Bergner was founded in 1999 in Vienna as a kitchenware brand and has evolved into a global homeware solution company.

The corporate logo features the Revue typeface and released by Letraset in 1969. The wordmark is set in heavy, all‑caps display lettering, characterized by clipped curves and the absence of completely straight lines. This typographic choice establishes a distinctive identity for the Bergner kitchenware and homeware brand in both Indian and international markets.

The logo is applied consistently across product packaging, retail merchandise, and digital media, reinforcing Bergner’s corporate branding through the recognizable forms of Revue.

Milk Magazine is a cultural and fashion publication focused on kids, and families in general. It also features in-depth interior design reports of cultural figures’ apartments or houses. The Milk Magazine website was updated by FCINQ, followed by its print version, designed by Claire Aupois under the artistic direction of Karel Balas. It features Karl by Source Type and Self Modern by the Bretagne type foundry. The sans used for the English slogan at the bottom of the cover is Aperçu. The logotype remains unchanged.

HANSONS is a home improvement company serving Michigan, Ohio, Indiana, Iowa, Nebraska, and South Dakota.

Their logo uses Montserrat in all caps.

The website uses Futura PT for all text outside images, except for the customer review section which uses the old version of Roboto.

The signs in the photo use Arial for the phone number.

NN Swinton is used for a current exhibition at the Musée des Arts Décoratifs in Paris:

The Musée des Arts Décoratifs invites visitors to step inside the intimate world of an eighteenth-century aristocratic residence and its inhabitants – masters, servants, and household animals.

Featuring more than 550 original objects, drawn from the museum’s collections and for most of them, rarely exhibited, ‘A Day in the Eighteenth Century: Chronicle of a Parisian Townhouse’ gather all fields of expression of the decorative arts – wood panelling and wallpapers, furniture, ceramics, silverware, clothing and fashion accessories, toys, and jewellery – to recreate the life of a Parisian hôtel particulier in the 1780s.

In a cinematic, sound-filled and scented atmosphere, the visitors wander from room to room as if they were close acquaintances, friends, or privileged guests of the family.

The exhibition is curated by Ariane James-Sarazin, Chief Heritage Curator responsible for the seventeenth- and eighteenth-century collections and the Nissim de Camondo collection, together with Sophie Motsch, Assistant Curator. The exhibition is designed by FREAKS Architecture.

In Royal Chambers, Wang & Söderström present a collection of five works exploring the evolving notion of home amid today’s digital and environmental transformations. Together, these pieces trace the interplay of shifting power structures and perspectives in an increasingly ‘phygital’ world—where the physical and digital realms intertwine. Beyond showcasing the artworks, the book delves into their creative processes and features essays by five contributors, each unpacking home as a dynamic, multifaceted ecosystem. A meditation on belonging, space, and identity, Royal Chambers invites us to reconsider what it means to inhabit a world in flux.

The visual identity of Ateljee – a thoughtfully designed apartment in Cape Town – is inspired by the movement of the sun throughout the day and the unique atmosphere of the surrounding landscape.

Instead of a fixed logo, the wordmark shifts its form depending on the position of the sun, almost like a contemporary sundial. Subtle changes in shape and balance reflect different moments of light, rhythm and temperature – from sharp morning shadows to the warm, slower evenings of Cape Town.

The identity draws heavily from the local atmosphere: the soft haze above Table Mountain, dry grasses moving in the wind, earthy tones, long sunsets and the calm pace of summer days close to nature. A visual system shaped by light, stillness and the feeling of slowly arriving somewhere. Warm earth tones, sun-faded surfaces, soft shadows, tactile fabrics and natural materials translate the visual identity into a physical atmosphere.

Brin is a shop specializing in seasonal and locally sourced flowers located in La Rochelle (France). At Brin, flowers are part of everyday life – vibrant, simple, and always in season.

For the visual identity, designer Blandine Jaillais uses Install Bold and its rounded counters, combined with soft-colored backgrounds to create a visual identity that is both minimalist and lively. The complementary type used for small print is yet to be identified.

Studio Hagen Hall is an architecture, interiors, furniture and product design studio based in East London. The website keeps its structure spare, using large-format project photography and minimal navigation to foreground the studio’s work rather than explain it at length.

A compact press section links recent projects to coverage in Wallpaper*, Architectural Digest, Dezeen, Elle Decoration, House & Garden, Yellowtrace, The Modern House and Dwell, giving the site the feel of a tightly edited portfolio rather than a conventional agency website.

