Image and Power. Zooming into Zeppelin Photography / Bild und Macht. Zeppelin-Fotografie im Fokus is an exhibition at the Zeppelin Museum Friedrichshafen that explores how images can both hold and communicate power. It asks how images shape our understanding of history, how they can be manipulated, and when they become propaganda. The exhibition was created for the 125th anniversary of the first Zeppelin airship ascent. It examines the Zeppelin as a visual and symbolic motif in photography and connects this history to broader questions about images and power today.

Berlin-based neo.studio developed the design, creating a key visual that captures the exhibition’s core ideas in a bold and direct way. Large typographic forms interact with a zoomed-in Zeppelin photograph. Halftone textures, chromatic shifts, and vivid gradients further intensify the visual language. Generation Mono by Nguyen Gobber was used as the main typeface for titles, which were set with stacked letters to dominate the given format. The headline typeface was paired with ITC Avant Garde Gothic, originally drawn by Herb Lubalin and Tom Carnase.

The program leaflet additionally uses ABC Favorit by Dinamo.

This ad from 1903 promotes the then newly opened Hôtel Peterhof at Munich’s very central Marienplatz, with “rooms furnished in the finest modern style”, starting from 2 Marks.

The name is set in Moderne Versalien, an all-caps typeface first cast by Bauer & Co around 1899. In 2003, Andreas Seidel of astype made a digital revival named Sveva.

The NBA Europe Tour was a traveling tour across Manchester, London, Paris, Munich, and Berlin. Rather than creating a single static mark, Ben Loiz Studio built a flexible visual language capable of adapting across movement, crowds, public space, social content, and multiple city environments while still feeling cohesive.

The identity integrated NBA graphics with Hoopbus’ existing visual identity, combining league marks, custom symbols, typography, geometric forms, and bold color into a unified system built for movement and public activation. Across the bus, signage, apparel, backboards, social graphics, and event materials, the system used oversized forms, directional shapes, and high-contrast color relationships to create visibility and energy at city scale while moving through different environments and activations.

Typography played a central role throughout the system. A customized NBA version of Commercial Type’s Action Condensed was used across schedules, dates, URLs, environmental signage, and informational graphics, helping create urgency, clarity, and consistency across the international rollout. Supporting typefaces already associated with the broader Hoopbus identity system – including Industry, Standard CT, Cina GEO, Tuck Shop and Grand Slam – introduced contrast between functional information and more expressive identity moments, allowing each city and activation to maintain its own character while remaining connected to the larger visual language.

August issue 02, “New York”, was designed by Brendan McAuliffe and Douglas Riccardi of Memo NY using Conductor by Frere-Jones Type, alongside Klim’s Domaine Text and Sweet Sans by MVB Fonts.

A travel magazine, each issue focuses on a singular location, immersing the reader in its art, architecture, and design scene, and sharing encounters with locals, their habits, and their unique culture.

This photographic volume explores the divergence between the myth of La Dolce Vita and its contemporary reality. Moving from expressive, saturated color experiences to surreal imaginations, the book arrives at a “factual coolness.” It documents a journey through Italy outside the tourist season—spanning from Cremona to Genova, through Tuscany to Rome, and finally Rimini.

For the typography, I chose GT America. The book focuses on composition and observation, questioning the “perfect imagination” of the south. To anchor the rich, atmospheric photography, GT America was chosen for its versatile and utilitarian character.

As a typeface that bridges the gap between 19th-century American Gothics and 20th-century European Neo-Grotesks, GT America provides a deliberate structural counterpoint. Its straightforward, unembellished aesthetic reflects the “factual coolness” of the investigation, acting as a neutral, documentarian observer. By using GT America sparingly, the design allows the saturated color palettes and the restless silence of the Italian landscapes to remain at the forefront, while the interviews are manifested through a typeface that feels both timeless and modern.

Made as Diploma project at the ABK Stuttgart.

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.

The headline mixes Romanisch Kursiv No. 20 with Koch-Antiqua fett. The latter is used with both forms for s, but the former isn’t. The question mark is added from Cooper Black, while the smaller copy is set in Futura.

