Generaxion is a digital performance agency operating across Northern Europe. The agency works with companies on SEO, paid media, and digital strategy, combining data and creative execution to drive measurable results. With offices spread across the region, Generaxion operates as one connected team under a shared culture and way of working.

The Ownership Code is a internal publication articulating that culture. Built around the idea that everyone should treat their work as if the outcome is personally theirs, it outlines a shared mindset rather than a set of rules, encouraging initiative, accountability, and follow-through at every level of the organisation.

In 2024, TT Commons Pro became the new corporate font for Kiwitaxi.

Kiwitaxi is an international service for booking private transfers online in advance, primarily from airports and between cities. TT Commons Pro maintains a consistent style across different languages and formats, ensuring the brand looks equally confident across all mediums.

The logotype uses something else, possibly a modified Axiforma.

Under Approval is a creative digital studio specialising in brand and advertising content. The website is reduced to a short self-introduction, a list of capabilities and a contact form, giving the studio a direct and highly compressed online presence.

The copy centres on lines such as “We make stuff move” and on services including precision 3D modelling, look development, digital simulation, character development, brand films and motion systems. Its sparse structure makes the website feel closer to a calling card than a conventional agency portfolio.

Typefaces in use are Store Norske Ja and Store Norske Ja Mono from Skriftkompani.

Source: archive.org License: All Rights Reserved.

The Inland Printer, published in Chicago, was perhaps the best record of early 20th-century American graphic design. “Specimens” (later “Specimen Review”) was a regular feature in which printers submitted their best work with the hope to be selected and critiqued by J. L. Frazier, editor of the journal. Alexander S. Lawson remembered it this way:

During his 47-year tenure in assembling “Specimen Review,” J. L. praised his contributors most of the time, but he could be caustic on occasion, blasting shoddy work without hesitation. He was particularly annoyed by stunt typography, coining the term “cockroach typography” to describe some of the excesses in style and legibility which came to his attentive mind.

It was rare, however, that J.L. simply panned a piece of typography out of hand. In almost every instance, he attempted to criticize constructively and with painstaking detail. He had all of the attributes of a first-rate teacher—always seeking to instruct and improve, and of course, to share his love for the world of print with anyone who would listen.

Month after month, Frazier was the recipient of printed material from every part of the United States and from many foreign countries. He carefully selected a number for reproduction. In addition, he commented editorially on 30 to 40 items, discussing them in detail.

In this October 1917 edition, Frazier selected the work of Oscar F. Jackson based in Lansing, Michigan. “Your work is clever.” he said. “The specimens set in the new Publicity Gothic are particularly effective.”

Source: archive.org Smithsonian Libraries at Internet Archive. License: All Rights Reserved.

Jackson’s ad for Superior Typesetting Co. is reproduced above, likely in different colors than its original. At first I thought Jackson did some clever custom cut for the overlapping “ST” in “Installs”, but it turns out that ligature was included in Barnhart Bros. & Spindler’s font.

Source: www.flickr.com Scan by Stephen Coles. License: All Rights Reserved.

Detail from the Publicity Gothic specimen in Barnhart Bros. & Spindler’s Catalog 23.

Designed in 1916 and released by 1917 (the same year as this use), Publicity Gothic is one of the first typefaces to emulate the bold, rough-edged “poster” or “block” lettering style sparked by Germany’s Plakatstil movement. It beat the heaviest weight of Berthold’s Block by three years.

This printer’s trade card / business card from the 1870s was printed in three colors on gloss coated stock. It features five different typefaces. The bichromatic caps filled with stars and stripes are from Johnson’s National, designed by Julius Herriet, Sr. and patented 1856.

This is an exceedingly rare card, I only know of one example. Its exact date is unknown. Greenback, the bold upright cursive with split shade, was designed by Herman Ihlenburg in 1870 and patented by MacKellar, Smiths & Jordan a year later, so it can’t be any older than that. In 1879, one Robert Malcolm was publishing The Masonic Newspaper from the mentioned address at No. 49 Cedar Street, New York.

“Steam” is in Antique Extended and “New York” in italic caps from a Modern/Scotch. The grotesque used for “Near William” is unidentified.

For a second example of Civil War-era patriotic type, see the “God and Our Native Land” envelope. It features a typeface that is not exactly the same as the one shown here.

I’m Taylor Jane Roy, a multi-disciplinary designer from California. My portfolio website uses two typefaces. The old-style serif typeface Fraunces by Undercase Type infuses playful personality into an otherwise minimal design. This soft and wonky font is contrasted by the consistent rhythm of Maison Neue, originally by Milieu Grotesque.

