Volksans is used for the website of Above Security. From the About page:

Above Security is an AI-native managed insider-threat platform for proactive risk management that just works. Specialized AI agents guide employees away from risk while building behavioral timelines of people and their agentic AI counterparts – inferring intent from signals traditional tools miss and delivering a full evidentiary timeline the moment activity becomes an incident.

Deadlift is a booklet designed to accompany the exhibition by Nadia Perlov, presented at Kunstverein Grafschaft Bentheim. The exhibition brought together sculptural installations, archival material, video, drawing, and collage to reflect on the layered history of Jerusalem’s Mamilla Cemetery and its transformation over time. The publication extends this atmosphere into print, functioning less as a conventional catalogue and more as a quiet spatial and narrative companion to the works on view.

Netbus, used for the titles in both the booklet and the exhibition poster, anchors the visual identity with a firm presence. Its carved, somewhat archaic character subtly echoes the historical depth of Jerusalem and the ancient origins of the cemetery. Bookmania carries the body text as well as the captions, lending the publication a warmer, literary tone that supports the archival and essayistic material. Suisse Int’l appears in the numerals and conversational initials, introducing a neutral structural layer that organizes timelines, references, and shifts in voice. Together, the three typefaces establish a restrained hierarchy that mirrors the exhibition’s balance between material weight and historical fragility.

Jilkyway is the typeface used for the logo of Monkey See Monkey Do, “a colorful, upbeat CG animated series which encourages children to engage with the show’s characters through dance and song.” [Sprout] Created by Tamar & Yuval Levy, produced by Smartoonz and starring voice actor Nitzan Sitzer, the show first aired on PBS Kids Sprout on August 24, 2010. The Spanish dub is known as Mono ve, Mono hace.

The animated semi-slab is a design by Jakob Fischer a.k.a. PizzaDude, a type designer from Copenhagen, Denmark. Jilkyway is used with a contour – sometimes two contours – around the bouncy letterforms, in alternating word colors.

Hope from Jerusalem is an online position paper and article collection that delineate a vision for creating a shared place that embodies peace, reconciliation and hope for the conflict-ridden region of Israel–Palestine.

The website uses a color palette that delicately references the various identities and cultures that make up the city of Jerusalem, against a simple typographic scheme comprised of two multilingual font families. The website is primarily bilingual (English/Hebrew), but makes use of Adapter’s Arabic character set throughout the headings in both language versions of the website.

Ir Amim is a non-partisan Israeli NGO that addresses the complexities of life in Jerusalem in the context of the Israeli-Palestinian conflict and the city’s political future. Ir Amim works toward the vision of Jerusalem as a fair and equitable city, while advancing conditions for a negotiated political future in Jerusalem.

B Eleven, a skincare and beauty brand, uses Apta. The logotype is a custom design.

Brand identity and packaging by Peach Blossom Studio.

Achla America (אחלה אמריקה, “Great America”) is a poetry zine by Roman Eisenberg (Roman.) with contributions by illustrator and animator Ori Sindel. It was published by Minus Books in September 2024.

The design drew inspiration from the themes of the poems and the editorial work. The poems were written during a trip to the United States and explore experiences from there, as well as addressing aspects of Israeli reality and lifestyle.

The editorial narrative moves from “there” to “here” and accordingly, the design sought to uncover the connection between America and Israel – with the conclusion being the notion of the wild (or untamed) West (or East).

To express this idea visually, the design called for the use of Fontef’s Xylograf for headlines, paired with FrankG (Hagilda’s version of Frank-Rühl) for body text – a classic poetry typeface that, in its character, evokes the spirit of the late 19th to early 20th century. Additionally, Narkiss Tam (Fontef) was integrated into the typographic scheme to further emphasize the unique aesthetic.

Another key design consideration was the intensity and volume of the poems. Roman’s poetry is marked by bluntness, directness, subversion of conventional layouts, and even deliberate misspellings; as a designer, I felt as though they delivered a punch in the face.