This 1931 group tours brochure was issued by the MER – Mitteleuropäisches Reisebüro G.m.b.H. – of Berlin. The brochure gives details of organised holiday tours across Europe, by train and ship, as well as an extensive tours of the USA, out via the HAPAG line and returning on the Norddeutschen Lloyd for a cool 2,800 RM. The brochure also has numerous adverts for resorts, hotels and travel companies.

The various adverts, a selection of which I have scanned here, are also interesting from a typographical and design standpoint. Many are in the very latest German ‘style’ and feature some interesting and often relatively new typefaces. This advert, with a variety of typefaces and a decorative border asks “Kennen Sie schon die volkstümlichen Gesellschaftsfahrten des MER?” (“Are you already familiar with the popular group trips offered by MER?”) It gives a list of destinations within Germany and abroad as described elsewhere in the brochure.

MER was formed as a Central European Travel Agency in Berlin in 1917 and grew to include the travel interests of the Austrian and Hungarian railways. Many of its services were similar to those of say, Thomas Cook, in the UK. The company was heavily implicated in the crimes of the National Socialist era and in post-war years the company, in both East and West Germany, underwent several complex reorganisations but survives under the name of DER Travel.

“Shakespeare’s hometown is the quiet, picturesque market town of Stratford-upon-Avon in the county of Warwickshire.” Motor can be seen in early use, featuring a non-standard narrow R.

“Don’t miss a chance to visit Lake Lucerne and its eight mountain railways during your trip to Switzerland”
Two weights of Memphis plus a drop cap from Schaefer-Versalien.

Schaefer-Versalien and all-caps Memphis for “Lucerne Lido, the Swiss lakeside resort”

“Finland – the idyllic land of a thousand lakes. A new travel destination!” More Motor – with a narrow alternate N.

Adverts for the San Marco Schiffahrts-Gesellschaft Venedig and Palace Hotel in Tunis, Tunisia. “San Marco” shows Motor’s narrow N again, and features yet another alternate glyph, this time for S. “Dalmatien” is in Berthold Block. The description of the hotel uses Koch-Antiqua.

Adverts for Jadranska Plovdibda D.D. Sušak and Dubrovačka Parobrodarska Plovidba, with several Futura weights and three sizes of Neuland

Shanghai-based documentarist and vlogger bopular, who also designs men’s clothing, released a short video on April 15, 2026 about his family trips to Yancheng, Jiangsu, China.

The video’s thumbnail features a giant elk that bopular’s family encountered at the Dafeng Elk National Nature Reserve, accompanied with huge text “不被计划的对视” (an unplanned gaze) set in YunFang Stencil (云坊镂空黑体). The video’s title card and credits also features YunFang Stencil. I find that the typeface fits the airy and poetic atmosphere very well, and that the music by Balmorhea is the cherry on the top.

YunFang Stencil was released on April 15, 2026, by the Shenzhen-based YunFang Type Studio (云坊字室), one of the newly emerged independent Chinese type studios. Although being categorized as a Heiti (sans-serif), the skeletons of YunFang Stencil’s Hanzi are based on Lishu (隸書/clerical script). There are five styles in the family: Regular, No Gap, Min Gap, Mid Gap, and Max Gap. The stencil bridges are placed strategically rather than arbitrarily. They’re also carefully designed to avoid cutting through the main strokes, thereby ensuring legibility of the Hanzi in question. The subordinate Latin/Cyrillic/Greek is loosely inspired by Gill Sans.

As part of their “Causeries” series – a program dedicated to raising awareness and artistic expression on women’s issues – theater company La Déferlante is hosting a series of readings named La Grande Lecture (“The Great Read”), this time on the theme of travel.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “mikado”. License: All Rights Reserved.

Vol. 2, Ostdeutschland (“Eastern Germany”)

One of a series of six charming small format booklets issued by the Königliche Eisenbahndirektion (“Royal Railway Directorate”) in Altona, Hamburg, and describing the Allgemeine Verkehrs-Mitteilungen und Sehenswürdigkeiten – general railway travel information and sights in the relevant areas of Germany. The organisation of railways in Germany prior to 1918 was somewhat complex but many railway companies were, effectively, nationalised as part of the Preußische Staatseisenbahnen (“Prussian State Railways”) and these booklets all show, in various forms, the Adler or Royal Eagle symbol of the railways as well as the “winged wheel” symbol that was much favoured by various continental railway adminstrations.

