Mythopedia.com is an encyclopedia website dedicated to mythologies from around the world, from Greece to Japan. The website aims to “elevate our understanding of these stories foundational to civilizations past, present and future.” Aside from mythology, they also have a dedicated page for generating fictional names.

The website is designed by Wasai, a digital product studio. The website’s main heading uses Queens Condensed (Kilotype). Smaller headings uses Baron Neue (Font Fabric) and Chap (Schick Toikka). And lastly, the text uses Signifier (Klim Type Foundry).

A page for generating fictional names.

Page showing a guide to Japanese mythology.

A page showing information about a Japanese goddess Inari.

Mission statement.

Website’s footer.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

Webkikker was created to be used as my professional design identity. I work with Rive, a platform for creating interactive motion graphics (a famous example of Rive in use is Duolingo). “Kikker” is Dutch for frog, and “opkikker” is Dutch for “boost”, so the name was created to suggest a positive effect/refresher for potential clients’ branding.

As the name contains no fewer than three k’s and two e’s, it has a tendency to look quite bland when set in many popular typefaces. That’s why Zoom – designed by Florian Paizs and available from The Designers Foundry felt like a great choice for the logotype. The extended r adds character at the end of a word that’s unremarkable in terms of shapes, and the wide letter shapes feel warm yet trendy. The typeface reminds me of Agrandir’s playfulness, without feeling disjointed. Zoom, a variable font, is used here in just its normal width and medium weight.

Zoom comes with many alternates to increase or decrease its innate quirkiness, depending on the vibe the designer is going for. For now, all I have used is its alternate t to save space on the mobile version of the website. On the animated main page, Production Type’s Spectral, designed by Jean-Baptiste Levée, is used for the short paragraphs of text. Kilotype’s Snapshot, designed by Selma Losch, is used to announce upcoming examples of motion design projects.

Designer Hayley Lim taps into the expressive tension of Faust (designed by Bouk Ra and released by Type Department) to craft the visual identity for StillBitter Lemonade Co., a brand that leans into contrast – tart yet elegant, bold yet refined. Faust’s razor-sharp serifs and exaggerated curves lend the brand a sense of cultivated drama, perfectly echoing the product’s name and attitude.

Used across packaging and brand assets, Faust brings high contrast and an air of irreverent sophistication. The typeface balances between ornamental and functional, delivering standout shelf presence while maintaining readability – ideal for a modern beverage brand that wants to feel both niche and premium.

In the hands of Lim, Faust becomes more than a type choice – it’s a statement of flavor, edge, and aesthetic bite. The accompanying sans is Kilotype’s Oldschool Grotesk Compact.

The exhibition Paik Nam June - Lee Lee Nam: IN PROGRESS at Daejeon Shinsegae Gallery commemorates the late media artist Paik Nam June’s 90th birthday. Daejon-based design studio (NO-NAME)PRESS developed the graphic identity and typographic concept.

The visuals echo some of Paik Nam June’s pioneering artistic techniques, particularly the interference of the flow of electrons in color TV sets. The narrowly proportioned letters of Oldschool Grotesk Compressed are overlayed on RGB electron beams that change color while the letters flow in and out. In addition to the series of motion graphics, the exhibition also uses the typeface in signage and various pieces of ephemera. While the large-scale display typography is mainly in English, the more text-heavy Korean applications appear to use Sandoll GothicNeo.

For the identity of Bélanger Faucets, we selected the Mori and Queens typefaces to create a balance between modernity and elegance. Pangram Pangram’s Mori, with its geometric and timeless shapes, reflects the precision and functionality of the product. Meanwhile, Queens by Kilotype brings uniqueness and refinement, embodying the world of interior design. The contrast and rhythm between these fonts ensure visual synergy, reinforcing an identity that is both contemporary and sophisticated.

Doe Records is a non-profit record label based in Portland, Oregon, which describes itself as a non-traditional platform for local musicians centered around female, queer, non-binary, and trans artists.

In 2024, they collaborated with Francis for their debut album Crush. Ricardo d'Avila, graphic designer and co-founder of Doe Records, designed a beautiful record and sleeve for it, prominently featuring the typeface Lofi Forest by Kilotype, embossed in large capital letters to striking effect.

