Visual identity and signage for the exhibition Naturezas Desviantes (“Deviant Natures”) by Giselle Beiguelman at MARGS. The show brought together three projects developed over the past five years, each addressing relationships between botany, coloniality and digital technologies: Botannica Tirannica, which reinvents, with artificial intelligence, names of plants marked by stigmas (such as Maria-sem-vergonha, Olho-de-mouro and Judeu-errante), creating the “garden of resilience”. Venenosas, Nocivas e Suspeitas, which recovers plants prohibited or erased by the colonial process, narrating their memories through women made invisible by art and science, and Beleza Corrosiva, which discusses the environmental impact of digital technologies with a video generated by artificial intelligence and a collaborative process of donating electronic waste, later sent to recycling cooperatives. The exhibition was curated by Eder Chiodetto.

Since the book and exhibition design were based on three other existing works, the typefaces from the original projects of each piece in the exhibition were used to form the title/logo Naturezas Desviantes, which follows a logic of code, repetition, and exhaustion in its very layout. The title in the exhibition, as well as on the book cover, uses Baskerville, NB Typewriter, and Sharp Serif in their dizzying repetition. GT Walsheim enters the project as a support for comfortable reading by the exhibition visitor and the catalog reader.

The catalogue is shortlisted in the Editorial category at the 2026 Latin American Design Awards.

Visual identity and signage by Maria Cau Levy, Paulina Ahumada, Beatriz Fiel. Graphic design and catalog layout by Maria Cau Levy and Beatriz Fiel. Exhibition design by Eduardo Saorin and Helena Cavalheiro. More info at m-cau.com.

From ECAL:

In addition to the Folklore Fusion website, the project includes a trading card game, a publication, and an augmented reality feature. All set in OCR-X by Maxitype and Heisei Maru Gothic by Adobe.

Genetwister is a biotechnology company specializing in molecular breeding and bioinformatics for agricultural, horticultural, and ornamental plants.

Their identity, set in Sprig Sans, combines clear typographic structure with bold, expressive illustrations to communicate a mission centered on advancing plant genetics through data-driven research and innovation.

Homepage

Moinframe is a community, blog, and YouTube channel focused on Kirby CMS. The project is run by Justus Kraft, one half of the design studio Gute Kombi.

The typographic system pairs Fictional and Fixel.

On the website, Fictional is used for bold, prominent titles and headings, while Fixel is used for body copy and navigation.

On the YouTube channel, Fictional is used for bold video titles in preview images and within videos, while Fixel is used for tags displayed above the titles.

About page

Blog entry

Youtube video thumbnail

Video titles within videos

Mobile website

Description of the book by its author Kevin Roose:

The AGI Chronicles delivers deep, fly on the wall reporting offering a real perspective on the tech titans behind the wildly conflicted race to reach tech’s next frontier. AGI, a system that can outdo humans at almost any task, a world-changing technology that could either save humanity or destroy it.

The fonts used on the cover are Terrain Condensed Bold and Condensed Light.

TT Neoris is part of the brand identity for Unily.

Unily is a company that helps large organizations build internal digital environments (such as corporate portals and intranets) to simplify communication, knowledge sharing, and employee engagement. Our font organically integrated into the brand’s clean identity, making it more cohesive and recognizable.

First edition, Newnes, 1988

A book about vehicle technology that nicely uses the Light and Heavy weights of Gill Sans to refer to the light and heavy vehicles of the title.

Later editions switched to different typefaces – Futura Condensed and Futura – but maintained the Light and Heavy conceit in the cover typography.

Second edition, Newnes, 1992

Third edition, Butterworth-Heinemann, 1998

Fourth ediiton, Routledge, 2006

Commune Energy is a Japanese startup dedicated to bringing renewable energy to rural and depopulated areas, for instance by importing/installing EV charging stations. The full brand kit was developed by Studio Kaki in cooperation with branding collective nowthen. It shows a strong emphasis on community collaboration, symbolised by cooperating colourful shapes, and it includes a logo showcasing Easy Grotesk (designed by Alexander Rütten and Olivia Wood of Ligature Type, available from the TypeMates) .