On her personal portfolio website, Daria Cohen writes:

I’m a Type and Media trained type designer based in Berlin. I’ve worked on Latin, Cyrillic, and Greek with Dinamo, NaN, Swiss Typefaces and Vectro (to name a few) contributing to various retail typefaces as well as projects for Call of Duty, Spotify, Wise, and a generous number of NDAs.

My self-initiated projects revolve around one goal: making fonts my grandma would recognize.

The gravestone on my homepage ties into my passion for death studies. I dream of opening a funeral home someday, but until then, my fonts are free for all death-related projects.

The website was designed and built by Lena Weber, who comments:

Since Daria is a type-designer the goal was to build a home for her fonts & projects, linking to different foundry websites for purchase.

The site is an homage to extended glyph-sets, alternates, carefully crafted letters and – of course – to Daria. 🥀🕊️

On reload random characters are pulled from the fonts, creating encrypted inscribing on the digital headstone: The »Daria Cohen password-generator«?

The site is divided in »the living« (fonts, released and available for purchase) and „the rising“ stuck as for in progress fonts in the bony underworld.

The custom backend allows for font upload, everything else is generated automatically.
Free font conditions hidden in an easter egg. Thank you Daria for your trust to go wild! I really enjoyed working with a type-only asset pool, diving deep into details, digging for glyphs and expressing an idea through placement and color only.
Swipe for a graveyard of discarded designs as well!

Text on the website is set in Daria’s own Onlysans.

Harvey is the AI platform tailored for legal and professional services, used by top law firms and in-house legal teams – including A&O Shearman, Reed Smith, Deutsche Telekom, and PwC UK – to elevate their craft and navigate complexity. The brand foundation was shaped by Portland-based studio Geist, working alongside the Harvey founders and brand consultant Shawn Farsai, producing an identity that stands apart in a category full of generic tech tropes.

In June 2025, Harvey launched its first out-of-home campaign in New York – “Practice Made Perfect” – with Geist and Daybreak, where typography carries the entire expression: the wordmark, headlines, and display copy are all set in TWK Ghost (designed by Nolan Paparelli and published by WELTKERN), its refined high-contrast shapes giving Harvey the editorial gravitas of a legal journal while signaling craftsmanship and precision. ABC Diatype by Dinamo is used as a supporting sans-serif for body copy and UI – a measured counterpoint that lets TWK Ghost hold the emotional and visual weight of the brand.

Seamless Data is a New Zealand integration platform for utilities, local government, and other asset-rich organisations. The website positions the company around system connection, workflow automation and resilient operations, with dedicated sections for local government, utilities, FME products, case studies and training.

The site combines technical product messaging with a more human layer about trust, partnership and long-term support. Its structure moves from platform overview to sector-specific applications, product modules, testimonials and case studies, giving the business a clear B2B sales flow grounded in infrastructure and public service use cases.

Both the logo and the website use Store Norske Skandia from Skriftkompani.

An advertising card design shown in the Printers International Specimen Exchange, Vol. XIV, 1893. Printed letterpress with extensive usage of bent brass rules. Though not typical of the genre, it should be considered work in the artistic printing movement category.

“Tipo-Litografiche” is in Bijou (1883), “Milano” and “Telefono N. 143” in caps from Unique Celtic (1889), and the address in Chaucer (1883). The thin typeface chosen for the company name itself is yet unidentified.

Giovanni Ricordi founded his internationally known music publishing company in Milan, Italy, in 1808. He was hired by Teatro alla Scala in 1814, and in 1825 purchased the entire La Scala library. In 1839, he published Verdi's first opera. The company in 1893 was headed by Giovanni's grandson Giulio. Ricordi remains very much in business today.

This composition, to me, could be mistaken for a modern, contemporary design.

Studio Freight delivers brands, digital experiences, campaigns, and special projects to move missions forward. Their global team works across categories, continents, and capabilities to transport client partners from where they are to where they want to be.

Recently, the studio introduced a new brand and website, ending its “speakeasy era,” with a clarified promise of Moving Missions Forward and an unfolding ecosystem of initiatives, including The Manifest. The new logomark draws on the narrative depth of crests and hieroglyphs, combining a horse, a key, and an F that together hint at a pegasus.

The identity pairs JJannon (by Optimo) with Publico Text Mono (by Commercial Type). JJannon carries body copy and longer reading, where its editorial heritage and slightly austere contrast bring intelligence and care to the studio’s writing. Publico Text Mono anchors headlines, eyebrows, and supporting marks, where its monospaced, data-vernacular texture lends the brand the cadence of annotated research. Together, the two scale between quiet and loud, giving the system the feel of brutal elegance.