In addition, the artwork features Charlottenburg for the album title and for the smaller information on the back.

The album was pressed and embossed by Record Industry.

MadeByShape revitalised the digital presence of Skew Studio, a dynamic brand licensing agency in London. This collaboration centred on a full rebrand and the development of a new web experience designed to position Skew Studio as a leader in its field. We introduced a bold new logo, dynamic patterns, updated typography, and playful human elements to embody Skew's innovative ethos. These visual elements were harmoniously integrated across all brand touchpoints, enhancing Skew's identity.

Furthering the transformation, MadeByShape designed and developed a bespoke website utilising Craft CMS, ensuring flexibility and control over design and content, which improved both user experience and SEO performance. The website features engaging animations and parallax scrolling, creating a dynamic user journey that effectively communicates Skew Studio’s brand message. This strategic overhaul not only amplified Skew’s digital presence but also underscored our expertise in delivering comprehensive branding solutions and innovative web design.

The display typeface us Queens Medium by Kilotype. It’s supported by Work Sans for menu and text. The logo predates the redesign.

de Young onsite signage

Irving Penn is widely recognized as one of the 20th century’s greatest photographers. Vogue’s longest-standing contributor, Penn revolutionized fashion photography in the postwar era. The retrospective at the de Young Museum San Francisco traces his 70-year spanning career in 175 photographs—from early documentary scenes chronicling the Summer of Love to celebrity portraits, abstract nudes, and fashion studies.

The graphic identity and typographic concept were developed by Lizzie Baur and uses a custom unreleased variable version of Charlottenburg, which was created for the exhibition. A major through-line centers on theatricality and artifice. For the existential portrait series, Penn made a banal, temporary set in which he stuffed his subjects into a corner crevice, challenging them to grapple with physically occupying such an unusual space. Their bodies became almost sculptural as his sitters contort and utilize the space in radically different ways. To rearticulate the gesture typographically, Lizzie Baur imagined their bodies as letterforms. The width of the characters can be manually scaled, just like the portrayed adapt to their unfamiliar surroundings.

The variable font is also employed in motion graphics, which nicely contrasts with the all-analog title wall leading to the exhibition. The wall was painted by hand by the San Francisco-based sign painting studio New Bohemia Signs and took over three days to complete.

ITC Garamond supports the expressive typography and large-scale display arrangements in the more toned-down, classical communication elements.

More images and additional information can be found on Lizzie Baur’s website.

Inspiration for exhibition titling

Wheat paste posters

Billboard

Charlottenburg variable font animations

Exhibition signage

Exhibition signage

Title wall

New Bohemia’s sign painters at work on the title wall

Time lapse

Exhibition leaflets

For the Monday Clicks project, MadeByShape took on a transformative approach to refresh the brand's online presence and enhance the digital experience for its users. We revamped the website with a sharp focus on usability and visual appeal, tailored to elevate the user experience. Utilising dynamic typefaces, we infused modernity and elegance into every page, reflecting the innovative spirit of Monday Clicks. The team successfully redefined Monday Clicks’ branding, establishing a coherent and captivating visual identity that aligns seamlessly with their strategic goals.

Their design strategy not only revamped the aesthetic aspects but also streamlined the site architecture to improve navigation and functionality. The new website now serves as a digital showcase of Monday Clicks’ services and expertise, designed to engage and convert visitors through compelling design elements and intuitive user paths. This thoughtful redesign empowers Monday Clicks to stand out in the digital landscape, capturing attention with its unique brand voice and visual identity.

In 2024, the Seoul Philharmonic Orchestra embarks on a new chapter with the appointment of Jaap van Zweden as its new conductor. For the design of the program, the Seoul-based studio Workroom selected Charlottenburg for headlines and display settings, Jibaek for Korean texts, and Neue Haas Grotesk for their English counterparts.

