Le Gers durant la seconde Guerre Mondiale (“Gers during World War II”) is a book produced for the Gers Departmental Archives. This book recreates the atmosphere of a tragic era, as well as the hardships and hopes of ordinary men and women in one of France’s most isolated regions. The texts were written by Karine Aparico.

Issues such as mental health and the destigmatization of mental illness are particularly close to the heart of communication designer Jana Heinz. As part of her Master’s thesis whilst studying typography under Professor Andreas Hogan at Trier University of Applied Sciences, she developed the branding for a fictitious foundation that aims to raise awareness of these issues amongst young people.

GRŌA – the name of the foundation – was derived from the Germanic word ghro (which is the origin of the word green) and the Green Ribbon. Introduced in the early 1990s, the green ribbon is the international symbol for the acceptance of mental illness.

Jana Heinz’s aim was to create an image that conveys openness, diversity and closeness yet that was still convincing. At the heart of the design is a modular construction kit. Four basic patterns, four grid types, two font families and a variable scaling system enable an exceptionally high degree of design flexibility. Constants such as the characteristic typography and a fine-tuned color concept with a focus on shades of green ensure the brand’s recognition value.

Jana Heinz chose the strong character of Nikolai, designed by Franziska Weitgruber, as the corporate typeface for the foundation’s branding. It is complemented by the sans-serif New Reason by Miles Newlyn, which mostly appears in capital texts. Nikolai not only carries the GRŌA logo, but also characterizes the entire advertising communication as well as the editorial design of the foundation brochure and the in-house magazine Smaragd. With its expressive italics, strong contrasts and carefully balanced proportions, Nikolai gives the visual appearance an unmistakable voice – elegant, yet at the same time lively and approachable.

In addition to its visual quality, the corporate design was particularly convincing due to its suitability for everyday use. It also enables non-experts to create media content quickly and consistently – a deliberate focus, as communication tasks in foundations, associations and smaller organizations are often solved decentrally. So it’s no wonder that Jana Heinz’s work was awarded the Junior Corporate Design Prize shortly after publication. The jury was impressed. They praised the concept as “well-thought-out down to the last detail” and spoke of a “construction kit that invites experimentation”. The result is an identity-creating design system that not only communicates openness but actively enables it.

Doorkijkvers (“see-through verse”) is a self-initiated participatory poetry project by designer Laura Broux created for Poëzieweek 2026. The project was developed and realized in collaboration with Creatief Schrijven vzw and printer Zwartopwit.

The project takes the form of an A6 card with a circular cut-out that functions as a lens. By framing a small detail in their surroundings, participants are invited to slow down, observe differently and write a short poem inspired by what they see.

Responding to the Poëzieweek 2026 theme ‘Metamorphosis’, printed on the front of the card, the intervention explores how a simple shift in perspective can transform everyday scenes into language. Distributed across Flanders (Belgium) and activated in schools, libraries and literary spaces, #doorkijkvers connects visual perception, writing and public space.

Thousands of people, including numerous schools and language institutes, took part in the project, contributing to a wide and diverse engagement with poetry across Flanders.

Header image used on Substack

The Freeman is a revival of the libertarian magazine also called The Freeman started in the 1950s by the Foundation for Economic Education (a libertarian think tank founded in 1946). The online revival of The Freeman was launched on June 9, 2025.

The typography brings together Ernst (Léon Hugues) with New Reason (Miles Newlyn) and the italic of Scotch Micro (Nick Shinn).

Article header

Article header

Article header

Article header

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.

Speedy’s E-bike Rescue provides “members in the Greater Seattle area with the uninterrupted joy and freedom of e-biking, backed by an invisible safety net.” The visual identity uses Gaya Italic for the logo, paired with a bunny mascot and Authentic Sans and New Spirit for text.

Some posters, T-shirts and illustrations around the theme of glaciers, mountains and nature for Agir pour les Glaciers (“Taking Action for Glaciers”), a festival that took place in March 2025 in Bourg-Saint-Maurice, France.

