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.

SweatPals is a social fitness platform for discovering and hosting classes, clubs, retreats and other wellness experiences. The website brings together participant-facing discovery and host-facing business tools, with sections for studios and gyms, clubs, retreats, testimonials, app downloads and booking demos.

The website uses Store Norske Skandia from Skriftkompani and Raw from Out of the Dark.

Parley is a new neighborhood bar in Austin, Texas. Founded by Irishmen Terance Robson and Jack “Slim” Hogan, it opened its doors in December 2025. The logo is in Megazoid. Text on the website uses Syne and Avenir.

This second issue of Mushroom People magazine, published by Broccoli, features “astromycologists, academics, architects, pharmacists, foragers, fashion designers, home cooks, shopkeepers, composers, and poets all inspired by the many radical ways of being fungi embody.”

Exploring the topics of “creation, destruction, attraction, and revulsion”, each chapter is printed on a different paper and uses a different set of typefaces.

The nameplate is set in all-caps Bradley DJR, and most body copy is set in ABC Marist and Calibre.

“Habitats for humanity” is set in Charlottenburg.

“Destuct” is set in Respira Black, “Two” uses Michaux and the small type is Calibre.

“Spores” uses ABC Asfalt.

“What” and “Lurks” are both set in typefaces from Dinamo: ABC Laica and ABC Maxi Round.

The text on this page is set in three columns of pink Certeau, with the headline added in Cancellaresca Script, partly arranged on a curve. The drop cap appears to be custom.

From design studio Teel:

Sporthotel Lorünser is one of the world’s oldest ski hotels, founded in 1927 in the Austrian Alps. We partnered with the Lorünser to modernize their brand and craft a timeless, atmospheric website experience.

From refined typography and microinteractions to rich photography and immersive video, the experience transports visitors into the world of Lorünser, offering a true sense of place and alpine sophistication.

From The Brand Identity:

Lorünser lacked a clear, cohesive identity and digital presence, and so to establish one, they reached out to Austin-based independent branding and digital studio Teel. The timing was right, too; as they neared their 100th anniversary and completed major room renovations, the moment felt ripe to “elevate the brand across the board,” CEO & Co-founder Cameron Neckar tells us. ⁠

This showcase beautifully pairs Editorial Old with Museum, a new addition to the Pangram Pangram family. Smaller texts are set in Avenir.

Tozi Superfoods is a family-founded, Mexican-American food and beverage company inspired by heritage and the spirit of Toci, the Aztec goddess of health.

Tozi brings ancient wisdom into the modern world. At its core, the identity embraces bold, symmetrical shapes and vibrant colors, echoing the geometric details of Aztec stone carvings and architecture. The logomark, embodying Tozi, is a dynamic element that adapts to highlight key aspects of the brand story—whether through sacred ingredients or symbolic icons. Just as health is multifaceted, so too is Tozi's visual language, weaving together ancient influences with a modern sensibility to create a timeless and contemporary system.

Strategy by If Only Creative, design by Sofia Llaguno.

Evergreen is a female-founded and women-ran company committed to healthy and delicious breakfast foods. Evergreen's recent rebrand by Ptarmack masterfully employs the typeface Ohno Softie by OH no Type Co. across print and digital platforms, creating a cohesive and inviting visual identity. On their website, Ohno Softie is utilized in the wordmark and throughout the site, enhancing the brand’s approachable and friendly persona.

The packaging design further showcases Ohno Softie’s versatility. All weights of the typeface are employed, effectively conveying essential information while maintaining visual interest. Notably, Softie performs exceptionally well in small text, ensuring legibility without compromising the brand’s playful aesthetic. By consistently integrating Softie across its website and packaging, Evergreen establishes a unified and engaging brand presence that resonates with healthy eaters everywhere.

Ptarmack had this to say in their case study of the project:

Inspired by the warm & fuzzy feelings of a hot stack of waffles, we created a brand mark that felt like something you’d want to cozy up to … or take a bite out of. Bubbly letterforms (designed by Oh No Type Co.) evoked the approachable energy of the brand, and the integrated heart icon nodded to Evergreen’s role as your breakfast BFF.