The broad range of applications includes various types of printed ephemera, such as pamphlets and posters, signage, video, and social media. The prominent titles are set in Charlottenburg Choices, allowing emphasis on individual letters by expanding their width and lending an air of expressiveness to the overall aesthetic. On occasion, the Circles variant is also included. Jibaek and Neue Haas Grotesk are employed for subheadings, body text, and captions throughout the program and in cross-media applications.

Further documentation can be found in Workroom’s case study.

Earth Alliance is a worldwide although US-centric organization at the meeting point between ecological fight and the creative industry. Earth Alliance was co-founded by actor Leonardo Di Caprio (with Laurene Powell Jobs and Brian Sheth) in 2019 and heavily advertised as such at first, but we noticed the disappearance of his name from their main channels headers, maybe due to the recurring questions around the actor's ethics and way of life (partners systematically under the age of 25…).

Delicious Nuggets are the first main public content released by Earth Alliance, in the shape of a website featuring articles targeted to creators interested into using their voices to raise awareness around climate change, as well as a fund to foster such creators. From the Nuggets website:

Nuggets are bite-sized, science-backed snacks to help creators—like you—change the conversation about the climate crisis.

Earth Alliance features a festival of typefaces for their “Nuggets”, with visual cues inspired by (online) magazine design. The three main families are Kilotype's Queens, NaN Tragedy, and Colophon’s Basis Grotesque. Each nugget, treated as an independent article, can feature a range of additional titling fonts, although some of them (Review, Ohno Softie) are used across different nuggets. The font license budget of this project might have been juicy.

Visual identity proposal for the Orto Botanico di Palermo (Botanic Garden of Palermo) my classmate Federica Fresta and I made for the Graphic Design 3 class at Accademia di Belle Arti di Palermo (Academy of Fine Arts of Palermo).

We redesigned the whole visual identity of the Botanic Garden of Palermo, a museum and educational-scientific institution, an historical and iconic green space of our city that hosts more than 12,000 different plant specimens.

This proposal starts from the vision of the Botanic Garden of Palermo as both a well-established institution and a public space for the community to experience nature and learn about botanical sciences. We wanted to truthfully represent the importance and the cultural relevance of such space.

We adopted a contemporary approach with bold colors and appealing shapes to bring the institution to the present day and make it look vital and vivacious as it really is.

LAS Art Foundation is a non-profit art institution and platform for art, science, and new technologies in Berlin. The programmatic focal points range from artificial intelligence and quantum computing to ecology and biotechnology — illuminating the intersections between art, science, and technology. The newly launched visual identity and branding for LAS were developed by Kreuzberg-based creative agency MoreSleep. While the identity and campaign are primarily a digital experience, the responsive elements and motion design translate directly from the web into the physical realm.

The typographic framework is composed of Oldschool Grotesk and Diatype. Oldschool Grotesk is used for more prominent elements at display size and sub-headlines, while Diatype and Diatype Mono are extensively employed for body copy. Both typefaces embody a certain degree of mechanical warmth, which conceptually and functionally makes for a great pairing.

More information and visuals can be found here in MoreSleep’s excellent project documentation.

The Blackpepper Studio (TBP) is an award-winning multidisciplinary design and experiential Studio creating engaging and meaningful design experiences and identities for brands within the fashion, luxury, arts, wellness and lifestyle industries. Our work is primarily informed by storytelling with a strong exploration of editorial design, expressive typography and colour all approached from a contemporary point of view.

In designing our website, one of our prominent visual languages was centred on the website's typography with Charlottenburg by Kilotype leading the pack. Its high contrast gave us the perfect bold editorial feel we needed while its wide O’s served as image containers for some visually sensitive concepts.

To balance out Charlottenburg’s razor-sharp serifs, we used Neue Haas Grotesk Display and Freight Display as body fonts. To add a personable touch, Altesse is used as an accent font throughout the website predominantly for writing names. The logo is based on Neue Helvetica Condensed.

Charlottenburg makes an impact on the cover of Dear Love by artist Sarah Bahbah, designed by Raissa Pardini.

Pardini chose Charlottenburg Circles for the cover, an interplay of compressed and classical proportions. The typographical tension complements Bahbah’s themes of love and heartbreak. The spine is set in Charlottenburg Classic. A more formal choice was made for the text inside the book, set in Times New Roman.