The website uses Store Norske Jazz from Skriftkompani. The logo is based on f:Ruder-Schrift@.

Visual identity for Joanna Carolina, a brand for interior design, events, and floral arrangements.

The identity is born from the three worlds that coexist within the brand: interiors, events, and flowers. From these, an organic visual language is developed around three illustrations, approached through a conceptual and slightly surreal lens.

Joanna Carolina’s world is rich in texture, color, and form. A universe that understands beauty through imperfection and seeks to transform spaces and experiences into something memorable and full of character. Far from anything overly neutral or predictable, Joanna Carolina’s identity proposes an aesthetic filled with personality, artistic sensitivity, and a subtle sense of lightness. Joanna Carolina is playful, expressive, sculptural, and experimental.

Illustrations by Mar Gutiérrez.

The Moraine – Home is Where the Mountains Are

Getting up and out in Colorado: less than 30 minutes from Boulder, Colorado, and in the foothills of the majestic Rocky Mountains, The Moraine brings together urban convenience and breathtaking outdoor access. Watson was tasked with creating a name and a brand that would attract active individuals and families seeking to live, hike, bike, climb, and ski in pristine nature without giving up the urban amenities that the cities of Boulder and Longmont have to offer.

Grounded in a strategy centered on living close to nature, the brand identity draws directly from Colorado’s rugged landscape. The logo abstracts a rock and a house into a distinctive M mark, creating a visual connection between the buildings and the natural environment. The angular geometry of the symbol establishes the foundation for the typographic system. Type moves throughout the compositions with the same rugged, geometric character, creating a cohesive and expressive visual language.

The overall identity remains intentionally restrained, allowing the landscape to remain the hero. A minimal black-and-white palette, paired with a Swiss graphic design–inspired typographic system, introduces references to sports and outdoor culture while maintaining a refined and contemporary character.

Maruxa is a monolinear script much like Veltro (1934), Kaufmann (1936) and Stempel Elan (1936). It was cast by the Spanish foundry of Gans.

By 1958, it was used for a promotional card by Pensão São Jorge, a boarding house on Rua Castilho, 59, in the Portuguese capital:

Lisbon’s very latest. Inn style. Comfortable rooms and suites. Most attentive Restaurant service. Very select, distinguished and cosmopolitan surroundings. First class. Unsurpassed treatment in Boarding Houses.

The geometric sans used for the address and phone number is Grotesca Radio, a follower of Erbar-Grotesk, also by Gans. “Direction” might be in Grotesca mercantil, a version of the design also known as Longina. “English, Spanish and French spoken” is set in caps from an unidentified grotesk. It’s probably one of the numbered “Grotescas” listed in a 1960s specimen by Gans, possibly Número 1362.

Brite by Scotch-Brite is a new line of kitchen cleaning tools from 3M, launched March 1, 2026, at Target, Walmart, and Amazon. The collection – which includes a Dishwand, Palm Scrubber, and Scrub & Wipe, each with a matching Drain & Dry Stand – is designed to sit on the counter rather than hide under it, targeting Gen Z and millennial consumers who want their cleaning tools to reflect their personal style.

From 3M:

Your cleaning routine is about to get a serious glow-up – the first collection of its kind shaking up the category with bold, beautiful, and thoughtfully-designed tools that prove everyday essentials don't have to be boring.

OH no Type Co.’s Ohno Softie appears throughout the campaign in its Black weight, driving the display typography across packaging, in-store materials, and social content. The font's fully rounded terminals and soft negative spaces make it a natural fit for a product line built around the idea that cleaning can feel good – its warmth and bounce matching the collection's bold fuchsia, yellow-green, and teal color palette. The supporting sans is Poppins.

Product, packaging, and identity design by Katlyn Echeverri, Brand Design Principal at 3M.

Villa Miami is a residential experience by Major Food Group.

How do you capture the essence of Major Food Group—celebrated for its celebrity allure and unforgettable experiences—and translate it into a residential concept as extraordinary as a night at Carbone? For Villa Miami, we developed a brand identity that embodies the opulence and glamour synonymous with Major Food Group while seamlessly infusing the vibrant energy and culture of Miami. From the bold, dynamic naming to the art direction and immersive digital experience, every detail was designed to channel the high-energy allure of one of the world’s most sought-after dining destinations, ensuring each moment resonates with the same captivating appeal.

