This traditional Japanese folktales book was written by Yei Theodora Ozaki in 1908 and has been organized and illustrated in this 2024 edition by Janaina Tokitaka. It is published by Baião, an imprint of the Brazilian publisher Editora Todavia, dedicated to children’s literature.

Cy was chosen for this project primarily because some of its letters, such as N and A, resemble elements of traditional Japanese architecture, with the main reference being torii gates, which symbolize the passage from the profane to the sacred world.

Another notable feature of this typeface, highlighted in the project, is its playful and unpredictable nature, as the glyphs appear to alternate seemingly at random within words.

A low-grammage paper was selected for this project as a nod to washi paper, allowing the subtle transparency between pages to become part of the illustrations, linking elements across spreads and creating a unique composition.

In the second episode of Disney+’s TV series Call My Agent Berlin, one of the main protagonists uses a dating app that tells her “You Matched!”. This notification is set in Finlay by supertype.

Nerd note: The u and the d are not quite correct because in both cases the “fina” version of each character (last in a sequence) should have been automatically applied. I can only assume that Adobe’s After Effects was used to create the visual, which infamously still (in 2026!) lacks support for OpenType features!

Christian Schwartz started sketching Control in 2017. Its first appearance was in a special publication produced by Interview for Art Basel Miami in November 2022. Commercial Type made the font family available for early licensing from their Vault in October 2023, and officially released it in June 2024. It was just a matter of time before Control made its debut on Fonts In Use.

In spring 2025, NODE Berlin Oslo used it for the promotion of an exhibition at Deutsche Bank’s PalaisPopulaire in Berlin, curated by Liberty Adrien and Carina Bukuts and titled It’s Just a Matter of Time.

The designers didn’t work with the core styles – Control Upright and Italic – that were inspired by the sans serif examples in Walter Käch’s 1949 lettering manual Schriften Lettering Écriture. No, it’s a bold weight from the collection’s third branch, Control Cursive. This alternative italic was drawn by Miguel Reyes, loosely inspired by the 1980s Letraset face Van Dijk.

Secondary text on the poster is set in the patron’s custom typeface by supertype, simply named Deutsche Bank. The artwork is Rosemarie Trockel’s Untitled (Schizopullover) from 1988.

Edited by Meriç Öner, Time Scale is the outcome of research and exhibition on architectural works of Erginoğlu & Çalışlar, established by Kerem Erginoğlu and Hasan Çalışlar in Istanbul in 1993. The book surveys the office’s thirty-year journey through objects gathered from the research, design, and implementation processes of their projects. It comprises original sketches, drawings, models, and photographic documents, displayed in chronological order. Published by Pelin Derviş and printed by A4 Ofset. English translation by Melis Şeyhun Çalışlar.

See also the post about the exhibition design.

Klipp og Lim has made a series of activity booklets for children, families, and school classes visiting Nidaros Cathedral in Trondheim, Norway. Each booklet in the Oppdag Nidarosdomen (“Discover the Nidaros Cathedral”) series has ten tasks with things to discover, and each booklet has a specific theme.

The title font is Ode by Supertype. Satyr by Monokrom Skriftforlag is used for body text, and Hoefler & Co.’s Verlag Compressed for the numbers.

The BND, short for Bundesnachrichtendienst, is the foreign intelligence agency of Germany, directly subordinate to the Chancellor’s Office. Since 2019, the BND headquarters is located in central Berlin. The BND’s current recruitment campaign uses Cy by supertype.

It’s the first application of the BND’s new identity including a new logo featuring a stylized eagle and a BND wordmark in Linotype’s DIN Next, which is also used for accompanying text. For security reasons, the name of the responsible agency will not be made public.

“We’re looking for terrorists (m/f/d). Find them with us.”

“Imagine that YOU are wanted by the BND. As part of the team.”

“No shaking, no stirring. Simply applying.”

“Get behind it.”

Photo: Jürgen Huber. License: All Rights Reserved.

Where could a font be more beautifully displayed than at waist height on a bottle bank in Berlin Kreuzberg?

Cy in use for two parties that took place at Club OST in April 2024. Sugaloop featured BXTR, DJ Physical, Skkin Velvet, Under Black Helmet, ANTNK, Bélavie, and ISA. A week later, Synaptica brought performances by Vitalic, Rudosa, Phuture Traxx, Eno, Schicktanz, Specific Objects, JANE, and Vysion. The geometric sans by Supertype is used with its automatically inserted alternate glyphs.

Photo: Jürgen Huber. License: All Rights Reserved.

Photo: Jürgen Huber. License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Source: www.instagram.com License: All Rights Reserved.

Curated by Meriç Öner, Time Scale explores the architectural works of Erginoğlu & Çalışlar, established by Kerem Erginoğlu and Hasan Çalışlar in Istanbul in 1993.

The exhibition surveys the office’s thirty-year journey through objects gathered from their projects’ research, design, and implementation processes. It comprises original sketches, drawings, models, and photographic documents, displayed chronologically. Objects borrowed from the office’s physical and digital collections are presented in a manner consistent with their substance. The exhibition organizes project representations by period, also providing a clear pathway by which to trace changes in architectural technologies. Running parallel to the works, events inserted into Time Scale extend throughout the exhibition’s scope across a shared historical narrative, evoking significant milestones from the past thirty years in both Türkiye and the world.

