Sinistre and Galaxie Copernicus are paired on the posters and promotion for a fashion show of fashion brands Sagi and Armenté, held in fall 2022 at the Municipal Theater of Santiago. A fashion and live music experience, where the two brands reinterpret the past through the sacred and the profane: the dialogue between extremes to build a diverse and sustainable future.

Buscoresi is a search engine for university residences in Spain made by former residents. It's a place to find a home for students.

Kinoto Studio’s rebranding proposal was based on speaking to two audiences at the same time so it had to be fun and playful for the students looking for their first home but also professional for their parents that are the decision-makers.

The branding has two typefaces, Galaxie Polaris (Constellation) and New Kansas (Newlyn) that live together in an organic way.

The new look is currently in the process of being implemented. Some of it can already be seen on Buscoresi’s Instagram account.

From the venue’s website (translated from French):

Usine à Gaz is a live arts scene and a concert hall in Nyon, Switzerland. Open and friendly, it offers theater, dance, contemporary music, shows for young audiences and dance parties among other scenic expressions. Whether you are a regular or a one-night spectator, you are welcome to join the team. Come and enjoy the new foyer, see a show, dance in a concert or just have a drink at the bar.

The new visual identity for Usine à Gaz launched in September 2021 including a new logo, signage system, season programs, poster campaign, a revamped website as well as a social media campaign. The identity is designed by Atelier Poisson using Everett by Nolan Paparelli as the main typeface – from big headlines to body copy – and Galaxie Copernicus as a supporting serif typeface for running texts.

Airtable is a cloud collaboration service offering a spreadsheet-database hybrid. Their website uses GT Eesti Display as the primary typeface. Eesti Display is also used for the logo. On the blog titled “For the Record”, it‘s paired with Galaxie Copernicus for text.

Dr. Natalie Engelbrecht RP ND is a dually licensed registered psychotherapist and naturopathic doctor, and a Canadian leader in trauma, PTSD, and integrative medicine strictly informed by scientific research.

Dr. Engelbrecht’s website uses a restricted selection of complementary colors, coupled with an array of equally complementary typefaces. Galaxie Copernicus (Village) is the primary typeface of choice, supported by Poppins (Indian Type Foundry). For the logotype on the home page Room 205 (Simon Walker) was used, and Rostrot (Fraktur Mon Amour) and Brilliant Signature (Arendxstudio) are featured in the illustrations on the Credentials page.

Design by Eva Silvertant, web development by Quinn Rusnell / Strategic Web Development.

Thirst:

Pizzeria Bebu is a fresh take on classic thin-crust pizza. Bud Rodecker created an identity system that is a new take on Italian iconography with fresh ingredients. The base of the logo is the red wedge, topped with an “Italian” reverse stress typeface, and custom lettering for “Pizzeria.” While the parts aren't authentic Italian ingredients, when combined they represent the Bebu way.

The type selection for “Bebu” is Arbor by Vllg a reverse stress typeface. Reverse stress typefaces are also sometimes categorized as Italian, although their origin in Italy is questionable. Most likely, they were labeled Italian as a marketing gimmick to sell fonts.

“‘Pizzeria’ is set in a custom typeface that uses American ingredients with an Italian flair. The discovery of a new stressed sans serif letterform came by overlapping two Zs of Trade Gothic Extended, a classic American Typeface. From there we extended it to an uppercase alphabet for Pizzeria Bebu's secondary typography.” — Thirst

Fashion System is a digital transformation platform and a magazine of Turkey’s fashion industry. It is a communication platform that strives to create a source of information regarding the methods by making intellectual contributions to the digital transformation processes of Turkey’s ready-made garment and fashion industry. 1970s typographic influences were chosen to give it a hybrid look which stands equally close to both retail business and fashion design.

Value Serif and Founders Grotesk X-Condensed are used mainly for headlines and side information, while Galaxie Copernicus and Founders Grotesk were chosen for body text.

WEIGHT is a (fictional) quarterly culture and lifestyle publication that uses hiphop music as a vehicle to explore new things. Every issue of WEIGHT spotlights a new album release from the artists that are shaping the industry, sharing their stories, background and highlighting their lyrical content—abstracted or otherwise—to relate to the world around us. Designed by Sean O’Brien while studying graphic design at Art Center College of Design.

