Hummus Goodness is a Michigan-based hummus brand founded by Hannah Awada. They rebranded in 2025 with the intention of standing out in a crowded category. Crew Marketing Partners handled the rebrand. The new identity uses OH no Type Co’s Ohno Softie in its logo, packaging, and website.

This is the type of brand personality where Ohno Softie really shines. It's rounded soft-cornered forms bring a bright, friendly, warm personality which matches the Hummus Goodness vibe (their flavor names being “Big Dill” “Beetz” and “Tac-Oh!” just to name a few).

For the packaging, Ohno Softie is paired with Cubano by Chandler Van De Water. On the website, it’s used along with the Latin part of Ek Type’s Baloo as a secondary headline font and Mulish by Vernon Adams and others for menu and body copy.

Oliterrani is a superior category organic extra virgin olive oil, sourced exclusively from Arbequina olives grown on a family-owned estate of century-old trees in the Vall del Corb, in the Tarragona region of Spain. Hand-picked and cold-pressed immediately after harvest, the olives retain their full sensory expression, resulting in an oil of exceptional purity and clarity.

Rooted in tradition and guided by a belief in the luxury of simplicity, Oliterrani’s identity emerges from an artisanal, deeply considered approach. Every element honors origin and process – not through ornament or excess, but through restraint, intention, and quiet precision. Typography plays a central role in this expression.

Roslindale Display Condensed Regular, a refined serif typeface inspired by De Vinne’s 1892 design and reinterpreted by David Jonathan Ross with Jovana Jocić, brings historical depth and understated confidence to the brand. A subtle tilt in the letter O creates a visual echo of the olive itself – the product’s raw material and symbolic core.

The logotype was crafted using hand-applied nanquim ink, producing a bold yet organic mark. Its color palette draws from the natural tones of the Arbequina olive at different stages of ripeness, evoking both the texture of the oil and the untamed character of its landscape.

To further reflect the handmade nature of the product, the labels were printed using traditional linocut techniques. The resulting irregularities and textures ensure that no two labels are exactly alike – much like no two trees, no two harvests. More than an olive oil, Oliterrani is a quiet celebration of land, time, and process – where tradition, craft, and cultural restraint come together in their most essential form.

Network Sans is the official type family of the public transport system throughout the state of Victoria, Australia. It appears on signage, promotional and safety material throughout the state on metro and regional trains, trams, buses, ferries and more. This has meant it has been applied to a wide array of substrates and surfaces including enamel station and stop signage, various digital screens including Public Information Displays (PIDs) as well as billboards, printed posters and decals for walls and and floors to name a few.

Network Sans is also integrated into the Wayfound Victoria wayfinding programme which is available to any municipal body and provides a signage system for walking and general navigation. So far Wayfound has been adopted by Melbourne, Maribyrnong, Port Phillip, Stonnington and Yarra city councils with a view to streamlining way-finding throughout the state.

The goal was to unite a complex system of public-private providers, modes and routes under the one easily-identifiable system. When you see Network Sans you should be able to recognise where you are and where you are going. Alongside the typeface—which plays a pivotal role—there are also suites of colours, way-finding forms and products, textile patterns, print templates, on-screen and app-based templates and more.

The development of Network Sans has taken place in stages with extensions created as the need arose. Starting out as a multi-weight family of Sans and Sans Italics, it has grown to include Network Neo and Network Geo versions adapted for specific purposes such as on platform place-naming (often with rounder, more circular counter-spaces and wider forms). From this a series of Condensed versions were extrapolated and original letterforms adjusted and updated for enchanted clarity, especially on screen.

Development began in-house at Public Transport Victoria with many stakeholders from in and around the design team contributing to its evolution. This meant letterforms could be trialled within real world scenarios and in proposal work (the earliest version appearing on directional signage along the bridge at Footscray station). Design team staff even got their own desk name plates set in the new typeface.