The booklets all contain the information that large numbers of visitors were now visiting Germany, many brought by the various steamship lines including Hamburg–Amerika (HAPAG) and the Norddeutscher Lloyd, and given the booklets were issued by the Altona-Hamburg office of the railways one suspects that copies were probably available on board the vessels to be given as publicity to passengers. The booklets were also available by post from the Altona offices. They are not dated but volume one has a manuscript date of ca.1905–07 and given the style this feels correct.

Although each booklet follows the same format each design is subtly different; all are in a loose “Arts & Crafts” style that would morph in Germany into the Werkbund movement and in France to an Art Nouveau style. This includes elements of the cover design, framing and lettering as well as aspects of the editorial text. The booklets contain detachable postcards for mailing and are each printed by a printer in the relevant area of Germany covered by the particular guide.

Volume 2 is for Berlin and Eastern Germany covering areas of Prussia and Saxony. The front cover shows Schloss Marienburg (Lower Saxony), the now lost Wissower Klinken cliff formations on Rügen, and the Brandenburger Tor in Berlin. There are outline maps of the railways in the area covered by the guide as well as of the suburban lines in Berlin. Mention is made of the newly opened first stages of the Berlin Hochbahn (now U-Bahn) and the back cover has a very Imperial series of symbols for the State Railways.

While most booklets (below) have custom lettering for the title, the cover for Volume 2 (above) is typographic: the featured typeface is the wide style of Mikado as cast by the Flinsch foundry in Frankfurt. “Heft 2” is in a German version of Antique No. 8. See the image captions further below for the period typefaces used inside.

At least Vol. 6 was printed by Hans Bleher at Verlags- und Handelsdruckerei Stuttgrart.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 1, Norddeutschland (“Northern Germany”), with lettering similar to Kolumbus. The front cover shows the Lombardsbrücke in Hamburg, the Marktplatz in Bremen, and the steamship Deutschland passing the Alte Liebe lighthouse at Cuxhaven.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 3, Mitteldeutschland (“Middle Germany”) with cover lettering on top of the Imperial Eagle. The vignettes are of the now vanished Kronentempel pavilion at Bodetal in the Harz, the Wilhelmshöhe in Kassel, and the famous Wartburg overlooking Eisenach.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 4, Nordwestdeutschland (“North West Germany”). The cover, along with a steam locomotive and train, is in a rather high ‘Art Nouveau’ style including the lettering, and depicts the famous Kölner Dom.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth. License: All Rights Reserved.

Vol. 5, Südwestdeutschland (“south west Germany”). The cover is almost Guimard in design and shows Heidelberg along with a cartouche of a speeding steam locomotive and train.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “secession”. License: All Rights Reserved.

The title page to Vol. 1 features a winged wheel and text set in Berthold’s Secession (1901). The initial D is from Herkulanum, Schelter & Giesecke’s name for Mayflower (Conner, 1891).

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “werk-grotesk”. License: All Rights Reserved.

The introduction to Vol. 5 features a very similar typeface: it’s Werk-Grotesk by Ludwig & Mayer, likewise issued in 1901, with a drop cap from the licht (open) style.

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “eckmann”. License: All Rights Reserved.

The title page to Vol. 6 is set in the most popular of the so-called Neudeutsch typefaces: it’s Klingspor’s Eckmann (1900).

Source: www.flickr.com Uploaded to Flickr by mikeyashworth and tagged with “eckmann”. License: All Rights Reserved.

Table of contents for all six booklets as included in the final volume. Note the two forms of H (“Hamburg” vs. “Harz”) and s/ſ, as well as the use of letterspacing for emphasis.

The Hamilton Hotel has been a local landmark since 1865. Daymark’s rebranding focuses on “recognisable restraint,” moving away from flashy marketing to a timeless, typographic-led style. The identity balances the hotel’s long history with a clean, modern feel across digital platforms and physical details like signage and debossed stationery. By pairing heritage-style serifs with modern layouts and high-quality materials, the new identity reflects the hotel’s journey from a historic colonial building to a premium contemporary destination.