View full project on Behance.

The Archaeological Museum in Zagreb is the oldest museum institution in the Croatian capital, founded in 1836. Today the museum’s collections hold more than 450,000 varied artifacts and monuments, covering the period from the prehistoric to the medieval ages.

Faced with the problem of an inconsistent visual identity, they hired our studio to help with the museum’s rebranding and the development of a contemporary identity that would fit their need for implementing consistent visuals in a vast amount of applications — from stationery, publications, signs, marketing, and museum shop material to a strict set of layout guidelines for online and printed material for exhibitions and other events (lectures, book promotions, concerts, workshops).

Along with the particular problem of the frequent use of extremely long and complicated exhibition titles (sub-titles and sub-sub-titles) — as required by the scientific nature of these events — plus the occasional lack of decent illustrational material, one of the main obstacles was the fact that many of these applications are not designed in-house, so the guidelines had to be kept precise, simple, and clear as possible to allow the consistency of visuals and retain control of the identity specifics.

Our response was a bold but stylistically neutral typographic framework complemented by the use of selected background images whose character defines the tone of the theme and illustrates the time period of the particular visual.

The typefaces used are Galaxie Polaris (for the main information, titles and signs) and Vista Sans (for body text).

You often dream of your ultimate holiday home, yet you rarely find yourself there. This is why Mountain View brings you 50 carefully selected hideouts.

Stylish architectural gems deep in the forest, high in the mountains or next to a lake, where you will not only find peace and serenity but also be inspired by the beauty of the homes and their unique location in the landscape.

Although they differ in style, price, and geographic location, all these magnificent homes have three things in common: the dream factor, mountain views, and their availability for rent.—Lannoo

Alias Harbour is used for titles and headline type throughout.

The accompanying sans serif is TT Norms.

The info boxes combine Galaxie Copernicus (Extrabold, Semibold + Italic) with LL Circular. The arrow is from Mercury Numeric.

The Recording Academy, the profession society of music professionals known for its Grammy Awards worked with the branding agency Siegel+Gale on their new identity. They chose Typotheque’s Francis Gradient font, a capital-only sans-serif typeface with a high contrast of thick and thin strokes, that is able to dynamically increase or decrease character widths, programmed with OpenType smart glyph substitutions.

Siegel+Gale used the gradient feature to its full extent, animating the logo, where it responds to the sound and rhythm of music it is paired with.

The text typeface used on the grammy.com website is Galaxie Polaris.

Alpine Modern Café is a natural extension of the broader Alpine Modern lifestyle brand. The café provides upscale coffee, espresso, and dining inside of a beautifully reclaimed cabin. We expanded the Alpine Modern brand to give the café visual distinction while maintaining the quiet beauty and modernity of the parent brand.

Entrañas is a magazine about origin and evolution of culture gastronomy in Latin America. Its mission is to spread the gastronomy and its values — from the preparation of rudimentary food of the first settlers of each country and its regions to the current gastronomy — and to strengthen cultural identity.

The project was developed during the Graphic Design and Publishing Projects Postgraduate Program at Elisava, School of Design and Engineering of Barcelona, under the direction of Óscar Germade (Solo – Barcelona). This is a non-commercial project. All content belong to their authors.

When the superb typographer Bethany Heck does something new, you'd better be paying attention. The Font Review Journal is an online publication that does exactly that, presenting reviews of typefaces. New or old, they all get a lavish treatment with custom type specimens, great editorial design and even better writing. The lack of greater written discussion and critique on contemporary type always suprised me, so it’s amazing to finally see someone stepping up.

For the complete loaddown on the Journal, you should read Heck’s super detailed Medium post (where I also stole the pictures from). But for this post, here is what she had to say about the choice of type:

There was never any question in my mind that the body text would be set in Galaxie Copernicus. It’s rare that I do a web project without it, and it has such a clean, even visual grey. It gives a scholastic tone without being overly formal and I love the eccentric italics. Pitch Sans was quickly chosen as the tertiary face for labeling and captions, and serves as the “narrator voice” of the site. A monospace font allowed me to have captions in the main columns of text that are clearly different from the body copy without having to dramatically change their color, size, or add adorning elements like rules which I thought would be distracting. I adore Pitch and was delighted to use the Sans version, which keeps the same generous proportions of the original while losing the serifs and the ball terminals. The result is a wide-set monospace font with a robust set of weights that is crisp and clean but still has tons of character.

