Typ Recruitment, stylized as {typ_, had the energy of a misfit collective, but the identity told a far safer story. Behind the company lived curiosity, experimentation, grit, and a very particular kind of humor. None of it reached the surface.

The new identity brings that internal culture forward. Built for people who explore before they read, the system filters through behavior rather than brand language.

At the center sits the {typ_ logo, a small manifesto reflecting the idea that identity is never finished, but always shaped by context and iteration.

Instead of a traditional corporate website, we designed a layered desktop-like environment with terminal interactions, overlapping windows, hidden details, and subtle narrative clues. The visual language draws from tech culture and open-source systems, modular, exploratory, and intentionally imperfect.

Htag is a professional magazine published by Références (Groupe Rossel) for the French-speaking Belgian HR community. The design brief called for an editorial identity that would break with the conservative conventions of B2B publishing – using B2C visual codes to produce something genuinely engaging while remaining credible in a professional context.

The typographic system is built around three families that each occupy a distinct register. Right Grotesk drives the display layer: Compact Dark handles the largest headline sizes, while Compact Bold appears in pull quotes, all-caps section headers, and colour-block infographics. Compact Light is used for quotation marks and pagination. The Narrow cuts – Light for bylines and section labels, Bold for feature section titles – introduce optical contrast within the same family and sustain rhythm across the grid.

Newsreader Text sets all running text – chosen for its optical-size calibration at small sizes and its ability to sustain long-form reading while giving the pages a considered, editorial weight.

Silka anchors the identity – logotype, standfirsts, and interview questions – its humanist tone counterbalancing Right Grotesk's geometric rigour. In colour-block encadrés, Silka replaces Newsreader as body copy, visually differentiating these sections from the main editorial flow.

The grid alternates between strict alignment and deliberate offsets, typographic elements breaking the column structure to introduce visual tension. Colour is used boldly – frank, saturated accents punctuating the rhythm of the pages – an unusual stance for a readership accustomed to the conservative visual codes of HR publishing.

The creative industries magazine Rekorder is published quarterly and covers current topics from the Stuttgart creative region, showcasing companies and creative professionals. The magazine is published by the Wirtschaftsförderung Region Stuttgart (Stuttgart Region Economic Development Corporation).

Every issue is unique—each is designed by a different agency from the Stuttgart region. For the 02/2026 issue, the corporate communications agency campra was commissioned. The main theme, “Democracy & Creativity,” was incorporated into the design in a colorful and diverse way, just as democracy should be. Fincker Font Cuisine kindly provided its typeface library for this issue. As a result, several typefaces were used, such as Marblis for the body text, as well as Finador, Royalis and Garino for headlines. The illustrations and paintings by Juliane Herrmann completed the layout, resulting in a colorful and inspiring magazine.

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.

Fable designed the identity of Unicorn Financial Solutions. From their case study:

Unicorn, otherwise known as Unicorn Financial Solutions, recently underwent a thoughtful rebranding to reflect its core philosophy as a family wealth management office dedicated to offering ‘A Freehold Life For All’. […] The logotype introduces a unique family, Roman Grotesque by Bureau Brut, that mixes sans serif and serif – a representation of the cherished past and nodding towards the modern future. This typeface draws its inspiration from sans serif typefaces with structured design and serif typefaces with calligraphic heritage. It proposes a meeting between these two great typographic categories, neither quite a grotesque, nor a serif typeface, but more a serif grotesque. PT Serif and Fable Type’s Tenet also make up the type usage hierarchy.

A suite of colours was introduced to allow various touchpoints across their marketing, recruitment, and investment efforts to be consistent, intentional, and exuding gravitas. To top it off, we created a variety of icons, illustrations, and stickers to promote fun, engagement, and clarity in both internal and external communications, adding a layer of character and cohesion to the brand system. This cohesive visual language carries through to Unicorn’s website, guidebooks, and social media – ensuring a consistent and recognisable presence at every interaction.

The Chinese typeface used for the business card is yet unidentified.

Study Hall used Volksans for the identity of Striker Labs. From the case study:

Striker Labs is the all-in-one command center for all things crypto. They power on-chain finance for institutions, making it effortless to research, build, launch, and manage on-chain portfolios and strategies.In the complex world of decentralized finance, tools are often scattered and difficult to use. But Striker Labs brings it all together. Actually. Not just sugar coating clumsy UI with an approachable color palette.