Hello, Tokyo! compiles and translates articles from Tokyo City Guide issues published by Popeye between 2018 and 2025. It was issued by Magazine House under the art direction of Taro Kambe. Designed by Nari Kang and Nina Kitayama using Ohno Casual and ABC Marfa as the main typefaces on the cover, plus Gilroy, used for the info underneath the logo. The interior holds a generous selection of more Japanese and Latin fonts.

The tables of contents of this Kindle edition of the publication use Funkis.

Spanish branding studio Wozere created the new identity of Monasterio de San Francisco, a hotel located in Palma del Río near Córdoba and Sevilla.

They chose to gather a palette of textures, soft tones, and memories that guided the creation of a visual universe where the brand’s identity can truly come to life.

The curvy calligraphic logotype in Miss Fajardose is combined with a discreet use of PoW Limerick for the initials, as well as some of its vignettes. The condensed serif is Editorial New.

Saffron Brand Consultants, co-founded by Wally Olins, designed the identity for the Setouchi destination on behalf of the West Japan Railway Company (JR West). The goal was to establish this region as Japan’s ‘third destination’, offering a calmer alternative to the Tokyo and Kyoto-Osaka hubs. Following a week-long immersion on the ground, the team built a strategy around the concept of ‘the extraordinary in plain sight’. This project transforms the train ride into a truly contemplative experience, inviting travelers to follow the peaceful rhythm of the Seto Inland Sea.

Visually, the work relies on a minimalist aesthetic that avoids the aggressive graphic codes of major metropolises. The layouts are highly airy, using white space to evoke the serenity of the island landscapes. The color palette, featuring deep blues and sandy tones, ensures consistency across all touchpoints, from stations to digital screens. Far from being a simple advertising campaign, the design offers a poetic narrative where every visual detail highlights a promise of authenticity and discovery.

At the heart of this identity lies a precise typographic choice: the Osmose typeface from the French foundry Blaze Type. This hybrid font blends a solid structure with fluid, almost liquid details, reminiscent of the water and surrounding nature. Saffron customized this base with specific ligatures, such as the overlapping o and u, to symbolize the connection between the islands. By utilizing Blaze Type’s modern design, the agency provides the Setouchi region with a soft, living visual signature that accompanies the traveler from the very first glance. The accompanying Japanese typeface appears to be Kozuka Gothic.

From luxurious destinations in the 19th century to the dynamic advertising posters of the 1920s and 30s to modern airline series and fictional NASA travel posters from 2019, the motifs span the development of travel as a desire and a vision. The exhibition Ferne Länder, Ferne Zeiten / Faraway Countries, Faraway Times at the Museum Folkwang is accompanied by literary works by Felicitas Hoppe, who sheds new light on longing and wanderlust in exclusive “literary journeys of the mind.” The exhibition, curated by René Grohnert, is complemented by a large wall graphic in the form of a map that clearly visualizes all the tourist destinations presented. We created wall and floor lettering that typographically references the period in which the posters were created. These were supplemented by a large wall graphic in the form of a map that clearly visualizes all the tourist destinations presented.

Photography by Caroline Schlüter

Front covers (DE and EN editions) with all-caps New Edge 666 Rounded and debossed text in unidentified typefaces

Musafiri. Of Travellers and Guests is a research project that culminated in an exhibition shown at Berlin’s Haus der Kulturen der Welt (HKW) from 8 March to 16 June 2025. The accompanying publication was designed by Uncoated using New Edge 666 Rounded and BBB Baskervvol. The covers additionally feature debossed text in various scripts, set in yet unidentified typefaces. From publisher Archive Books:

The Musafiri: Travellers and Guests reader follows the entwined paths and encounters of those that embark on journeys, traversing the worlds that open up when the confines of familiar surroundings are left. They are musafiri, a word that denotes the traveller as well as the guest in a plethora of languages such as Arabic, Romanian, Turkish, Farsi, Urdu, Hindi, Swahili, Kazakh, and Uygur. This reader addresses questions of departure and arrival, of who is welcome and who is not, of artistic expressions during travels, of the global circulation and transformations of ideas and commodities, of religions and pop culture. The essays, interviews, and artistic contributions in this volume accompany the eponymous exhibition at Haus der Kulturen der Welt (HKW) and introduce the worlds of determined travellers, of individuals and communities displaced in the past, and of migratory movements of today. The spectrum of perspectives presented includes the figure of the hermit in ancient China, whose retreat is understood as a journey into nature and selfhood, the transcultural experiences of Japanese artists in the Latin American diaspora, the mobility networks of Afghan traders in the geographical spaces of the former Silk Road and beyond, or the sıla yolu, the transit route to Turkey, on which thousands of people travel every year to visit their old home.