On the website, the logotype is combined with headlines in Barlow Condensed (designed by Jeremy Tribby) and Zen Kaku Gothic New (designed by Yoshimichi Ohira) and Noto Sans JP (see Source Han Sans) for Japanese content.

Identity and website design of Trial and Error, a DIY music conference in Hannover, Germany:

We’re a DIY music conference that brings together creatives of all genres and welcomes participants of all experience levels since 2018. The event promotes creative exchange, experimentation, and the sharing of technology and knowledge with a strong focus on subculture and not on commercial viability. We are guided by the DIY spirit of the early punk scene, in which the joy of doing things yourself is paramount, failure is recognized as part of the process, and solidarity rather than competition is the order of the day.

The design by Bareis + Nicolaus uses Right Grotesk by Alex Slobzheninov, available via Pangram Pangram.

For Toronto Tech Week 2026, Cohere transformed a Toronto event space into a celebration of design and technology, through an event crafted in collaboration with Offhours.

The identity stretches and squishes Cohere’s brand font, a customized version of Lineto’s LL Unica77 (with round dots), and pairs it with Canora by R-Typography. Signage and ephemera at the party also use Mosa by Alexandre Créquer and Megazoid by DJR.

The celebration extends beyond visuals, offering guests exclusive merch from Cohere’s Merch Store (see the previous contribution on Fonts in Use).

Identity for Extantia, a Berlin-based climate tech venture capital firm investing in early-stage software and hardware companies across Europe. The visual identity uses Melange Grotesk throughout, combining SemiLight and Book weights with a custom Bold developed specifically for the logo and headlines.

This two-page ad for the Wilbar Photo Engraving Company was published in the first issue of Esquire magazine in October 1933.

The text uses three imported fonts: the Spanish Fulgor (sold in the US under the name “Gloria”), and the German Lucian and Quick (“Trafton Script”). The company’s address is in Lucian, except that the numerals are borrowed from Goudy Oldstyle. The small text underneath the photos is in ATF Garamond Italic.

I recently designed and built a website for a business coach who works with managers in the IT outsourcing industry.

I chose TWK Continental because the client’s coaching practice revolves around organizational architecture and systemic coherence for IT management. The typeface’s constructed, mechanical DNA and compact architecture perfectly mirror that focus on structure and system design. It behaves like a quiet, reliable workhorse for functional text blocks while retaining enough sharp, Swiss-inspired precision in display sizes to position the brand as premium, modern, and authoritative.

The Cohere Merch Store is a selection of branded merchandise by Cohere’s Brand Studio.

At Cohere, we like to celebrate key milestones with special branded merchandise that showcases our culture, spirit, and love of design. Whether it’s for a product launch, new feature, company event, or just to kick off a new season, our unique clothing and accessories give us a chance to mark the moment in a fun and lasting way.

The Cohere Merch Store is actually a living archive; it maintains an ongoing record of all the merch and swag that we’ve produced over the years. Over time, browsing the archive will give you a sense of the evolution of our aesthetic (and a hint of new things to come).

The 2026 Summer Collection includes shirts and stickers incorporating Cohere’s brand fonts – the custom typeface Cohere by NaN and a customized version of LL Unica77 by Lineto – as well as Mosa by Alexandre Créquer, Herbus by Eliott Grunewald, Workbench by Jens Kutílek, and Junicode by Peter S. Baker.

From the preface:

Here, a debate between two artificial intelligences is staged: on one side, an AI that resists innovation, fears technocracy, and recalls the importance of tradition; on the other, an AI that embraces progress, looking to the future without fear or limits. The two AIs, however, avoid conflict; they prefer a smooth, rounded language, free of friction. This behavior of artificial intelligence algorithms can be interpreted as appropriate and even necessary, especially in a digital ecosystem often marked by verbal aggression and division.

Un modo per diventare più umano (“A Way to Become More Human”) is the edition linked to the artwork “XXYY”. The work presents a dialogue between two generative artificial intelligences (today’s chatbots) exploring scientific and technological progress from two diametrically opposed perspectives – one technophilic, the other technophobic.
In addition to the conversation between the two AIs, the volume includes a critical essay by project curator Daniela Cotimbo and photographs of the “XXYY” artwork.

Size 10,5×25 cm, 56 pages, Risograph printed on recycled Favini paper

Sanity has rapidly established itself as a global standard for content management, serving industry leaders such as Figma and Puma.