They needed a brand identity that communicates the capability and nuance of their institutional-grade platform—and how it sharpens down to a fine executional edge. The identity we built is professional yet ownable, sophisticated yet recognizable, engineered yet elemental. It’s kaleidoscopic in ways that show potential and possibility in even the most natural systems.

Looking through my way-back files, I found that I used Letraset’s Pump for a second logo project in the early 1970s. I used Pump because it was an absolute natural for combining the three lowercase initials, c s b. They flow one into the other in a satisfying way. In my mind's eye I saw it further as a three-dimensional tubular metal sculpture set on a patch of lawn in front of the bank, but that was not in the cards.

Vanessa Olt is a Berlin-based business consultant working with creative studios and independent designers. Before founding her own practice, she was a founding member of Nea-Kosma, a business consulting duo active until 2025. With a background in accounting and business administration, she helps translate intuition into financial clarity through tailored structures, operational systems, and long-term strategy. Since 2018, she has collaborated with studios such as Dinamo Typefaces and HelloMe, combining analytical frameworks with a supportive, people-focused approach to consulting.

The website uses Protest Grotesk by Softdrive Foundry. Both the website and typefaces were designed by Mark Julien Hahn.

TT Firs Neue is part of the brand identity for The Future of Everything, a festival by the Wall Street Journal. The clean font conveys the business tone of the event and adds a modern feel and clarity to its identity.

The Future of Everything is a flagship event where WSJ journalists join leaders in business, technology, politics, and other innovators to discuss key trends and the most critical issues shaping the near future.

SDR Capital, named after the initials of founder Shefali Roy, is a London-based family office investing in finance, technology, and AI. The brand identity uses typography to express a practice grounded in conviction, precision, and a deliberate refusal to follow convention. The visual language, spanning identity and a pared-back single-page website, is built for a firm that moves through capital on its own terms.

General Sans (Frode Helland, Indian Type Foundry) provides the foundation: geometric, precise, composed. Xanh Mono (Lam Bao & Duy Dao, Yellow Type Foundry) counters it: monospaced logic that nods to the sectors SDR operates in, inflected by serifs that introduce warmth and wit. Together, they hold the identity's essential tension: composed, yet restless.

The logomark stands apart. Millionaire Script (Raphaël Verona, Altiplano) draws on the calligraphic lineage of English Roundhand and George Bickham the Elder, set against “SDR.” in General Sans. The two typefaces are joined by a single dot: the full stop above becoming the tittle of the i below. Audacity and discipline, connected by a point.

Document Drafter is a Danish document automation platform for law firms and corporate legal teams. The website frames automation as a way of embedding legal expertise into documents rather than reducing it to templates, using lines such as “Ideal for impatient perfectionists” and “Built-in brilliance”.

Product sections focus on Word-native drafting, Microsoft integration, end-to-end workflows and Agentic AI, while customer logos, security certifications, metrics and testimonials build trust across a technical B2B sales flow. The company page adds a founder-led profile and Danish locations in Copenhagen and Aarhus.

The website uses Store Norske Skandia from Skriftkompani.

PostFinance was looking for a typeface that could carry its voice across every channel—internally and externally, digital and print, official and everyday.

As part of its brand refresh, the company decided to replace its long-standing corporate typeface, Frutiger. The foundation became NN Nouvelle Grotesk, which we carefully reshaped into a dedicated corporate typeface for one of Switzerland’s largest banks.

The foundation stayed the same, but details shifted. Some letters were redrawn, the rhythm fine-tuned. Small interventions with a big effect: the result feels familiar, yet carries a tone that’s distinctly PostFinance. Clear, reliable, consistent – just what you’d expect from a national financial institution.

This new version now speaks wherever PostFinance communicates: on websites, customer letters, campaigns, apps, interfaces, and internal documents. A single typographic voice that adapts to all contexts while keeping the identity unmistakably coherent.

For us, the process was less about invention and more about precision. Taking Nouvelle Grotesk and nudging it towards a new role, where the design DNA remains visible, but the character shifts just enough to embody the values of PostFinance.

