Mathilde Marteau Atelier is a Marseille-based jewelry studio specializing in delicate, hand-crafted filigree pieces, rooted in a precise and time-honored technique.

The visual identity, designed by Studio Dos d'Âne, extends this craftsmanship through a restrained and sensitive approach. It is built around Aujournuit, a contemporary serif typeface by Teo Gaudet, whose elegant contrast and subtle details echo the finesse of filigree work. Used for both the logotype and editorial applications, it establishes a quiet and refined presence. It is paired with Adrian Frutiger’s Avenir and Zilla Slab by Typotheque.

A warm, muted color palette is paired with a mix of analog and digital photography, documenting the gestures, textures, and environment of the atelier. Together, these elements form a cohesive and delicate visual language, reflecting the nature of the pieces.

The OffBit typeface appears in the interface and marketing materials of IKKO ActiveBuds, a device developed by IKKO Tech and introduced with the tagline “World’s First AI-Smart TWS Earbuds!”.

Within the interface, OffBit – particularly the DOT style – is used as a display typeface for key labels and visual highlights. Its modular dotted structure recalls early digital displays, adding a subtle retro-computing character to the device’s visual language. For functional information, the interface pairs OffBit with clean sans-serif system fonts as a companion.

10th (and final) issue of Die Epilog, a German magazine that deals with the change of our society. By looking into the small things that are changing in our everyday lives, it wants to explore and welcome the bigger shift around us:

It’s going to get gross! Die Epilog is approaching an unpleasant concept: strength. The opposite of brains! Or is it? The raw, the crude! We set out to find the positive side of strength: how it moves, how it changes. How does political momentum arise? How do anabolic steroids work? Can we find it, this post-disgusting power? To do so, we’re taking the discourse to the gym and looking at the forces of our time: social, psychological, physical and magical forces that simmer, build up and erupt beneath the surface of culture, of things, of the earth’s crust. We look at mountains of muscle and beneath masks, and pull marble from its pedestal. A power-packed issue on the strength of parcel delivery workers, the power of anger, and the power of pumpernickel.

Die Epilog’s standard typefaces Tobias, Kern and Cardinal Short Italic were complemented by T1 Korium, TWK Everett and Generation Mono for this issue.

Büro Bungalow redesigned the visual identity and website of Germany’s first unisex online magazine BEIGE in 2022. From organic shapes and warm colors with contrasting accents to characteristic typography using Frukt, Swear, and ABC Marfa, the mix of retro looks and contemporary elements creates a corporate design with high recognition value.

Packaging for a haircare line by Michael Ahlmeyer, featuring Cosi Azure (Nikolas Type) in large display settings, accompanied by ABC Favorit (Dinamo) and an unidentified serif typeface.

Across the cartons, stacked type compositions form the phrase “The Aesthetics of Chemistry,” establishing the primary graphic element of the series. Vivid product colors vary throughout, while the typography remains the constant.

Stari is a partner student project created with Virginia Liu for the Color Theory class taught by Adam Ross at ArtCenter College of Design. This project takes the form of a hypothetical blind box series.

In a realm where ancient craftsmanship meets the cosmos, Stari were born: modern talismans inspired by traditional Chinese knots. Each knot threads together unity, harmony, and boundless fortune, while each color carries its own emotional frequency and symbolic energy. To collect a Stari is to collect a moment of synchronicity, and a small reminder that magic reveals itself when we remain open to wonder.

The identity system uses Neue Montreal by Mat Desjardins as the primary sans serif, grounding the brand in contemporary clarity and structure. Lucy Rose by Ellen Luff introduces elegance and sentimentality, subtly echoing tradition and storytelling. Ohno Softie by James Edmondson is reserved exclusively for the logotype, its rounded, plush forms reinforcing the warmth and playful tactility of the blind box experience.

Last season, Plac Zabaw nad Wisłą, a vibrant riverside cultural and recreational space in Warsaw, Poland, unveiled a refreshed visual identity.

The concept grew from a simple block of colored paper – playful, inclusive, and DIY in spirit. Color pairings distinguish daytime from evening events, while a set of pictograms organizes information for clarity and intuitive navigation. The system now extends across wayfinding, social media, and the website.

Creative direction and design by Kasia Łubińska of kuna works, using Tor grotesk from Threedotstype. On the website, it’s supported by Apfel Grotezk by Luigi Gorlero. The storytelling and microcopy is by Maria Wanda Dutkiewicz. Sesme Studio did the on-site painted elements.

Manzanero was formed by a small group of photographers with the aim of offering a modern and sophisticated interpretation of wedding photography standards. Designed by Luzía Studio, the Manzanero logo is set in Kalice Regular by Margot Lévêque. The sans serif used on the website is MD System​​​​​​​ by Rutherford Craze.

A truck is parked in the street, showcasing minimums furniture and the typeface TheSans on its side

Founded in 1999, minimum einrichten is an interior design and planning firm with stores in Berlin. They claim to offer the finest furniture, home goods, and accessories. The company uses TheSans for its logo, magazine, and social media.