Minnie Bird is a fried chicken restaurant offering a menu of sandwiches, tenders, dirty sodas, and a special treat—free ice cream with every meal. The restaurant is partly owned by Sean Thomas (great grandson of Wendy's founder Dave Thomas) and named after his great-grandmother Minnie Sinclair. Opened in October of 2024, Minnie Bird is located in Schaumburg, Illinois.

The branding was created by Milwaukee-based designer Jim Kennelly. The Minnie Bird logo is custom lettering, but the featured font used in the headlines is Central Type's big, bold Dug. The body type is set in Tenso, but Etna, P22 Mackinac, and New Spirit are sprinkled in throughout.

“FINISH WITH A SCOOP” is Dug. Lines at the top and bottom are in italic caps from Tenso. “FREE ICE CREAM” and “Text Us!” are Etna. The phone number is set in P22 Mackinac.

Hand-lettered Dug painted in the store’s interior.

Mockup showing the poster

Inside Job Staff Biennale 2024 is an exhibition at Tate Modern, London organised by the Inside Job Collective. The project aims to highlight the creative work of Tate staff working across all departments of the museum.

The guidebook features reproductions of all 200 artworks submitted by Tate staff members, as well as documentation photography by Max Reeves. It was designed by Marjorie Dubois and Jed Fielder, and published by the museum itself.

The identity for the 2024 edition of the Staff Biennale was inspired by the typographic stencils used on shipping crates by installation staff behind the scenes. The design uses a bespoke condensed version of TateNew, alongside its Bold weight and Georgia.

Mockup showing the oudoor banner

Zoo from Blaze Type plays a pivotal role in the visual identity of Good Tempo Records, a Brooklyn-based record label and event promoter, designed by Atelier Soleil Soleil.

Atelier Soleil Soleil, a French studio based in Lyon and founded by Alain Papazian and Paul Andali, specializes in art direction, graphic design, and typography. For the Good Tempo Records project, they chose the Zoo typeface by Quentin Colombier, which effectively blends sharpness and roundness, delicateness and strength, to resonate with the label's vibrant music scene.

Inspired by the lettering on the vinyl sleeves of a French jazz band named Zoo, the typeface's asymmetrical distribution of shapes creates a lively, dynamic character, perfectly suited for the graphic expression of Good Tempo Records. This typography encapsulates the energy and creativity of the label, reinforcing its identity in the competitive landscape of music and events.

Zoo is used alongside Newlyn’s New Spirit and Typedifferent’s BD Cashbox.

Poster and visual identification for an event organized by SSAB Reproduction System at K-Bar Powiśle in Warsaw, Poland, utilizing New Science and P22 Elizabethan typefaces. The backgrounds combine printing and scanning techniques, using tracing paper and aluminum sheets. The colors and textures are inspired by classic Polish sweets – Michałki z Hanki.

From Wikipedia:

Between the Temples is a 2024 American comedy-drama film directed by Nathan Silver and written by Silver and C. Mason Wells. The film stars Jason Schwartzman, Carol Kane, Dolly de Leon, Caroline Aaron, Robert Smigel, and Madeline Weinstein.

Between the Temples premiered at the 2024 Sundance Film Festival on January 19, 2024, and was released in the United States by Sony Pictures Classics on August 22, 2024.

The movie posters use New Spirit Condensed for the typography.

The covers and the various slanted pages

The two publications were born within a collaboration between Iuav of Venice and the Italian Ministry of Infrastructure and Transport and were developed in the Communication 2 laboratory held by Professor Luciano Perondi, assisted by Bruno Calza.

The aim is to tell the story of the data on PNRR and PINQuA in an innovative way, with the only constraint being the omega-point bound A4 format.

