring queer intimacy, resistance, and care.

The catalog’s typography—featuring Playground, Alegreya Sans, Editorial New, and Eiko—balances playfulness, warmth, and editorial refinement. Together, these typefaces move between softness and structure, echoing the emotional vulnerability and resilience at the core of the work.

Curatorial Statement:

Queerness has long been under attack—from historical criminalization to the government’s neglect during the AIDS crisis, where thousands of lives were lost in silence. Yet in the face of devastation, queer communities turned to intimacy as survival. Acts like the AIDS Quilt became declarations of love, grief, and resistance, proving that queer lives mattered. Today, anti-LGBTQ+ legislation and societal pressures echo those painful histories, politicizing queer bodies and threatening the right to exist freely. But intimacy remains a radical force—woven into activism, art, and quiet care shared between chosen families.

Queer intimacy exists in the quiet moments of touch, in the unspoken understanding between lovers, and in the collective strength of chosen families. It is spiritual, physical, and emotional—a force that holds, heals, and empowers. Love, in all its forms, is an undeniable human right, yet, it remains under threat. The ability to love and be loved should never be taken away, for it is as essential as the air we breathe.

Graffiti doesn’t just live on walls anymore, it lives in feeds. Consumed in seconds, from top to bottom. The title goes beyond a slang term, it reflects how we see and scroll through (sub)culture today: fast, fleeting, and often replaceable.

The first issue of TOP2BOTTOM (T2B) dives 144 pages deep into the Swabian avant-garde stretching from Stuttgart to Lake Constance. What started as an open call for submissions turned into a collective snapshot of the region’s scene, blending community-sent photos with personal field documentation collected over the past two years. It’s an analog response to digital noise, a way to slow things down and document subcultural fragments that might be gone tomorrow. Featuring key actors of the southern scene presented in textual contributions and showcased as four special chapters.

For the typography, I used Aether by DDOTT and Neue Montreal by Pangram Pangram. The magazine has 144 pages measuring 170×240 mm and comes with a thread binding. It was printed in Stuttgart in a limited edition of 100 copies – which sold out within 24 hours. Published via T2B Press.

For more insights visit the project page.

Marimar × Fondazione Franco Albini was born as a shared research project, curated by Simple Flair, exploring the use of natural stone in the work of Franco Albini. A dialogue between material and design, technical expertise and cultural value, intertwining the visions of Marimar and the Albini Foundation in presenting stone as a language of building, a tool of continuity between past and contemporary practice.

The exhibition and booklet use Neue Montreal; the accompanying scriupt typeface is Botanical Scribe.

Keith’s Cacao is a specialized platform offering 100% pure, ceremonial-grade Guatemalan cocoa. The site provides premium cacao blocks and educational resources focused on “heart-opening” spiritual practices, creativity, and holistic wellness.

For its branding, made by Kinoto Studio, they used Dave West’s Cooper Nouveau Swash for the packaging headline, Pouler by Alexandre Créquer for titles and subtitles, and Pangram Sans (Mat Desjardins), Trade Gothic (Jackson Burke), and SAA Series for texts.

Studio H is a disco music event that takes place in Brescia, Italy. It aims to revive the true disco music of the 1970s and 1980s for new generations. Studio H is a product by HUMAN, see also this previous post.

The background of the flyers are famous disco music covers (details in captions).

Background: Sylvester – Step III

Background: Cerrone – 3 (Supernature)

Design for the portfolio website of Joe Garner, a multidisciplinary web designer from California.

The website is set in Right Grotesk and Right Didone by Alex Slobzheninov, and Playground​​​​​​​ by Francesca Bolognini and Mat Desjardins, all distributed by Pangram Pangram.

Visual identity for the 2019 edition of Tribu, a music festival taking place in Burgos, Spain.

Tribu is a multidisciplinary festival held in various venues throughout the city of Burgos over severl adys at the end of summer. A festival for all ages, with a multitude of free activities that fill the city with color and music. Once again this year, we’re in charge of the graphics for all the festival materials.

The art direction and graphic design is by Clara Briones Vedia and Antton Ugarte Ibarrondo, using Agrandir by Alex Slobzheninov (Pangram Pangram) for the typography. The logo is based on HWDP by Mateusz Machalski (Borutta Group).

La Guía GO is a cultural guide with a logo based on Champion Gothic Heavyweight. It’s not part of this design.

Hauss and Raum, the new typefaces by Justin Sloane and Huw D. Williams, in use for display and text for Mitome, the world’s first comprehensive mitochondrial analysis testing kit. On their website, they use Neue Montreal.

Hauss and Raum are living up to their promise as a perfect display and text pairing. The futuristic health testing company, founded by Chris Masterjohn PhD, seeks to put mitochondrial health at the forefront of conversations around energy, cognitive function and aging. The forward-facing clarity of Hauss and the organic cellular forms of Raum fit the job perfectly.

Renata Motyka has designed the visual identity for the exhibition Planetary Consciousness. Ecosystems of Care at the School of Digital Art, Manchester Metropolitan University. It was curated by Eliza Urwanowicz-Rojecka and Jakub Wróblewski.

It is another project designed to promote Polish and Ukrainian contemporary digital art, co-delivered by the Arsenal Gallery in Białystok and the 3D and Virtual Occurrences II Studio, Faculty of Media Art at the Academy of Fine Arts in Warsaw.

The project has been inspired by the concept of planetary consciousness, in reference to a theory by sociologist and globalisation theorist Roland Robertson, who introduced the notion of global consciousness (Robertson 1992, 2014). Thus termed by Robertson, the shift towards the world-universe relationship already assumed that the global perspective would transcend into the planetary.

The exhibition was presented from November 4th to December 2nd 2025 at the School of Digital Arts (SODA), Manchester Metropolitan University 14 Higher Chatham St, Manchester M15 6ED.