It’s a youthful typeface that captivates with both simplicity and originality: the expressive PostFinance Grotesk, whose clear, confident design fully embodies the bold and dynamic spirit of PostFinance.

Promotional leaflet for Blue Accounts, a provider of tax advice and accountancy services. The typeface Neo is in use here alongside Helvetica.

The Überbrückungsfonds (“Bridging Fund”) was established by the German NGO FragDenStaat to ensure that delayed government payments do not threaten the existence of small organizations and projects. Christoph Rauscher collaborated with the team to develop the brand identity, website, and social media assets. For the typographic system, he selected Geist Sans by Vercel for body text and Gregory Grotesk Condensed for headlines. Rauscher explains his approach:

For the bridging fund, I was looking for a serious yet friendly sans serif font to complement the clear geometric shapes and movements. It was to be used for the logo and headline and an addition to the very quiet body font (Geist by Vercel). I specifically chose the condensed style because the project primarily communicates in German and the word “Überbrückungsfonds” is long and somewhat cumbersome. Gregory Condensed has character, but is still serious and, thanks to the round dots on the i’s, also super positive – a perfect fit for the project!

PastFuture is a hands-on investment and creative partnership firm, based in Madrid, Spain. They approached Archivo Solutions to “create a website that represents the values of a brand dedicated to direct investment, which focuses on creating a significant and transformative impact on every company in which it participates.”

The new design seeks to move away from common ground in the world of investment, to highlight innovation and creativity and bring soul to the world of investment, which is often cold and very methodical.

For the September 2022 issue of Fast Company, Creative Director Mike Schnaidt and Design Director Alice Alves assembled a refined editorial palette to present the magazine’s annual “Most Creative People in Business” list, honoring innovators across technology, healthcare, entertainment, and design.

The cover prominently features Cosi Azure Bold and Black by Nikolas Type, whose sculptural elegance and crisp modulation bring a sense of clarity and authority to the key headlines. Article sublines are in Cosi Times. The magazine’s text typeface is a customized Meret from TypeMates, and the logo is based on R-Typography’s Grifo, see this post.

The typographic system of the special issue is complemented by PP Monument Extended Black (Pangram Pangram), A2 Beckett Light and Regular (A2-TYPE), and Centra No. 2 Bold (Sharp Type / Monotype), creating a balanced dialogue between expressive display forms and precise editorial text.

The italic is from Colophon’s Grenette.

Beastly (OH no Type Co.) is used for the initial. The text typeface is unidentified.

The initial Y is from Salvaje Display (Typozon).

FinBits is a Brazilian fintech simplifying accounts payable for companies.

In collaboration with the FinBits team, Twoo redesigned the brand and website, building a visual system centred on clarity and structure. Precise typography – set in a single style of Grosa throughout – and composed layouts form the backbone of the identity, balanced by a series of hand-drawn illustrations.

Upstream is a venture capital firm in Utah that supports founders in the intermountain west and beyond. Their logo uses Volksans. On the website, Manrope is used as the display typeface and Inter for smaller text.

The founder of Third Rail Advisors approached me to create a simple but bold logo for his new business. The name “Third Rail” was inspired by the electrified rail on a subway track: they aim to empower and embolden their clients’ business strategies. Their new logo needed to work for more serious business documents, while also being contemporary and dynamic.

I looked to NYC’s iconic subway identity for inspiration. Three vertical lines form a subtle abstract graphic representing the subway tracks. The stripes can live alongside the logomark, on their own as an icon, or can be extended to form a super graphic. The logomark uses the typeface Inter, similar to the MTA’s Helvetica, with added legibility for digital use. The letterforms’ verticality complements the rail graphic. The chosen shade of blue is vibrant, high contrast, and bold while still functioning well in a professional context.

Business Sustainability Toolbox. Innovative Wege zur Nachhaltigkeitsstrategie (“Innovative approaches to sustainability strategy”) is a 280-page reference book on the development of sustainability strategies for SMEs, corporations and start-ups. It was compiled and written by Julia Weber and Marcel Farkhondeh-Hoy and published by Vahlen (Munich) and Versus Verlag (Zurich).

Step-by-step instructions, templates and numerous illustrations are used to simplify the complex processes across four chapters, making it easier for readers to get started with the topic. Macan is used throughout.