The first book gives an overview starting with the PNRR (National Recovery and Resilience Plan) at the European level and then focusing on the Italian situation. This track ends with an introductory sentence to PINQuA (National Innovative Program for Housing Quality). The second book, on the other hand, provides a general overview of PINQuA, with a specific focus on Mission 5 of the program.

The graphics in the book were created with a program created through P5.js, which repeats letters and changes their size based on the gray value of a previously uploaded image.

To further bring out this need for a change of perspective and to mark the fact that things change if people want them to, each page, in fact, undergoes a rotation of 11.25° from the previous one, leading the book to make a complete rotation of 180° as a whole, an aid in this is provided by the “handles”, visual cues that suggest how to position the hands to support the book while reading. This solution not only facilitates the enjoyment of the printed material, but also adds an interactive and functional element to the design.

Some internal pages

Inner page (rotated position for reading)

Inner page (starboard)

Posters

Video with all the pages

From Kaaitheater:

After two seasons in Brussels, Kaaitheater continues the rich collaboration with VUB’s [Vrije Universiteit Brussel’s] Crosstalks around the series of lectures, debates and workshops under the name More-than-human Encounters. For this third edition, we join forces with international partners from both the arts and academia and in kinship with our more-than-human relatives.

The Series of More-than-human Encounters elaborates on different ways of being and different ways of knowledge, on what can be known and what will never be knowable. With the forest, the mountains, and the deep sea as our thinking companions, you are invited to come and discover what lies behind the horizon of human knowledge.

→ In collaboration with KVS (Brussel), Framer Framed (Amsterdam), La Casa Encendida & Artea (Madrid) and Rosendal Teater & The environmental humanities research group at NTNU (Trondheim)

Pauline Sesniac was invited to illustrate this series of events, which was also accompanying the exhibition Charging Myths in the Framer Framed, Amsterdam, through 3D compositions and visual landscapes. The fonts she used are PicNic for “more than”, New Spirit Condensed for “human”, and Apple Garamond Italic for “encounters #3”. The choice of PicNic was inspired by the organic shapes of the elements.

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.

Mucky Duck is a Michigan based mustard brand that's been around for over 40 years. Though once available in 500 stores across 15 states, its distribution and availability had slowly waned. In an effort to breath new life into the brand, Traction was enlisted to completely overhaul the visual identity.

The Mucky Duck's logotype is set in a slightly modified version of Central Type's Zonk. The terminals of the C’s have been sheared vertically in order to create an more uniform space between C and K. The brand's headlines use the standard, unmodified Zonk Regular.

The secondary type is New Spirit, which contrasts nicely with the extra-bold, sans serif headlines. Labil Grotesk is used for the website's body type.

The Peggy Notebaert Nature Museum of the Chicago Academy of Sciences (Nature Museum) has been connecting Chicagoans with nature and science since 1857, making it Chicago’s oldest museum and one of America’s earliest scientific institutions. Following a new strategic plan, the Nature Museum commissioned Nick Adam’s team at Span to evolve its visual identity to broaden its influence in the spheres of environmental action, conservation, and research.

Span worked closely with the Nature Museum to craft a bold new brand identity inspired by native Illinois prairies. The identity system and website were designed to be adaptable to the Nature Museum’s diverse audiences. Visitors get to experience the vibrancy of the Nature Museum as a place to connect with nature, while scientists and researchers can recognize the Chicago Academy of Sciences as a hub for scientific study and public engagement.

Span crafted the wordmark using Céline Hurka’s typeface Tonka, whose flaring stems convey a historic, organic essence — symbolizing the museum’s dedication to nature and environmental leadership. The complementary font, Miles Newlyn’s New Atten, is a charming humanist sans-serif inspired by the voice of naturalist Sir David Attenborough.

The straightforward, confident logo elevates the Nature Museum’s presence and communicates in an accessible, inclusive voice while linking the museum to the Chicago Academy of Sciences.