The combination of metallic red hot foil stamping on a linen hard cover further enhances Dear Love’s emotional impact. The book is smyth-sewn, with woven headbands, and includes four satin ribbons for bookmarking.

The Arabic text on the back cover is either lettering, or a yet unidentified typeface.

An early use of Charlottenburg in a music video for the French fashion web magazine Jamais le Mardi. The video promotes the launch of the magazine at a clubbing party at Le Sucre in Lyon. Studio Béguin made use of the Compressed, Circles, and Choices styles of Charlottenburg.

More images and insight can be found on the design studio’s Behance page.

Director: Marty Pourcent
Art direction and production: Studio Béguin
Stylist: Zero Katre
Photographers: Clement Sanna and Briac Durand

The Rest Is Up to You is an exhibition, installation, and performance space at State Library Victoria exploring the past, present, and future of Fringe, Melbourne’s longest-running multi-arts festival. The exhibition design (together with Kate Rhodes and Kate Davis), as well as the branding and the campaign, was developed by U-P, extensively employing a customized variable font version of Oldschool Grotesk.

In addition to animated typographic visuals, signage, and the multi-layered campaign, individual font styles were also used for the accompanying 500-page publication, a book about the past, present, and future of Melbourne Fringe.

More images, animations, and information can be found here in U-P’s excellent documentation of the project.

Founded in Istanbul in 1987, Çapa Medical developed into one of the largest wholesalers and suppliers of medical consumables in Turkey during its first 25 years. In 2015, Çapa accelerated its growth through its subsidiary Honnes which produces bandages, disinfectants, and protective clothing. Twelve months later, Honnes launched the consumer brand b-good and entered the B2C business for the first time with a wide range of plasters and bandages.

b-good sales multiplied during the Coronavirus pandemic through the sale of disinfectants, gloves, and face coverings, and expanded into 12,000 pharmacies in 50 countries. In 2022, this was followed by their entry into the manufacture and sale of cosmetic products with the launch of their sister brand b-good care. b-good sets itself apart from the competition by using high-quality, harmless ingredients and not testing their products on animals. The b-encapsulation process patented by Honnes is designed to enhance the effectiveness of the mostly plant-based ingredients.

With the evolution from B2B to B2C business, a revamp and revision of b-good’s visual identity became necessary. For this, the brand could find no better partner than the design studio Just Design FX, whose desks are located in a coworking area of the Meydan shopping mall, in the hip district of Ümraniye on the Asian side of Istanbul.

Agency founder and creative director Merve Gülay chose the neo-grotesque Turbine by Felix Braden (Fontwerk) as their house font, alongside Queens by S. Losch (Kilotype), used on the website and social media channels; the Pink Chicken script font by Gitayogi Irhandi (Scratch Design), used in the web shop and on the packaging; and Duplicate Soft by Miguel Reyes (Commercial Type) on the packaging. All four fonts work together in harmony to create a strong and memorable brand identity.

Amble is an Australian outdoors clothing brand committed to sustainability; recycling post consumer bottles into fabrics and planting trees for every order.

Melbourne-based brand creation agency Date Of Birth, who were commissioned to overhaul the brand, write about the project:

Originally Team Timbuktu, Amble came to us in need of a brand evolution, and do a little growing up to create a brand that better reflects their values and position today. They wanted a new name to reflect who they are. To wander, to mosey, to amble along, without any pressure of performance. Reflecting a concept of leisurely movement, indicative of recreation was the perfect fit — rather than the ‘quicker, faster, stronger’ hectic vibe a lot of other companies go for. The branding reflected this perfectly, creating the feeling of movement and stillness at the same time.

Queens by Kilotype is used in the logo with an italic l positioned dynamically in an otherwise upright word. It is also used as some of the larger type where it often functions as a form of emphasis alongside Neue Montreal by Pangram Pangram.

As part of the brand update, Date Of Birth created new packaging, a website, swing tags, flyers, beanies, jumpers, tote bags, drink bottles, posters, and promotional graphics.