The word minimum is a classic in type design: a row of nearly identical strokes where spacing and rhythm quickly become visible. Calligraphers and type designers have long used it to practice consistency. The logo still carries that little exercise.

Company catalogs

Company catalogs, inside

LINII is a creative agency based in Moscow. They have issued merchandise in the form of a calendar where you are the main thing of the day.

In this alternative calendar, instead of work calls you’ll find “doing nothing”, instead of planning meetings – “a date with yourself”, and instead of deadlines – “arrange the best day for yourself”. CoFo Sona is used throughout.

Source: archive.org License: All Rights Reserved.

McNeil Bros. was a San Jose printer specializing in labels. Their 1885 catalog, Specimens of Druggist Labels…, is an explosion of eccentric type and ornament in fancy frames, offering hundreds of examples of artistic printing from the real world. This label combines seven very different display faces. The shaded ornaments pair well with the title type, Italic Copperplate, a design so elaborate it could be mistaken for custom engraving.

Source: archive.org License: All Rights Reserved.

Italic Copperplate shown in MacKellar, Smiths & Jordan’s 1891 catalog.

Most of the type in the McNeil Bros. shop was likely procured from the largest local foundry, Palmer & Rey in San Francisco. The company didn’t originate many (if any) type designs of their own, but they did supply the West Coast with novelties from Cincinnati, New York’s Conner, and Philadelphia’s MacKellar, Smiths & Jordan, all of which are represented on this label.

Source: archive.org License: Public Domain.

Pen Text, as shown in Palmer & Rey’s 1884 catalog (printed the year before the McNeil Bros. book that features the above label). In this copy of the specimen book held at the University of California, someone tried sketching a few characters in the ronde script style.

Installation view We is Future. Visions of New Communities

How do we want to live? The exhibition Wir ist Zukunft. Visionen neuer Gemeinschaften / We is Future. Visions of New Communities at the Museum Folkwang explores the desire for new forms of community – ecological, utopian, based on solidarity. From lifestyle reform to hippie architecture to Afrofuturism: on display are artistic responses to an old question that is becoming increasingly urgent. A journey through lived visions and emerging spaces of possibility.

We were responsible for the exhibition labelling in the form of wall texts and work labels, as well as a color concept for walls and curtains. We also supported the installation of the works with a digital simulation. Curated by Anna Fricke, Antonina Krezdorn and Rebecca Herlemann of Museum Folkwang, Essen.

Installation view We is Future. Visions of New Communities

Installation view We is Future. Visions of New Communities

Installation view We is Future. Visions of New Communities

Installation view We is Future. Visions of New Communities

Installation view We is Future. Visions of New Communities

“Two motifs merge into one lenticular poster. The image changes depending on where you stand — there is no fixed final image, only perspectives. Cultural belonging exists in relation to context, position, and viewpoint. 400 × 600mm”

Hyperculture is the diploma project of Dabin Kim made at ABK Stuttgart. The project captures the blurring of cultural boundaries, allowing different cultures to coexist in a globalized world in a “both–and” rather than “either–or” way.

Cultural practices in East and West are explored through everyday creations, shared media, and consumption. This shows how trends move between cultures, overlap, and are interpreted differently. The practices are presented through quotes, articles, digital images, and original visuals.

Dabin Kim describes the project as follows:

The publication is read from both sides: one presents an Eastern perspective, the other a Western one. Each examines how the other culture’s practices are adopted, influenced, and often misunderstood in different contexts.

Chapter 1 focuses on Language, Chapter 2 on Food, and Chapter 3 on Industry—each from both perspectives. Chapter 4 concludes with interviews that bring both views together.

The conversations reveal that cultural identity is increasingly hybrid and fluid, shaped through consumption and digital media. While visual cultural boundaries blur, deeper social differences and experiences of belonging persist.

Looking across language, food, and industry, the West often translates cultural elements into simplified, marketable forms, while the East actively transforms and hybridizes global influences.

Hyperculture emerges as both a driver of cultural reduction and a source of creative reconfiguration – simultaneously part of the problem and part of the solution.

Designed with Solæ and OT Neue Montreal Squeezed. 232 pages, 210×297 mm

Letterpress poster in 70×100cm printed from traditional wood type (Dalmazia Serie C by Xilografia Italiana) in 50 Cicero (225 mm). Since I only have the set in uppercase, it is a bit hard to identify. Oh boy, how I would love these lower case sorts! But since I bought it from Italy, it makes sense that is by Xilografia Italiana.

The smaller written info cast from hot-metal is Ludlow Condensed Gothic. And all over and between are many historic and a few new photo plates. 

Made for Salomon Départ, Annecy. In celebration of “Post Park Skiing”, these kids really ski everything. ♥

Title in Seance Graphic; text in Nicola

Document Journal’s Spring/Summer 2023 issue, “Return to the Real”, employs three Commercial Type releases: Nicola as the primary typeface, Seance for section and feature titles, and a cameo appearance of Styrene B for page numbers.