Adoption has been wide-spread, particularly within wayfinding and navigation systems although private operators can still choose to employ different typefaces for their own promotional material based on their specific identity guidance. Network Sans is also playing a leading role within the promotion and rollout of the imminent Metro Tunnel project appearing on posters, hoardings and within social media campaigns where animated text is also a key tool in grabbing viewers attention.

TEC (Technical Education Copenhagen) launched a new visual identity that seeks not only to reframe the school’s identity, but also to shift the wider perception of vocational education in Denmark. Centered around a narrative of craft, pride and belonging, the identity celebrates the heritage of craft guilds while giving it a contemporary and inclusive expression. Rather than presenting TEC as a traditional educational institution, the visual language frames it as a shared professional community – almost like a club – for the next generation of skilled workers.

In 2024, the photobook FAGLÆRT was published. The publication puts the school’s students at the forefront, giving them a format to tell their own stories and share their experiences. The launch of the photobook was celebrated through a public exhibition that travelled around Denmark.

As part of the new visual identity, Playtype developed TEC Sans, a custom sans serif typeface based on Playtype’s Rialta.

Website

Website

Social media

FAGLÆRT photo book

FAGLÆRT exhibition

For its 39th edition, the Festival International de Musique de Belfort (FIMU) – which draws over 100,000 festival-goers and 1,000 international artists each year – honors Belgium with a quirky, advertising-inspired visual identity. Conceived by me, art director and graphic designer Benjamin Puddu, the concept revisits the traditional cone of French fries. Treated as an iconic object, this popular symbol captures the festival’s energy without falling into literal folklore. The colors of the Belgian flag structure the composition, while the inclusion of wristbands from past editions weaves a link to the event's history.

The poster is the result of a close collaboration between me and IGO Studio (Steven Mazzola and Coline Munier). Known for their sculptural and meticulous approach to still life, the duo focused on authentic materiality in the face of omnipresent AI. In contrast to algorithmic visuals, the image comes from a 100% real studio production using deliberate flash lighting. This technical choice heightens the visual impact of this free festival, while adopting a frontal aesthetic that underscores the absurdity of the staging. To bring this universe to life across all touchpoints, graphic designers Sarah Not and Barbee meticulously handled the entire graphic rollout and layout adaptations.

On the typography front, the choice of Julieta Ulanovsky’s Montserrat responds to a need for clarity and power. Inspired by the urban signage of Buenos Aires, this geometric sans-serif eliminates all artifice. Its rational structure resonates perfectly with the almost commercial treatment of the photograph. Universal and robust, its raw neutrality offers an ideal counterpoint to the image, anchoring FIMU within a sustainable and coherent art direction for all audiences.

The visual universe is also adapted into a children’s version with a more playful tone. The typographic block adjusts: Montserrat becomes rounded and the letters of the word FIMU shift to create a freer rhythm. Secondary information adopts a handwritten style evoking children's writing, while the color palette swaps vivid tones for four pastel shades, all while maintaining the aesthetic rigor of the main poster.

Ad Age is a global media brand that publishes news, analysis, and data on marketing and media. Its namesake magazine was started as a broadsheet newspaper in 1930. Ad Age appears in multiple formats, including its website, daily email newsletters, social channels, events, and a bimonthly print magazine.

In 2017 they embarked on a journey to reimagine Advertising Age into a single brand, unifying events, honorifics, a business intelligence platform, creative reviews and the award-winning editorial coverage under the newly shortened Ad Age moniker. With Champions Design the 2018 Ad Age Brand Book was released with a updated masthead by Frere-Jones Type who created a bespoke cut of Retina typeface to reflect the wordmark's original 1930s characteristics. The book also includes text by Exchange, a Frere-Jones typeface as well.

Created Brilliance is a lab-grown diamond jewellery brand based in London's world-renowned jewellery quarter, Hatton Garden. The collection consists of timeless, conscious jewellery designed to be treasured now and for generations to come.

Based on the insight that trust is everything when it comes to diamonds, Not Studio’s rebrand shaped a new strategic and visual world for Created Brilliance, emphasising elegance, longevity and – crucially – the equity of their Hatton Garden location. The resulting wordmark is set uppercase in ABC Arizona Flare with a customised sharp terminal on the C’s.