Thus, the decision was made to maintain high intensity throughout the entire zine. Both the text and the illustrations were designed to fill the entire layout—extending right to the narrow margins (5 mm)—in an effort to evoke a sense that the page is constantly filled with visual noise.

Moreover, the fluctuating font sizes, which deviate from traditional typographic conventions, ensure that the longest line of any poem stretches from one edge of the page to the other. This approach is mirrored in Ori’s illustrations, which are rich in intricate details that span the entire format and are set in full bleed.

טראש, or Trash, was created as a central component of Or Shoshani’s final project in the Department of Industrial Design at Bezalel.

The magazine brings together various street actions involving people carrying trash, documentation from an Instagram page, on-site and remote interviews, photographs, reflections, poems, and sketches. In fact, the magazine is the project itself: on one hand, it documents the project and its evolution, and on the other, it disseminates the idea that “there is no such thing as trash,” operating under two distinct roles.

All the content was gathered, edited, and designed into an A4 magazine and printed in 20 copies.

Achinoam Tamar Virt provided artistic guidance and Nitsan Mayost graphic support. Nitsan Mayost, Liron Midani, Yonatan Shoshani, and Yael (a resident of Nachlaot) conducted interviews. The cover image is by Ruth Yarmolinsky. The project was supervised by Maya Ben David and printed at Codaf, Tel Aviv.

After the Orchard is a solo exhibition by artist Yuval Buchshtab. It was presented at Beit HaRishonim in the Hefer Valley as part of the residency program in which the artist participated.

The booklet is an object exhibited as part of the show and was designed by Or Shoshani. It was printed and distributed to the visiting audience, presenting the research and historical component of the exhibition.

The Pauza typeface is used both for headlines and body text. Its rounded quality interacts with the rows of trees in the orchards. The booklet was Riso-printed in two colors, without overlapping, to preserve the historical photographs as monochromatic, just as in the original.

The project was produced and printed with the help and support of Dojo Jerusalem – A Space for Training and Development for Jerusalem Creators.

Photographs by Dor Kedmi.

עזרת גברים / 1000 שקיות, or Ezrat Gvarim/1000 Shkiot (“Men’s Sector/1000 Bags”). On the Spectacle of Bags in the Haredi Male Sector of Jerusalem as a Combination of Compulsion and Deliberate Differentiation is the title of Alma Hanegbi’s final project at the Department of Visual and Material Culture, Bezalel Academy of Arts and Design.

The book examines the phenomenon of bags as an alternative to briefcases among the Haredi male population in Jerusalem. What began as a casual wander and the photographing of examples evolved into in-depth research that encompasses quotations on Haredi fashion, the wandering and walking habits of the community, the history of briefcases and bags, internet screenshots, literary excerpts, diary entries, and a plethora of photographs by the editor.

The book was designed to render its complex material accessible – even as it incorporates footnotes, quotations, interviews, and images. It emphasizes the plasticity and the ‘cheap’ and ‘undignified’ character of the bags, contrasting them with the dignified and serious nature of Haredi dress and culture.

To create this effect, Maor Freedman’s design employs Narkiss Tam Narrow in red (skewed with a mechanical tilt!) for the headlines, evoking an atmosphere reminiscent of supermarket signage and the typography found on store bags. The informative text is also set in Narkiss Tam, underscoring the supposed ‘coolness’ and objectivity of such texts while establishing a distance between the conveyed knowledge and the lived experience on the Haredi street.

The project was supervised by Prof. Ory Bartal, Galit Gaon, and Dr. Tal Frenkel Alroy.

Diary excerpts, interviews, and literary quotations are rendered in Hadassah—a classic font with heritage and a dignified, warmer quality than Narkiss Tam, serving as a secular alternative to the fonts typically seen in Haredi-religious literature (such as Frank-Rühl, Dragolin, Vilna, and their kin).