Both styles of Seance are featured; Seance Graphic introduces the numbered chapters and appears (alongside Nicola Display) in article titles in the back portion of the magazine, while Seance Ornate is used for opening spreads in the main feature well. Most of the display type is printed in metallic silver ink to further contrast with the text and captions.

Title in Seance Graphic; text in Nicola. Metallic silver ink is used for display type throughout the issue.

Title in Seance Ornate; text in Nicola

Title in Seance Ornate; text in Nicola

Title in Nicola Display and Seance Graphic; text in Nicola

Title in Nicola Display and Seance Graphic; text in Nicola

A custom sticker pack for Rimowa and TANK magazine – an exclusive collaboration featuring travel-inspired colorful designs. For the design, Burro Studio chose Waldenburg Condensed Medium and Apparat Black, among other fonts.

Motto by Hilton is a vibrant global hotel brand built for modern explorers who travel intentionally, live smart, and stay connected. Anchored in buzzy neighborhoods across some of the world’s most iconic cities, Motto appeals to travelers through modular room designs that enable flexible, personalized stays. For those seeking an experience-driven stay, the hotel is designed to be a launchpad for energetic neighborhood exploration and cultural immersion.

Watson led the brand’s strategy, positioning, and identity refresh, clarifying Motto’s voice and expression to deliver a cohesive vision—one defined by intentionality, ingenuity, and local connection.

To express Motto’s locally rooted approach to each hotel location, Watson developed a dynamic typographic system that captures the essence of each place through a corresponding typeface. Each hotel’s location logo lockup pairs the existing Motto wordmark with the city name, typeset in its selected typeface. Comprised of eight typefaces that are distinct in style yet unified in proportion, the system forms a cohesive library that reflects the hotel’s collection of unique destinations.

A clear methodology guides how each typeface is applied, ensuring it reflects the distinct energy and character of its neighborhood. An arts district like Chelsea in New York City features a typeface inspired by calligraphic letterforms, echoing its offbeat, idiosyncratic character. In contrast, a tourist hotspot like Times Square adopts a friendlier geometric sans serif to convey the destination’s broader, more universal appeal.

GAMUT is an indie magazine developed during a five days workshop at Politecnico di Milano, held by Jeremy Francis Leslie, founder of magCulture.

The magazine explores the dynamics of relation, from the intimate micro scale of skin-to-skin contact to the macro scale of collective bodies and social systems. At the center lies a simple but radical question: how does touch—or its absence—shape the way we connect?

In its first issue, GAMUT explores how the rituals that surround the exchange of greetings take shape across different cultures, contexts, and subcultures—and how they can express distance or closeness, both physically and emotionally. A greeting represents an intermingling, where feelings and people are mixed up together, a point of contact between strangers and friends alike, unveiling the scope of our connections.

The Alphabet of Influence is a book project developed by creative directors Young Emperors, exploring the notion of influence as a fluid and collective language shaped through social media. Conceived as both a photographic and editorial project, the book brings together twenty-six creators from around the world, each associated with a letter of the alphabet, forming a shared narrative rooted in online communities and creative exchange.

Originally developed on Instagram, the project translates a digital ecosystem into a physical object, questioning how influence is produced, perceived, and embodied today. The book was produced with the support of Instagram’s Drafts program and involved an international production process spanning photography, editing, writing, and printing.

Editorial direction was led by Blake Abbie. The publication was designed by Studio Marie Lautsch, with custom letterings by Lucas Descroix. Texts are set in Plain Form’s yet unreleased Ferro.

The book features French folds, introducing a layered reading experience, all texts remaining deliberately hidden until pages are cut open.

Protest Grotesk is the typeface used by Seasonal Fruit for Wir wollen baden! (“We want to go swimming!”), published by Neckarinsel Stuttgart in collaboration with Prima Publikationen. Additional display typefaces used in the book include Sometimes Times and Blocus.

From the publisher (translated):

This water guide is a handy companion for getting into cool waters on hot days. Even in the Stuttgart metropolitan area, temperatures are rising. At the same time, Stuttgart and the surrounding region aren’t exactly known for nearby lakes for swimming. That’s why we went searching for you—and we found them: from river swimming spots to hidden waterfalls and refreshing forest baths, here are the islands for cooling off.

On 14 tours through the region, we give you insights into the many ways to swim and cool down, sprinkled with information and facts about the waters, because water is much more than just fun in the pool: it’s our drinking water, wastewater, a habitat for flora and fauna, and even a means of transport. Easily accessible by public transport, the tours invite you to stroll, walk, hike, cycle, or paddle—alone or with friends and family.

And the best part: each tour comes with a postcard as a keepsake, to send, or to share, featuring scenes from your swimming adventure.

Shortlisted for the Most Beautiful German Books 2025.

Postcard with all-caps Blocus on the back

Spread featuring all-caps Sometimes Times, rotated and with overlapping glyphs