The rest of the identity uses a mixed palette of ABC Arizona Sans and Text, as well as GT Ultra Median and Standard, referencing the layers of historical type found across street signage and architecture to reinforce a sense of place.

Hjärnfonden (“The Brain Foundation”) is a Swedish non-profit foundation that focuses on research and treatment for the brain. In 2022, they hired Nord DDB Stockholm for a rebrand. In turn, Nord DDB hired Bloom Type to develop a custom typeface: Hjarnslapp Display.

With Hjarnsläpp Display, the goal was to create a typography that embodied the infinite diversity of the human brain, aiming to shape the diversity and specificity of each individual through a typographic collage that applies the same formula as the brain itself. Two parts come together in a lateral symmetry to form each glyph. These two forms share both the same meaning and structure: an A remains an A, but not the same signifier: each of the original typographical forms refers to a different story and impression.

The fusion of these two different forms creates a new one, strange, quirky and raw, unique in their asymmetry and the imperfection of their junction: they reflect the diversity of our brains and their stories.

It was built from six open source typefaces, for six different typeface genres:

• Inter (sans serif grotesque)
• Playfair Display (high contrast serif)
• Roboto Slab (slab serif)
• Terminal Grotesque (bitmap type)
• Work Sans (humanistic grotesque)
• Comic Neue (rounded type, a serious Comic Sans if you will)

The typeface itself was therefore also released under an open source licence.

Allis is a multidisciplinary branding studio with over a decade of expertise in crafting brands for notable placemakers, hoteliers, and new-to-world lifestyle companies. With offices in New York City, San Francisco, and Portland, Allis provides creative services to various industries, including premium health and wellness products, real estate, hospitality, and fashion.

Typography played a central role in defining the agency’s luxury positioning. Combining the sharp presence of Cardinal Fruit, the elegance of FH Alpha, and the timeless utility of Neue Haas Grotesk, the type system delivers a cohesive and sophisticated identity across digital platforms, presentations, stationery, and agency merchandise.

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.

Rebel Patch is an independent, female-owned sustainable fashion brand based in Bristol, UK, that creates limited-edition, artist-designed patches for clothing repair and upcycling. The company aims to make textile repair accessible and fun by offering wearable art alternatives to traditional iron-on patches, using organic cotton and eco-friendly manufacturing methods.

The visual identity of Rebel Patch is a blend of raster and vector elements. The art direction draws heavily on nature-inspired imagery, grounding the brand in an authentic, organic aesthetic that underscores its commitment to sustainability. In contrast, the graphic elements introduce a layer of energy and optimism.

Brand identity for MoMoney, Museum of Money by Studio Chong. Created for a Dallas-based museum dedicated entirely to the world of money, from cowrie shells to crypto. Studio Chong built a bold, maximalist identity that holds analogue charm and digital energy in the same breath – graphic coins, punchy headlines, and a verbal voice cheeky enough to put “For Buck’s Sake” on a fridge magnet. Finance just got a lot more fun to look at.

Bergner was founded in 1999 in Vienna as a kitchenware brand and has evolved into a global homeware solution company.

The corporate logo features the Revue typeface and released by Letraset in 1969. The wordmark is set in heavy, all‑caps display lettering, characterized by clipped curves and the absence of completely straight lines. This typographic choice establishes a distinctive identity for the Bergner kitchenware and homeware brand in both Indian and international markets.

The logo is applied consistently across product packaging, retail merchandise, and digital media, reinforcing Bergner’s corporate branding through the recognizable forms of Revue.

Zeche is a sans serif that reinterprets old German industrial typography for a contemporary context. Its origin is personal: conceived around the Zeche Zollverein colliery in the Ruhr my move from North Rhine-Westphalia to Berlin, it carries the weight and geometry of Germany’s industrial lettering into a clean modern sans. The face is now used by the traditional Schützenverein (“shooting club”) Halbvoll – leaving a piece of the designer’s origin at work in his home region.

