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.

OTSU opened in Barcelona the way the best places do, without a big announcement and already belonging in the neighbourhood. This café is a reflection of its founder's instincts: food built on contrast, a space that doesn't rush you, and the kind of care that only reads as effortless when it isn't.

The identity takes its cues from the places that inspired the space, particularly Asia and the kind of beauty that lives in restraint and precision. It's built from the physical language of the café itself. Verticals that recall curtains, tall ceilings, and the upward pull of living things, paired with the shape of a perfect circle that holds it all in.

The logo doesn't repeat itself unnecessarily and appears only where it counts. Red leads the palette with conviction—warm, rich, and loaded with cultural weight. In Asian cultures it's the colour of luck, celebration, and something worth paying attention to.

The result is a brand that feels the way this café does. Nothing is accidental and nothing is excessive, leaving a quiet mark exactly where it matters.

The Philadelphia Museum of Art, in collaboration with design studio Gretel, rebuilt its identity with the goal of putting the institution in direct conversation with the city that surrounds it. Typography is the primary device for achieving this. The type palette mainly works on two levels: outside-and-inside, or community-and-institution.

Inspired by Philadelphia’s rich visual texture of storefronts, street vendors, and murals, the vernacular type palette brings the voice of Philly into the museum and injects the identity system with contrast and spontaneity. The current library is curated (exemplified by the likes of Shatter, Cooper Black, and Balloon), but it is designed to continue growing over time. Each of these display typefaces can be used on various seasonal activations, or specifically assigned to exhibitions or departmental roles. ITC Pioneer was used for the recent exhibition The Time is Always Now, a survey of contemporary Black and African diasporic figurative art. Purple Haze is the designated typeface for PMA Members, and Megazoid is used for PMA Kids.

On the other hand, the institutional typographic voice serves an evergreen role: echoing the museum’s classical character while embodying Philadelphia’s industrial sensibility. The core typeface, Fairmount Serif—named for the Fairmount neighborhood—was custom-drawn by Ryan Bugden after a study of Philadelphia’s typographic history. Searching for a balance between the industrial structure of 1930s American sans-serifs and a classical features brought Hess Neobold forward as a key reference. Its designer Sol Hess attended PMSIA—the precursor to the museum—and later succeeded Frederic Goudy as Philadelphia-based Lanston Monotype’s type director. Fairmount Serif evolves the Hess Neobold model while incorporating more contemporaneous industrial cues. It remains relatively neutral alongside the museum’s broad palette of display faces while providing a distinct, authoritative voice of its own. Fairmount Serif was also used as a starting point in rendering the various institutional logos.

For the more workhorse level, Klarheit Grotesk serves as the museum’s body text typeface. It is set at small sizes across branding, materials, signage, and exhibition text.

See more images in Gretel’s case study.

Mockups of exhibition catalogs

Banners.

Seasonal program.

FT Supplement is used across exhibition graphics and communications for the brand identity of the Art Centre Penryn, a major creative space for Cornwall.

The new branding for Museum H’ART (formerly the Hermitage Amsterdam), designed by Studio Berry Slok, features Good Sans by Good Type Foundry and Self Modern by Bretagne. The identity draws around a blurred circle used as a symbol, for animation transitions, backgrounds, etc.

White Coffee is a Parisian specialty coffee brand founded by Etienne Ryckeboer and Jenny Martin, with shops across the 3rd, 4th, 9th, and 10th arrondissements of Paris. The brand positions itself at the intersection of architectural minimalism and street culture – raw, sharp and precise.

Bordeaux-based studio Abmo developed the identity and packaging in two phases. The wordmark is set in Cardinal Fruit by Production Type. Suisse Int’l Regular by Swiss Typefaces handles the deadpan neutrality of information, while Editorial New Ultra Light by Pangram Pangram brings tension to editorial accents.

Rebranding Ngọc Thẩm Jewelry (NTJ) was a comprehensive identity transformation for the three-generation jewelry house that’s rooted in the Mekong Delta since 1989. Developed by M — N Associates, the project repositions NTJ as a contemporary cultural luxury brand while preserving the emotional familiarity and trust deeply associated with the brand across Southern Vietnam.

At the center of the system is the custom NTJ type system, developed in collaboration with Trà-Giang Nguyễn (Gydient). The typography consists of two complementary families: NTJ Display and NTJ Sans.

NTJ Display carries the ceremonial and editorial voice of the brand, designed in refined Roman and Italic styles with elegant proportions, subtle contrast, and soft transitions that echo traditional craftsmanship through a contemporary lens.

NTJ Sans functions as the structural backbone of the identity system. Designed for omnichannel applications ranging from retail signage to digital platforms and product engraving, the typeface balances clarity, scalability, and luxury restraint while remaining fully optimized for Vietnamese typography.

Together, the two families form a 20-style type system built to support a complete cultural luxury ecosystem across packaging, retail environments, photography, digital experiences, and spatial branding.

Throughout the identity, typography was treated not simply as a communication tool, but as a way to express inherited value, precision, and continuity across generations.

See more images and a full list of credits in the case study.

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.

Champ is used in Self-titled’s branding for Hoopla to bring a playful, versatile voice to the family entertainment centers. The typeface is scaled and adapted across the logo, communications, and digital platforms, helping express the brand’s promise of “Entertainment Unlimited” while remaining clear and engaging on mobile devices. Secondary text is in Degular and Degular Mono.