The typography uses Plaak 41 Bold Ultra Condensed and Inferi Light.

Nachglühen (“Afterglow”) is a project about architectural memories. It collects stories, images and documents about grandmothers, omas, nonnas. and their homes.

The typography takes architectural plans and typewriter documents as a source of inspiration and therefore uses only one type size throughout the publication. Typographic hierarchies are implemented through capitalizing, spacing and placement of text.

The publication is Riso-printed on semi-transparent paper that is fragile in its handling, in order to visualize the tactility of the content.

Initiated and edited by Ella Eßlinger and Clara Richard Gostynski, in an edition of 300 copies.

Few Manhattan neighborhoods capture classic New York quite like Gramercy Park—a desirable enclave defined by its private garden, quiet tree-lined streets, and historic architecture. Bridging timeless elegance with modern livability, The Florian carries this legacy forward.

Watson shaped the brand from the ground up with a strategic naming approach: “The Florian” evokes warmth, greenery, and enduring character—positioning the residence as both refined and welcoming. The broader brand strategy centers on appealing to a new generation of first-time homebuyers putting down roots in New York City.

Drawing from Gramercy Park’s 19th-century ironwork, literary tradition and cultivated community, the visual identity system subtly balances history with forward momentum. A flexible logo suite spans from an expressive wordmark to a pared-back fleuron, enabling versatility across touchpoints while reinforcing a cohesive, place-based narrative. The typographic system reflects the neighborhood's effortless charm and ease while staying rooted it in its quiet sophistication. The neighborhood photography further grounds the brand in authenticity, emphasizing an emotional connection to this iconic New York location.

Both a tranquil retreat and a gateway into city living, The Florian is positioned as more than a residence—it’s a setting for new beginnings, designed for those ready to write their own New York story.

The logomark variations are set in MD Lórien with modifications to specific letterforms. Headlines are set in LL Catalogue and supporting copy is set in Founders Grotesk.

When Marinski Heartmades ceramics pivoted from playful dreaminess towards elegant-slash-feminine dreaminess, it was time for a remake. And the typefaces chosen for such direction were Estilo Pro and Synerga.

Each piece of Marinski ceramics is a small, unique ode to nature. Just like each letter is.

Smack Bang uses Motorino by Typeverything for Dopha's logo to reflect the brand’s flexible, modular approach. Its clean, rounded forms help create a cohesive visual identity that can adapt across different applications as the brand evolves. The design is complemented by the typefaces Proxima Nova, El Camino, BN Hamburg Hand and a yet unidentified type.

Eugenio Perazza, founder of Magis, has written a book, designed by studio òbelo and published by Rizzoli in Italian and English editions. An intimate and passionate account of design through the episodes that have shaped the author’s personal and professional journey.

With carefully chosen words, Perazza brings us aboard a journey that traces the birth of Magis, the encounters with great designers of the past, the successful projects and those that didn’t work out.

Founded in Montréal, Ligne is an independent magazine dedicated to art, architecture, design, and lifestyle. In 2025, Ligne brought in Principal to overhaul their branding, logo, magazine layout, and digital experience. The redesign employs FT Habit from Formula Type as the primary typeface and Commercial Type’s Successor for display. The new look debuted in the November 2025 issue of the print magazine.

From a case study of the rebrand on Principal’s website:

The new positioning stems from a simple conviction: design practices can reach a broad public. This is achieved not by simplifying or diluting the subject matter, but by making Ligne’s world more welcoming, vibrant, and open. The logo serves as a minimalist anchor. Understated yet assertive, its simplicity allows it to coexist with rich editorial compositions and an ever-evolving graphic universe. The visual system is built on a bold typographic approach and a flexible grid that modulates the rhythm of the reading experience. Colour plays a central role, utilizing a dynamic visual language that modulates between magazine issues and digital presence, while maintaining total brand consistency.

Coat is a British interiors brand centered on curated paint and a broader decorating universe of tools, supplies and accessories.

Alongside its made-to-order, climate-positive paints, the brand offers primers, brushes, rollers, trays, tape and prep products, making it feel closer to a complete painting system than a paint label alone.

Since the launch in 2020, the identity combines Grand Slang by Nikolas Type, set in uppercase for the logo, with Roobert by Displaay for the wider text communication.