Back covers (DE and EN editions)

Book index spread

Spread with various symbols

Spread with BBB Baskervvol for body copy alongside photographs

Spread with short bios in BBB Baskervvol, with headings in New Edge 666 Rounded

This tourism campaign video for Denver, Colorado, showcases various activities one can do in that city, and features some crazy, constantly-animated typography to boot. The campaign’s name is a riff on “This is How We Do It”, a song by Montell Jordan that this video uses.

“Serious Fun” ft. BN Zipline and Yorkmade

“Hardcore Groovin” ft. Evogria Italic and an unidentified script with similarities to Neisya and LHF Chicago Script

The script morphs into Genty.

“Casually Refined” ft. more Evogria Italic and BN Giggle

The words stay the same while the fonts change to Yorkmade and MN Latin.

“Extreme Relaxation” ft. Piepie and Broone

“Extreme” then changes into Antípoda Black Extended.

"Extreme" eventually goes back to Piepie, while "relaxation" shifts to what looks like a softened Roylands Font Duo Script (with a modified l.)

“This Is How We Denver” ft. Antípoda and Violeta Jardinera.

“How We Denver” then morphs into BN Binder, with adjustments to W and N.

“How We Denver” morphs a third time afterwards, this time into all-lowercase Genty.

From 2021 to 2023, TT Firs was the signature font of Danish Outdoor, a specialist shop with equipment for home smoking, campfire cooking, brewery, sausage making, pizza ovens, must and cider, tents, as well as outdoor and hunting clothing. The online marketplace later rebranded. In 2025, it closed its virtual doors.

In April 2026, the Artemis II lunar flyby mission brought four astronauts around the moon and set the record for human distance from earth. Its crew includes the first person of color, the first woman, and the first Canadian to travel beyond low earth orbit.

Jeremy Hansen, the Canadian astronaut, wore a special mission patch created specifically for him by the Canadian Space Agency. It was designed by Anishinaabe artist Henry Guimond of the Turtle Lodge. Its heptagonal shape and the animals shown on it reference to the Seven Sacred Laws, a traditional First Nations teaching that emphasizes Respect, Love, Courage, Honesty, Wisdom, Humility, and Truth. The agency’s webpage and press video go into greater detail about the symbolism of each element on the patch.

The Canadian Space Agency video about the patch and its symbolism:

Jeremy Hansen sharing the patch while in space, during a Space-to-earth connection event:

On the patch, Hansen’s name is typeset prominently on the bottom in the heaviest weight of my typeface Condor. (As far as I know, this is the first time a font of mine has traveled to space!) The agency’s name is typeset in Helvetica in both English and French.

Other styles of Condor have also been used extensively by the Canadian Space Agency for its mission poster, its space-to-earth connection events, and other video documentation of the mission.

Astronaut Jeremy Hansen (right), pictured with his mission patch on his torso, stands alongside American astronaut Victor Glover in Florida.

A still from the April 8 space-to-Earth connection event. Jeremy Hansen shares and discusses the patch and what it means to him while aboard the Orion spacecraft during its return flight to Earth.

Artemis II mission poster

An embroidered patch replica available for sale at Ingenium Boutique

The crew of Artemis II pose with the Space Launch System and Orion spacecraft. Jeremy Hansen is at far right, with the patch visible on his uniform.

Canadian Space Agency President Lisa Campbell onstage at a space-to-Earth connection event with astronaut Jeremy Hansen, with tightly-tracked Condor in French and English

In 2025, Swiss hotel group Capsule Hotel commissioned Odd Forms Studio to redesign its visual identity. The studio translated the core qualities of this experience into graphic form: economy of means, clarity, intimacy, modular repetition and a sense of enclosure. The identity unfolds through a restrained and structured visual system, designed to work across printed matter, signage, communication and digital uses.

The design uses BallPill by Benoît Bodhuin, T-Star by Binnenland and TWK Everett​​​​​​​ by Weltkern.