Snail World: Life In The Slimelight and Snail World 2: Welcome to Slimetown are photography books of miniature scenes featuring snails, created by artists Aleia Murawski and Sam Copeland.

Both books were designed by Jennifer James Wright and published by Broccoli Mag. Snail World was released on the 16th of November 2020 and its sequel followed in March 2024.

Crack is used for the title on the book covers and spine, as well as for captions inside the book. The 2 on the second volume has liquid drops added to it. Calibre is used for the subtitle and author's names on the book covers and spine.

Spores. Magical Mushroom Photography is a book by Broccoli, an independent, women-led publisher of “unusual delights”:

To see a mushroom is a kind of magic. It is embodied evidence of total serendipity, a beguiling conjunction of time and place, weather and circumstance. It is also evidence of the unseen, thriving life that surrounds us. In this 208-page photographic foray, more than 90 artists capture mushrooms in settings both natural and supernatural—growing on the forest floor, popping up in our homes, gleaming in a fluorescent glow, and arranged like alien flowers. Each image invites readers to look closely, revealing new dimensions of the mushroom’s magic.

Designer Jennifer James Wright used Dahlia as the title typeface, supported by GT Alpina. Cover photo by Matthieu Visentin.

Beginning Rock Guitar is an instructional DVD released in 2005 by Musician’s Workshop. Hosted by Paul Lidel, it's focused on teaching viewers how to master the guitar, complete with instructions on recreating famous guitar parts from various artists.

Franklin Gothic Condensed (possibly Bitstream’s digitization) is the main font used here, paired with two more fonts on the front: Lucida Big Casual and Impress. The latter is another font by Bitstream, and is namely a digitization of Filmotype Prima.

ATX TV started out as a weekend festival but is now a community of fans and industry, interacting together via their ATX TV Membership Program, The TV Campfire Podcast, Social media channels, and events. This include the annual ATX TV Festival which takes place every year in June in Austin, Texas.

Their identity is made up primarily of different weights and widths of OH no Type Co.'s Obviously family being used in combination together. Obviously is used in the logo, the ATX TV Festival website, merch, festival graphics and on social media posts on all platforms. Most of the text on the website is using Jonny Pinhorn's Karla.

We'd love to give proper credit, but we don't know which agency is responsible for setting up the branding/identity. Over the course of the last few years, different designers (such as Isabel Canales) have employed the existing brand guidelines to promote the festival and community. ATX TV is currently a part of the PMC family.

Tecovas is an American cowboy boot and western apparel company based in Austin, TX. They've released so many fun ad campaigns this year through their agency of record, Preacher, including their "don't go gently" campaign. This holiday campaign uses Beverly Drive Right (designed by Amy Hood of Hoodzpah), Commuters Sans (by Dharma Type), and MVB Magnesium (by Mark van Bronkhorst) for a delightful and nostalgic feel.

From Bullock Museum’s website:

Hilos de Tradición: Dresses of Mexico is a collaborative exhibition with the Brownsville Historical Association that presents Mexican textiles as living traditions with roots that can be traced back thousands of years to the earliest peoples in Mesoamerica. The tools, patterns, materials, and techniques of crafting these textiles have evolved over the centuries. European influences and modernization have contributed to these changes. But the common thread in all of the textiles is the link they represent between Mexico’s past and present.

From Bullock Museum’s website:

The Harmon and Harriet Kelley Collection of African American Art: Works on Paper highlights the importance of 19th, 20th, and 21st century Black artists, including Ron Adams, Benny Andrews, Romare Bearden, Aaron Douglas, Jacob Lawrence, Charles White, Elizabeth Catlett, John Biggers, Henry Ossawa Tanner, Eldizer Cortor, Margaret Burroughs.

Explore the history of Black art in America through the themes, styles, and subjects interpreted by the artists, and influenced by their personal experiences, world-view, and innovative techniques.

The exhibition was organized by Landau Traveling Exhibitions, Los Angeles.