Styrene was the next epiphany, and was chosen while picking a typeface for the “Font Review Journal Specimen” heading on each column of the specimens. Once you see Styrene’s “J” in use, it’s hard to turn it down. The font is unique and noticable without being distracting, and it didn’t hurt that it plays very nicely with the final typeface, Untitled Sans. Untitled Sans is a “plain” grotesque that’s meant to have as little personality as possible, which seems fitting for a website about reviewing other typefaces. I’ve grown rather fond of it and see a lot of beauty in its restraint. It settles in against all the other typefaces effortlessly, and thus the type system is complete.

From the website:

Christopher Doyle & Co. is Christopher Doyle, Stephen Grace and Josie Young. We are an independent and collaborative creative company based in Sydney, Australia.

We specialise in brand identity including naming and verbal identity, creative direction and digital design.

We collaborate with writers, strategists, photographers and developers to work with a diverse range of companies and brands across multiple platforms.

This design agency’s website is developed by Hyphen.

Working together with the always creative and visionary Tuhoe Te Uru Taumatua we shot back up to Waikaremoana and grabbed some pics of the charred cladding and signage we designed for the new Waikaremoana Tribal Office.

It features shou sugi ban, an ancient Japanese technique that preserves wood by charring it with fire. Our friends at Abodo supplied the all-natural timber. Ngai Tūhoe supplied the People power to char it all on-site. Beautiful building by Tennent Brown Architects.

Fire, pest and rot resistant — with no nasty chemicals. Built with Living Building Challenge principles in mind and best of all keeping with Tūhoe kaupapa!

Photography done by James Stanbridge

It won’t be obvious to anyone but type nerds, but I commend the designer for the atypical font choice on these stamps. No Helvetica or Copperplate Gothic or Myriad here; instead, the typeface is perhaps a little wink to those few who do notice: Galaxie Polaris.

Billboard ad “There is enough for everyone.”

Brot für die Welt (“Bread for the World”) …

is the globally active development and relief agency of the Protestant Churches in Germany. In more than 90 countries all across the globe we empower the poor and marginalised to improve their living conditions. Key issues of our work are food security, the promotion of health and education, the access to water, the strengthening of democracy, respecting human rights, keeping peace and the integrity of creation.

When Brot für die Welt merged with Evangelischer Entwicklungsdienst in 2011/2012, Factor Design overhauled the brand architecture and the visual identity and introduced the contemporary and sober Galaxy Copernicus as the main typeface.

The iconic logo in Antique Olive had to make way for something less distinctive. The new logo doesn’t use a font. It retains a few traits like the orange squircle o and the t with the bracketed top left and the curved tail. In combination with the other generic Grotesk letters, the result feels like a botch job, though — it’s neither fish nor fowl.

Annual report 2011

Various leaflets

First page of Aktuell #52 (7/2015). Layout: János Theil

Cover of Analyse #48 (2/2015). Layout: János Theil.

Ad “Weniger ist leer” (Less is empty)

The 136-page book comprises nearly 100 insets and 44 choropleth-coded maps illustrating global data. The visual voice was inspired by academic quarterly publications; sophisticated but digestible, with a color palette inspired by tissue and cell photography. Circles are used as a consistent throughline, to represent the cellular and global levels that cancer strikes.

Visual hierarchy allows skimming and browsing, while details invite careful reading. The left column is used as a brief summary of the chapter; numbered indicators in the body copy point readers to the insets for the deeper story.

Signage for a multifunctional music centre in The Hague, Netherlands. The signage consists of large vinyl floor numbers on the wall, and MDF panels of variable length with directions printed in bright red and white. The font used throughout the wayfinding is Polaris Condensed.

At both entrances of the complex, the signage is the first thing a visitor sees. Bright red sign plates, stuck on a large floor number, will tell the visitor what to find on this floor and on the floors above it. Signs are placed at all points where stairs meet a hallway. The list of possible directions grows shorter at each point. Visitors who lost their way can easily retrieve it by descending the stairs until the signage shows the desired direction.