Glyph set

Members of the Schützenverein

Adult Swim is an adult-oriented cable channel that started out as Cartoon Network's late-night programming block in 2001. The block became a channel sharing space with Cartoon Network in 2005, similar to Nickelodeon and Nick@Nite, because Time Warner wanted to keep their Nielsen ratings separately.

Adult Swim was widely known for a variety of adult oriented TV shows, including Superjail!, Aqua Teen Hunger Force, Robot Chicken, the Venture Bros., Metalocalypse, Space Ghost Coast to Coast, Samurai Jack, and so much more.

The current logo is set in Neue Helvetica Heavy Condensed.

RT Rondelle in use for OC’s new identity designed by Identity Marketing.

OC is one of South Australia’s leading names in real estate. The co-founders Alex Ouwens and Nathan Casserly joined forces with Identity Marketing Agency to strenghten the brand's presence. The scope of this project covers just about everything, from branding and identity, to property marketing, website design and development and more.

From Identity Marketing;

Working alongside Identity Marketing, OC sought to take everything recognisable about the existing brand and refine it into something sharper and more sophisticated, with a hint of playfulness. Smaller decisions like reinterpreting their iconic orange and expanding around the “Let's Make It Happen” tagline sat alongside more significant ones: contrasting serif and sans-serif fonts, bold new layouts, and a new brand voice. All carefully considered to elevate the brand for the next decade. Stronger, bolder, and ready for the future.

FH Noetica is used for the visual identity of Orientalism: Between Fact and Fantasy at The Metropolitan Museum of Art. As The Met’s first exhibition to focus centrally on Orientalism, it explores 19th-century artistic exchanges between Europe and the Middle East through approximately 180 historical objects. For this visual narrative, FH Noetica’s sharp and modern structure offers a refined typographic layout, bridging the historical depth of the exhibition with a contemporary graphic language.

mini studio is a French design atelier based in Paris and Tokyo, founded by Mia Thibierge and Justine Magnat-Biermé.

In 2025, we decided to rethink the identity to establish ourselves within the landscape of French and international graphic design studios.

The logo, inspired by medieval illumination and nature, reflects the founders’ appreciation for ornamentation and precious details—echoing the actual name of the studio.

GT Maru (Grilli Type), with its generous curves and playful demeanor, sets the studio’s name and geographical anchors, Paris and Tokyo. Its inspiration, Japanese signage, perfectly underscores mini studio’s international setting.

It is complemented by Matthieu Cortat’s Louize (205TF), whose typographic elegance, tinged with literary charm, reflects the studio’s affection for printed matter and typography.

It all comes together in the studio’s letterpress printed business cards.
The Japanese text on one of the cards was set in Yoshimichi Ohira’s Zen Old Mincho.

Piloti, by A Practice for Everyday Life, was originally designed for the identity of the London-based architecture practice Feilden Fowles. Piloti is a light sans-serif typeface, its high x-height and curved forms offer a sense of softness and warmth, reflecting the practice’s ethos of fostering learning and collaboration. Tapered stems that flare at their ends add character to the diagonal strokes. This detailing is inspired by stone-carved letterforms and by Feilden Fowles’ focus on craft.

The Feilden Fowles logo celebrates the typeface and is available in a range of lock-ups, including a bespoke FF ligature reminiscent of a sash window or a maker’s mark. The identity includes a comprehensive set of digital and print templates, and a visual refresh of the Feilden Fowles website to apply the new identity in this context.

A Practice for Everyday Life also designed an accompanying publication for The Weston, a gallery and visitor centre for Yorkshire Sculpture Park, which opened to the public in spring 2019. Built on a the site of a former quarry within the Yorkshire Sculpture Park’s 18th-century Bretton Estate, the building has been designed to sit sensitively within this historic landscape.

HANSONS is a home improvement company serving Michigan, Ohio, Indiana, Iowa, Nebraska, and South Dakota.

Their logo uses Montserrat in all caps.

The website uses Futura PT for all text outside images, except for the customer review section which uses the old version of Roboto.

The signs in the photo use Arial for the phone number.