Gianluca Patti is an Italian illustrator and art director. The website organizes his work into three primary archives: Featured, Playground, and Art Direction. The “Fun” section gathers the drawings that define Gianluca’s visual universe, a collection of delightful fun art that the artist is collecting during his carrer.

The UI features original animated icons, while the typeface Kaio Krilin perfectly matches the site’s bold, playful spirit. National Park is used for body text, adding a sense of softness and joy to the overall interface. The type palette is rounded off by Bitcount Grid Single Cursive Light.

Icon set

Fluctuating sticker

Ventum is an offshore wind energy maintenance and service company operating across Europe, the UK, and the US. Founded by young entrepreneurs in a veteran-dominated industry, the company specializes in turbine maintenance, blade repair, rope access services, and emergency response for offshore wind installations.

The visual identity, from the carefully crafted Parabole Display and Parabole Text combination to the precise color psychology of cool offshore tones, immediately signals institutional maturity.

The ‘Keep the World Spinning’ positioning accomplishes something more subtle but equally important. It demonstrates strategic thinking beyond operational capability. While competitors present themselves through purely technical language (offshore maintenance, turbine repair services), Ventum's narrative positioning shows founders who think in terms of mission and impact.

Atelier Bulk is a French boutique printer specialising in high-quality embellishments – hotfoil, embossing, debossing, and bespoke print finishes for luxury brands. Originally known simply as Bulk, the company faced a perception gap: a name that suggested mass production for a business built on craft and precision.

Bordeaux-based studio Abmo led the rebrand, drawing inspiration from luxury fashion houses to position the printer as a leader in its category. The new designation incorporates the term “Atelier” to signal artisanal character and distance the brand from industrial associations, supported by the descriptive line State of the Art Printing. The visual system pairs an elegant minimalist monogram with a powerful, timeless wordmark – clean and disruptive within a traditionally conservative industry. A unified website replaced the previous fragmented digital presence, integrating all services under a single identity.

The logo for SignUpGenius is using the Phoenix Chunky font. It has been in use at least since 2008.

SignUpGenius helps people bring their communities together with easy online tools for organizing events, volunteers, and fundraising.

Nortype is a new type foundry founded by Arve Båtevik, who also runs Store Norske Skriftkompani – a foundry focused on Norwegian visual heritage. The website was designed by Båtevik and developed by Alejandro Rojas and Båtevik.

The foundry focuses on accessible, inclusive, and visually enduring typefaces, combining research, technical precision, craft, and universal design. The site presents the catalog, specimen pages, trial requests, licence information, EULA, and online store in a direct, text-led structure.

The website is set entirely in Sanna, Nortype’s first release.

Particle is both a studio for video and photo, and a creative / marketing shop with locations in Portland and Seattle. Their website is both used for renting out the studio spaces (using a logo set in Volksans) and as a portfolio website for their creative services, using Fluro for the logo.

Visual identity and website for Origines Art & Collection, realised by Not In Paris Now. OAC is an independent art consultancy agency specializing in the creation, structuring, and valuation of collections.

For its branding, Not In Paris Now used Mosa by Alexandre Créquer and Neue Montreal by Mat Desjardins.

Nomad Electric delivers comprehensive utility-scale renewable energy solutions, pioneering solar, wind, and hybrid power plant technologies.

We implemented a complete brand transformation using our “unselling” methodology, repositioning Nomad Electric from a conventional energy contractor to an advancement-driven technology pioneer. The strategic redefinition centered on the concept of “never stop” – continuous energy, innovation, and operations – while developing a sophisticated identity system that speaks to engineers rather than boardroom executives.

When Typographic House advertised their typesetting services – and specifically Gill Sans Extra Bold – in the January 1969 issue of Art Direction, they adopted a quote by Franklin D. Roosevelt. It’s taken from a speech held on April 21, 1938, when FDR addressed 4,000 members of the Daughters of the American Revolution.

Typographic House was “the finest typesetter in Boston” [Richard Sheaff] and “the largest type house in New England” [Steve Jackaman], with offices in Boston, Providence, and Harford. Founded in 1938 by Michael Brotman (c.1907–2002), “Typo House” was led by James H. Moore (1932–2023) from 1967 until his retirement in 1991. In 1984, Moore acquired the company together with Peter Brotman (1941–2016), the founder’s son.