For the past 20 years, Fusebox had been a hidden gem in Austin, presenting unforgettable live performances from some of the world’s most inventive artists.

The rebrand and accompanying campaign captures what’s exciting, daring, and irresistible about Fusebox in a way that speaks to the experience-loving people of Austin. In the campaign, fans recount their favorite shows stumble into what’s kept Fusebox from welcoming lots of new people: how hard it is to explain outside the context of the moment.

The brand identity is about capturing that excitement of discovery. It’s anchored by a custom-drawn corner-shaped logo that both represents intersection, and is an open frame that adapts to possibility.

Passover is the 2006 debut album from psychedelic rock band The Black Angels.

The album cover makes use of Mexcellent, heavily modified, removing the middle of the three lines from all characters and thickening the strokes, as well as slightly customizing the T and K glyphs. The back cover, including the track listing, is set entirely in Alternate Gothic.

[More info at Discogs]

Division Leap, a dealer specializing in counterculture books, periodicals, and ephemera, just listed this item:

Austin: Austin Vanguard, [1977]. 4to, tabloid format, single sheet of newsprint folded once; offset printed in two colors.

The first and only issue of one of the first, if not the first, punk fanzine published in the state of Texas. No attribution is given, but the zine is believed to be the work of Nick West, who would go on to edit Sluggo, one of the greatest art zines of the late 70's. The phrase “Someday All the Adults Will Die” emblazoned on the cover summed up many of the beautiful contradictions of early American punk.

The logo uses Eras, commonly seen in the 1970s, particularly after its release by ITC in 1976. The rest of the text, however, is set in a much less common typeface from the 1930s. Stop is an early emulation of dry brush lettering as metal type. It seems unlikely the Austin Vanguard originated on letterpress, so it’s possible the designers found Stop as transfer lettering or phototype.

Loro is an Asian smokehouse concept by Hai Hospitality. They needed a brand facelift to better align with a newly minted brand positioning and personality. Our goal was to create a unique, quirky, and visually appetizing brand and website that would really stand on its own in the sea of Austin restaurant dining aesthetics.

While exploring different brand expressions for a persona known as “The Effortless Entertainer”, we discovered the Ohno Blazeface and Ohno Fatface families from OH no Type Co. and immediately fell in love. Blazeface, in particular, is packed with charisma while feeling friendly and approachable. A perfect typographic representative for the voice of this witty and sometimes irreverent brand. We paired the Ohno display and headline fonts with GT Alpina Typewriter for the body, an equally playful mono font that really completed the casual vibe we were going for. Roc Grotesk is used for UI elements. The hand-drawn shaded caps are from Abby Condensed, which was specifically drawn for this use.

A poster created to promote a music showcase at Lamberts in Austin, Texas. From ZeroZero Music:

You bring the SX hangover, Tito’s Handmade Vodka is bringing the goods, and we'll have music covered all day with performances from ZeroZero acts Night Cap, Surfer Girl, The Dirty Shirts, and Jude Parrish + special guest, Willow Avalon!

The main headline is set in Felten Shaded and the secondary type is Karrik.

From the University of Texas Press:

Gone With The Wind is one of the most popular movies of all time. To commemorate its seventy-fifth anniversary in 2014, The Making of Gone With The Wind presents more than 600 items from the archives of David O. Selznick, the film’s producer, and his business partner John Hay “Jock” Whitney, which are housed at the Harry Ransom Center at the University of Texas at Austin. These rarely seen materials, which are also being featured in a major 2014 exhibition at the Ransom Center, offer fans and film historians alike a must-have behind-the-camera view of the production of this classic.

On the half-title and title pages, Medusa is used with swash initials and terminal forms, as well as flourishes from its Ornaments style. The italic caps are likewise from Medusa – these are provided as small caps. The author names use Ashbury in italic (Steve Wilson) and roman caps (Robert Osborne). The dust jacket features Finura, with Transat used for “Harry Ransom Center”.

Photos: Turner Classic Movies. See more images on Derek George’s portfolio website.