The informative footnotes are set in Narkiss Block Mono, a font with a technical character and a structured, monospaced rhythm that evokes archival materials produced by a typewriter.

Apart from the colors found in the images, the color scheme is limited to black and red—an allusion to the printing style of ancient sacred books, which were often printed in black with red headlines (thanks to Banya Mar for the stunning reference to this world). The grid itself recalls that of Talmudic texts, featuring a central body of text with surrounding notes that “break” into it, contrary to conventional layouts. However, due to the complexity of the material, a more intricate grid was required. In contrast to the symmetric grids typical of sacred books, the layout on the double-page spread consistently employs a right-aligned block on both the right and left pages. This deliberate asymmetry offers a secular interpretation—a meeting between worlds: the spiritual and the everyday, the sacred and the past, intertwined with the expressions of contemporary life.

Poster for the exhibition נתיב הרעל (Netiv HaRa’al) / The Poison Path at the Shechter Gallery.
Designed by Maayan Moskona, who comments:

The concept behind the design was to create an elegant invitation for a dive into a magical legend. In the initial mood board for the exhibition concept, numerous influences from posters and invitations of the late 19th century emerged, and I felt that the Narkiss Text font is a timeless choice, thanks to its classic style and grandeur.

English text is added in Kepler Italic.

Exhibition poster and catalog designed by Studio Roniverony (IG), who comment:

We used the Hadassah Friedlaender font for the design of the Foreshadowing exhibition and catalog. The exhibition was held at the Edmond de Rothschild Center in Tel Aviv and curated by Assaf Hinden.

For this project, I created a bilingual brand identity and logo for a painting school in Tel-Aviv. The school’s target audience consisted mostly of young millennials who may not necessarily speak Hebrew. My objective was to tap into the nostalgic memory that people often have from their first art lesson in school – the magic of mixing primary colors to create a full spectrum of colors. I aimed to connect the target audience with their childhood memories and to encourage them to overcome their inhibitions about drawing in a playful and creative way.

To achieve this, I used the Hebrew font Narkis Hen together with the Latin font ITC Souvenir, which is associated with the Art Nouveau and Arts & Crafts movements, both of which have a strong connection to drawing and painting. I also incorporated elements from the Bauhaus movement, which is closely tied to the city of Tel-Aviv.

Small text is set in Miriam Libre.

After a major upgrade, teder.fm now offers an enhanced and more organized user experience, simplifying access to the station's broadcast schedules, events, and music archive. The new website brings order to the schedule and includes new tools that help listeners search for and discover music easily and intuitively. One of the most impressive additions is the ability to access Teder’s vast archive, which includes hours of music, live performance recordings, curated programs, and much more – all with the click of a button.

Web design by AaLibrary and Hadar Barak, with programming by Gil Goldshlager, motion design by Tal Uliel (Kid Aroke) and music by Afek Levi.

The graphic design of the site utilizes Narkiss Block and its new mono version – Narkiss Block Mono. The modern version of the font, made by Fontef, features historical alternatives that are enabled by default in this case, giving it a unique appearance. The font is not only a typographic tool but also a means of creating a unified and distinctive brand experience, seamlessly blending the past and present.

“Beit Romano” map: the site features a captivating interactive map of the area, designed by Drawing Tel Aviv (Paul) in charming pixel art. This map highlights the various businesses within the space, offering a visual guide with short descriptions and details about their opening hours.

Exhibition and catalog design by Studio Roniverony (IG):

We used the Narkiss Asaf font for the design of the Linda Adams: Fire and Snow exhibition and catalogue. The exhibition was held at the Artists House in Tel Aviv and curated by Ron Bartos.

Catalog photography: Youval Hai. Exhibition photography: Lena Gomon.

The niche design zine is an open call for designers and product makers seeking meaning beyond metrics. An invitation to rethink how we shape products and culture.