Leka is a sandwich shop located in Salzburg, Austria, serving up a modern take on the traditional Leberkässemmel (meatloaf sandwich).

The branding was created by Austria-based designer Lukas Diemling. The custom-drawn Leka logo was designed to evoke a mustard stain. All headlines are set in all-caps Rodger Black by Central Type, while the smaller secondary type is Pachinko by A is for: two rounded typefaces that make a delicious combination.

Perfora in use for the Blender Conference 2026 in Austin, Texas (Blender as in the open-source 3D software, not the kitchen appliance.) The identity was designed by Autotroph, a company with a focus on Blender and the host of the Blender Conference North America (the original branch takes place around Europe). This is the second installment of the North America conference. Additional fonts include Gooper, Obviously Narrow, Inter, and an unidentified ballpoint script.

Diesblon is a Greek local brand for wearable art, handmade jewelry, art prints and more. It was founded in 2021 by Xanthi Tsaloupi. The logo pairs Ahsing with Futura. The slogan “Handmade with love in Athens” is set in Le Petit Cochon.

The Drei Weieren (“Three Ponds”) are definitely a favourite spot for the people of St.Gallen. The visitors to the neighbouring tourist highlight and UNESCO World Heritage Site, the Abbey District, are the ones who are least aware of the splendour of the local recreation area. As part of the tourism development concept, a separate brand identity and wayfinding system is to be introduced to strengthen the presence of the area, enhance it in a gentle manner and make existing attractions more visible.

Studio mi developed a solution that is both striking and in keeping with the characteristics of the area: the concise combination of 3 and W in the brand identity sets the tone for the visual language. Curved signposts and overview maps, as well as welcome banners, reflect the omnipresent movement in the topography, the walkers and swimmers, as well as the dominant element of water.

Map for Drei Weieren

Louisa Coffee is a major Taiwanese coffeehouse chain founded in Taipei in 2006. In 2018, it decided to rebrand. With design agency DDG Brand Consultancy a more modern logo and identity was launched, including Mallory by Frere-Jones Type.

The font used for the Chinese name 路易莎 is yet unidentified.

The Seamus-O Building, 4700 Lorain Ave, Cleveland, Ohio, has a sign in caps from Eurostile.

Precious little is known about this building. It’s a shame, given how boldly its name appears.

Victor Verhelst and Corbin Mahieu collaborated on a bold new identity for Kunsthal Mechelen. The designers were inspired by the ironwork in archival photos of the garage and developed a font for Kunsthal Mechelen, based on the existing KTF Labyrinth by Kyiv Type Foundry. Times New Roman Bold Condensed is used on the website and posters.

Kunsthal Mechelen is a generous house for contemporary art that extends across several locations in Mechelen, both indoors and in public spaces.

The visual identity for Ama, a hidden Japanese cocktail and raw bar in Vancouver, balances a retro-futuristic aesthetic with deep oceanic inspirations.

Designed by Glasfurd & Walker, the branding centers around a fluid, custom wordmark inspired by the flowing movements of Japanese “sea women“ (pearl divers). To contrast with this expressive logo, the studio utilized an old version of Ranua by Muhittin Güneş as the supporting typeface.

Shizen Salad is a modern custom salad brand based in Osaka, Japan. The goal was to provide a vibrant, healthy alternative that balances everyday affordability with premium quality, serving as a fresh new hub for local professionals and residents.

Our challenge was to build a highly approachable identity that instantly communicates freshness, while maintaining an elevated, trustworthy feel. To balance this friendly and dynamic symbol, I needed a typeface that could provide a sophisticated, grounding anchor. I selected Value Serif by Colophon as the primary typeface. While the brand’s core concept is everyday-friendly, Value Serif brings a crucial sense of modern refinement and high-quality craftsmanship.

Its elegant proportions and contemporary, sharp wedge serifs create a beautiful contrast with the organic curves of the symbol. This typographic choice allowed the brand to scale seamlessly from physical eco-friendly packaging to digital UI/UX, ensuring the visual language remains both inviting and decidedly premium across all touchpoints.

The logo and slogan use Futura. On the website, headings in Value Serif are combined with text set in Koburina Gothic and Inter.

Xuba means corn in Zapoteco, a pre-Hispanic language, and that is the starting point for the visual identity of this contemporary taqueria in Barcelona led by Michelin star chef Antonio Saez, where all tacos are made with this unique ingredient with its blue variant. The system designed by ESIETE expands with a series of copywriting and emoji-type icons that are displayed in packaging, content and communication.

Handverksfestivalen is a free annual two-day festival at the National Library of Norway, celebrating craft heritage through workshops, lectures, and hands-on experiences. Smuss Studio was commissioned to design the campaign identity for this year's edition, themed ‘around the sea and its lores’.

The identity builds on the library’s base profile. It uses STK Bureau Sans for body text and navigation, and RG Gaueko as the expressive display face. Gaueko’s organic, curling forms and unconventional ligatures, rooted in Basque letterforms, give the festival its distinctive character across posters, pocket programmes, digital screens, and social media.

Collage-style illustrations and historical cut-outs drawn from the library's archives bring texture and a sense of maritime folklore to the system – balancing the mysterious with the playful.