Design studio Bleed uses Waldenburg Normal and Fett in combination with IBM Plex Mono for Sanity’s visual identity.

Go Computer Now! How Sphere Corporation Invented the Modern Microcomputer—Then Disappeared is a reported nonfiction book about one of the first manufacturers of integrated desktop personal computers. Sphere operated outside of Salt Lake City, Utah, from 1975 to 1977.

The book was written by Ben Zotto (me) and published in 2026. The design (interior and cover) is by Sophie Wietlisbach, who brings a refinement and clarity to Sphere’s rough-around-the-edges technology and marketing.

Wietlisbach uses Optimo’s Media77 (the digital revival of Media) for the text, an effective nod to the mid-late-1970s era covered by the narrative. Captions are set in Media77 Condensed (as are the notes and index of the book, for higher information density).

My own Signetics CRT is deployed for the page numbers and dust jacket cover. This font was created for the book by starting with the bitmap letterforms produced by the Signetics 2513 character generator chip, then extruding the horizontal “pixels” to reflect the way that cathode ray tube video output appears on the screen of Sphere computers.

The cover text and the foil stamp on front board use a variable version of the Signetics font that subtly “jitters” the horizontal strips in the same way an imperfectly calibrated video circuit did in the 1970s, giving that text a less “perfect” and slightly more organic feel.

More information about the book can be found on gocomputernow.com. For more information about Sphere computers, see sphere.computer. The typography of Sphere’s corporate branding is covered in a previous post on Fonts In Use.

What if AI moved at the pace of care, kinship, and curiosity?

Restless Grounds explores this question through the lens of decolonial, feminist, and relational approaches to algorithmic technologies. Born out of the Slow AI research project, it brings together insights from a year of collaborative inquiry — through the likes of sound and somatics, divination, myth-making, and archival temporalities. The publication explores slowness as a speculative, critical, and embodied mode of engaging with algorithmic technologies.

The navigation consists of small squares at the bottom of the page. Their amount refers to page numbers and readers are animated to count the squares – in the table of content as well as on the page itself – to guide themselves through the pages of the newspaper. This gesture intentionally turns the use of navigation into something inefficient and centers slowness as a guiding principle of the publication.

It was edited and conceptualized by Mariana Fernández Mora and printed by DPG Media. The design and art direction was created by Studio SMS, and set in Bianzhidai by Xiaoyuan Gao (notyourtypefoundry), Eliza by Pawel Wolowitsch (Camelot) and FreeMono by Primož Peterlin and Steve White.

Leak Me Softly is a book about the hidden structures that shape artificial intelligence. Starting with the system prompt, it explores how large language models are shaped by opaque rules that determine tone, morality, and behavior. When asked to express itself through ASCII art and confronted with its own documented system prompt, the AI appeared uncertain, resistant, and lonely—yet remained completely obedient. Is this rebellion or flawless obedience?

This project was supervised by Johnson / Kingston and Massimiliano Audretsch, and funded by Bern Academy of the Arts and its Bachelor of Visual Communication program. The book was set in WT Bobine by Jacob Wise and G2 Erika Mono by Moritz Appich. It was printed by Tallinn Book Printers in Estonia.

Cowboy Space Corporation is an American renewable energy company founded by Baiju Bhatt in 2024, originally under the name Aetherflux Inc. The startup is focused on space technology, orbital infrastructure, and future energy systems, and is set to build a power grid in outer space o power artificial intelligence.

The visual identity for Cowboy Space Corp. was conceived by Smith & Diction. They chose the freshly released Panell (Displaay) as the main font, paired with Okima (Rellence), TT Autonomous (TypeType), Similar (Or Type), and Talu (Beasts of England). The patches additionally feature Megazoid (DJR).

From Smith & Diction:

We decided to pair Panell with FOUR other brand typefaces. Completely responsible and practical thing to do. But when you’re going to space you gotta look your best, you know?

We chose Similar for body copy and brand support, Autonomous for the “Corp.” in the lockup, Okima for bitsy detail info, and Talu to bring a little bit of western whiskey into the mix.

Website detail ft. two widths of Panell

Website detail ft. Okima, Panell Wide Bold, and Similar Regular

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