Window lettering at the photography studio of Barbara Dietl, Stargarder Straße in Prenzlauer Berg, Berlin.

This is the catalog for an exhibition titled LandLiebe. Kunst und Landwirtschaft (“LandLove. Art and Agriculture”) shown at the Bündner Kunstmuseum, Chur, Switzerland, from September 18, 2021 to January 2, 2022.

Headlines and subheads set in Ode from supertype; running text uses Landa from Sudtipos. Über die Liebe zum Land was edited by Damian Jurt, designed by Stephan Fiedler, and published by Kehrer Verlag.

Cy used by Heimathafen Neukölln, a well known theater and venue for concerts, performances, debates etc. in Berlin, for their flyers and posters.

The typographical cover of the book displays many faces in order to recall Bauhaus typography

A precise and previously unpublished archival research collects and reveals the biographical events of all the “girls” of the Bauhaus, the Bauhausmädels. Design historian Anty Pansera involves the reader by transporting them to the fascinating life inside the school where male and female students lived together with masters of the caliber of Gropius, Mies van der Rohe, Kandinskij, Klee, and free time was shared between parties, readings, political discussions, love stories, exhibitions, artistic performances, music (Bauhaus had its own orchestra), sports; in the background, of course, the tragic rise of Nazism which led to the closure of the academy, the prohibition of practicing for artists, and which forced many of the women (more than 14% were of Jewish origin) to flee and exile, when not to death in a concentration camp.

Published by Nomos Edizioni in Italian, the book shows unpublished archive photos of the school and collects in an extensive infographic some data relating to the Bauhausmädels, while on the back cover and in the flaps there is a visual representation of when our protagonists took part in the life of the school.

The infographic on the flap and inside cover

Chapter openings

A Bench in Venice is the title of an open call for students around the world to design an upcycled bench using the 17th Biennale Architettura di Venezia’s installation leftover construction materials. The exhibition is shown at the United Arab Emirates Pavilion.

The exhibition poster folds into a pamphlet. The title and dates are set in Cy with several of its alternates. For the list of the participants’ names, I used Archivo in Black, Bold and Medium weights.

Poster advertising the “AHA formula“ of distancing, hygiene, and masks.

The Bundesministerium für Gesundheit (German Federal Ministry of Health) uses Stabil Grotesk for its information campaign Zusammen gegen Corona (“Together against corona”) on issues related to the Covid-19 pandemic.

Christian Jánský’s Stabil Grotesk (Kometa Typefaces, 2019) in used in its Bold weight for headlines on posters, in online graphics, and brochures. It’s combined with the government’s custom typeface BundesSans. The latter is also used for the campaign website, zusammengegencorona.de, together with its seriffed companion BundesSerif.

Cover and interior page of an English-language information booklet.

Campaign poster.

Campaign poster.

Cover of a brochure with (mainly) pictorial information.

Spread with an infographic on how to behave when symptoms show.

Spread with an infographic on side effects of getting vaccinated.

Campaign website with BundesSans for headings and BundesSerif for text.

Cy by supertype used on the website of Studio Leeflang, an agency for eco-social marketing. Body text uses Avenir by Adrian Frutiger.

PULP, the Pop-Up Lab for Papermaking, is a hypothetical pop-up workshop event designed to promote the idea of paper recycling in our daily life as well as to provide a place for people to experience the craftsmanship of papermaking. The pulp defines the nature of the paper. From recycled materials to the pulp, from pulp to the final paper, the handmade texture brings transform to life. To convey the ideas and engage more people from the urban area, PULP focuses on the concept of processing, lab, and transforming.

Following the idea of Arts & Crafts, the font chosen for the logo is Jürgen Huber’s Hothouse (Supertype). Designed in 2001 for The Glasgow School of Art, it’s inspired by the lettering of Charles Rennie Mackintosh. Hothouse is paired with the reverse-contrast sans Gopher (Adam Ladd, 2019) for text.

This is a personal project created for portfolio purposes only, and no parts were used commercially. For more images, please visit the project page on Behance.

Brandbook.io helps you share visual identities, such as logos, colors, fonts, files and guidelines in one place. The relevant information and files are accessible to designers and their clients online.

For Brandbook.io’s own identity and website, Bureaudonald used Realist by supertype, in both regular and narrow widths.

Cover

One book of a series of books for secondary school and university education on the subjects of art, photography, film and architecture. This is part one, dealing with painting, graphics, and photography. Edited by Michael Klacht and Josef Walch, published by Schroedel (now an imprint of Westermann Gruppe).

Interestingly the main body is set in Profile Light.

Captions

Spread

Spread

Spread

Spread detail

OneShore Energy uses Lemon Sans by supertype for its identity. All text elements on the website, from the menu to headlines and body copy to the footer, are rendered in Lemon Sans Light. The logo uses the Unicase style.

OneShore is a green-energy startup from Berlin specializing in the analysis, planning and operation of solar-diesel hybrid plants. In 2017, it was acquired by BayWa r.e.

Berlin’s Tagesspiegel uses Jürgen Huber’s Cy (Supertype, 2018) with its latest supplement on the Bauhaus centennial. See the use of the many alternative glyphs in Cy!