Inspired by the Illinois prairie, the color palette spans catalpa green to columbine pink to milkweed cream—unexpected blends that reflect nature’s diversity and beauty. The abstract icon evokes butterflies, flowers, and clouds—capturing the sense of wonder the natural world inspires. Beyond its official use, the icon serves as a lens to view the world and when composed into patterns, instills a sense of positive activity.

Span’s identity system for the Nature Museum can use the logotype in a manner that stands alone as a mark of leadership or it can dynamically integrate with the organic shapes and imagery. This adaptability suits diverse scenarios, from advising corporations on sustainability to inspiring new nature champions. In addition to the visual identity, Span redesigned the Nature Museum’s website, signage, and other collateral for the museum and its store.

Gyllene Tider is the previous Swedish band by Per Gessle of Roxette. Gyllene called it quits in 2019. They wanted to quit while they were ahead. Please note that the band officially ended in 1985, the year before Roxette started, but they have been on several very successful tours since 1996. Anyway, the Corona pandemic came and they thought things over. Wouldn’t it be nice to do something after Corona? Said and done. They recorded the album Hux Flux (“wham Bam”, sort of) – released on CD and a few differently colored vinyls – and did another successful tour in 2023.

The album sleeve, designed by Pär Wickholm as per usual, uses a ton of different fonts. The titles all have their own font, while the “normal” texts on the sleeve and in the booklet are set in New Frank Regular and Noir Medium.

The Gyllene Tider logo is based on Palace Script. It was originally made in 1979, using dry transfer type.

[More info on Discogs]

Sida A: 1 Verlag Bold Condensed / 2 Marquee Moon / 3 Rosewood Fill / 4 NT Josefine / 5 Intro Black Inline
Sida B: 1 Charcuterie Cursive / 2 Poster Bodoni / 3 RTCO Flinton Texture / 4 Neue Metana / 5 Pretorian / 6 ITC Blair
The numbers are from Noir, the credit line is in New Frank.

BirdyBird is a self-balancing interactive ceramic bird produced by VetJale, a brand by interior designer Sophie Anderson.

New Kansas is used for representing BirdyBird's bold and playful design.

Birdy Bird packaging

Packing has a continuous design on all sides of the box.

VetJale’s website using New Kansas Black and Light

Website text is rendered in Montserrat.

Expensify wordmark.

Expensify is a financial management app for managing expenses, sending invoices, reimbursing employees, and more. While that might sound like it could err on the side of boring, we assure you it absolutely isn't. After experimenting with a Super Bowl commercial in 2019 that got a little wild - featuring 2 Chainz and Adam Scott and a fully illustrated cast of characters by Augenblick Studios - this felt like a huge success, and they realized they might be playing it too safe with the rest of their brand. They wanted to step up their game and step away from the dull playing field that other financial software lives in.

The Collected Works teamed up with Expensify to give the brand a complete overhaul - no stone left unturned. From freshening up the wordmark and iconmark to expanding the color palette and animating everything they could get their hands on, everything was scrutinized with a fine-tooth comb. A huge piece of this was hiring foundries Newlyn and CoType to create custom typefaces: Expensify New Kansas (a custom version of New Kansas), Expensify Neue (a custom version of RM Neue) and Expensify Mono (based on RM Mono, not shown here). These are full families (New Kansas even has a Swash variant) and they’re put to use everywhere: from out-of-home ads and swag to the workhorse behind their app and website.

More examples in the full case study.

Render of Expensify credit card

Examples of Expensify app screens, utilizing Expensify New Kansas and Expensify Neue in product

Example of out-of-home advertising

Example of Expensify app's chat function, using Expensify Neue

Expensify New Kansas has a Swash variant, perfect for swanky headlines like this.

Expensify logo and assets in the physical world

Sample of Expensify New Kansas

Sample of Expensify Neue

Examples of custom typefaces pairing with illustrations or as quotes in layouts

Grid showing various Expensify assets, using a variety of typefaces