It's a personal project but also communal—sharing philosophies and work ethics of people building atypical products and technologies, from software to hardware.

Using Maxi Round by Dinamo as the primary typeface felt natural for conveying the project's weird and niche perspective. It’s used together with Diatype.

NorthMed is paving the way for the Arab community in the digital health industry. It strives to be a highly influential organization in the Arab world, bringing together top-notch professionals from medicine and technology. The organization operates the NorthMed Innovation Center, hosting events, courses, and meetings related to digital health and medical technology.

Developing a strong brand identity for NorthMed was a real challenge. Despite their integrated activities and relevance, the only visual asset they had was their logo. They wanted to keep it while building an entire brand identity, including various collateral designs for both print and digital mediums.

I deconstructed and reimagined the brand’s concept and evolved into more than just a logo. It became a vision, a foundational structure for a cohesive identity system, including a set of twelve custom icons and a flexible framework for dynamic sub-logos, tailored to different sections of NorthMed’s ecosystem.

The brand identity was further reinforced by integrating medical and tech imagery, aligning with the client’s innovative mission. Elements of the logo were repurposed as subtle accents and teasers throughout the presentation, creating a seamless visual language. The primary colour palette was carefully applied to enhance brand coherence, ensuring a strong, unified presence across all mediums.

Flora is a short film created as a graduation project by Omer Dolev, from the Screen-Based Arts Department at Bezalel Academy of Arts and Design.

The film explores the concept of death through an abstract interpretation of the Kubler-Ross model, blending narrative and documentary elements. It combines texts and images in both documentary and fictional forms, creating scenes where the line between reality and fiction is intentionally blurred.

The film follows three characters at different stages of a mysterious, fatal disease, which causes a rash resembling thorns and petals to spread across their bodies, ultimately leading to death. Through the characters' journeys, Flora delves into the emotional, psychological, and existential struggles faced while coping with loss.

The film's main title uses the Rieven Unical typeface, complemented by custom Hebrew lettering designed by Ron Robert Levy.

This poster, designed by Stas Tuchinsky, promotes the final performances of Nissan Nativ Acting Studio’s theater program in Jerusalem, showcasing a special version of The Wizard of Oz performed by talented students with disabilities.

The logo is composed of a collection of different typefaces that blend together in harmony.

We just launched our new branding and website for our studio, Yellow Fellow. We worked on it for the past year with a team of talented designers and coders. The website's homepage is a playful interactive environment full of thumbnail animations inspired by the studio's symbol – the lemon eye.

We've also created the studio's brand style guide which is also based on the lemon eye symbol. The main typeface is TheBasics, a sans-serif font with a geometric and classic character, featuring varying letter widths that create playful touch and a unique rhythm. It’s used in proportional and monospaced styles. To complement the main font, the serif Abril Titling Condensed is used for longer texts. The website uses Abril Text.

The studio specializes in crafting graphics packages for films and series, building design systems for brands, creating stunning explainers and mind-blowing music videos.

We're passionate about making creative moving content which is wacky and stylish. We use a lot of mixed-media approaches in our style as we believe that taking different elements/ideas and combining them creates new and fresh visuals.

Screengrab from a series of short looping animations

Logo as shown on the website

Menu with selected projects on the website

Screengrab from a series of short looping animations

Screengrab from a series of short looping animations

Launched by artist-activist Mirko Ilić in 2017, The Tolerance Project showcases posters designed by artists from around the world:

He asked 28 artists to create a poster about tolerance, the only requirement being that they write “tolerance” in their native language. After a successful 10-day show in Ljubljana, Mirko decided to tour the posters globally.

For his contribution, Israeli designer David Tartakover opted for a photographic self-portrait in which he applied lipstick. The text is in English, Arabic, and Hebrew, and makes early use of Abraham. This multiscript typeface for public signage was designed as my graduation project at the KABK in The Hague. Abraham was subsequently released with Fontef.