Mugarri is a pizzeria in Algorta, Getxo, in the autonomous community of the Basque Country. The menu and packaging were designed by Lubaki Grafik Faktøry and are set in Basati, a typeface by Blancoletters.

Basque Fresh Hops is a limited edition Double IPA by Boga, a craft brewery based in Mungia, Biscay.

Lubaki Grafik Faktøry’s can design combines Harri (Blancoletters) for the beer name with Neutraface Display (House Industries) for supporting text. Harri’s bold, hand-drawn letterforms give the primary branding an expressive, craft-forward feel, while Neutra Display provides a clean, neutral contrast for secondary information and technical details.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Design for the two-day festival marking the end of the concert tour by the musical duo Dupla. All promotional material exclusively uses the Basati typeface by Blancoletters, in its various weights. The typeface is applied consistently across the compositions supporting the poster’s focus on local culture and public celebration.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Source: www.instagram.com Arabako Lautada. License: All Rights Reserved.

Tortillas are an omelette dish and a Basque institution. For Amatxi, studio Morbo created a brand identity to break with the dish’s exclusivity in pintxo bars. Between tradition and modernity, the identity is based on a custom-drawn wordmark, which can be shortened to a monogram A, and the slogan “tortillas sin hostias” (“tortillas without wafers”).

The visuals are created with Baste (from Lift Type) as the titling font, paired with the 45° version of Bourrasque (form Bureau Brut) to bring rhythm to the typographic compositions.

Tabakalera is an international center for contemporary culture located in Donostia / San Sebastián, dedicated to fostering collaborations between diverse cultural institutions and projects. Its mission is to support the cultural and creative sector, contribute to the development of creative and critical skills in Basque society, and promote access to culture and its enjoyment.

When we began working on a complete spatial signage project, one of the most common questions posed when encountering a building with such an important legacy was:
What’s inside? What can I do here?

This uncertainty is amplified even further when, as in the case of Tabakalera, the building houses several institutions with distinct objectives and programs.

With this challenge in mind, in 2022, we embarked on a transformative process through strategic consultancy to understand how visitors perceive and navigate the space, aiming to attract a broader audience and enhance their experience.

This analysis resulted in a guiding document that informed the development and phased implementation of solutions in 2023, 2024, and 2025. Across these phases, we redefined Tabakalera’s communication with inclusive and welcoming visual elements.

The “Writing in Space” project marks the beginning of a comprehensive signage system where words are integrated into the environment to reflect the building’s identity.

We also developed a system of attractors using modular devices placed at strategic points, offering information in various formats and in three languages, making it easier for visitors to navigate the space.

Musa Piercing is a renowned piercing studio located in the heart of Donostia-San Sebastián. It stands out not only for its expert piercers but also for its commitment to providing a safe, welcoming, and artistic environment for its clientele.

The main fonts used for the identity are Mina and Arbotek, which can be seen in golden letters on the window as well as on business cards and other items.

Congratulatory card in Basque and Spanish

Mina on a gift card. The accompanying sans is Futura.

Munduko Arrozak (“Rice from the world”) is an intercultural and self-managed popular festival that is held in different places of the Basque Country. We designed the graphics for the 19th edition. With the desire to fill the streets with color, and with bold and understandable graphics for people from different parts of the world, we designed a poster with the name of the event in different languages and a handful of multicolored grains of rice:

MUNDUKO ARROZAK
ARROCES DEL MUNDO
世界のご飯
RIZ DU MONDE
ⴰⵔⵓⵣ ⵏⴷⵓⵏⴰⵅⵜ
RICE FROM THE WORLD
THIEB YI CI ADUNABI
أرز العالم

We applied the graphics to different supports such as badges, bonds, animations for social networks, stickers, tiles, etc.

The main font in use is Manrope, a modern open-source sans-serif designed by Michael Sharanda in 2018. The fonts used for the words in Japanese, Tifinagh, and Arabic are Kozuka Gothic Pr6N R, Noto Sans Tifinagh, and Adobe Arabic.

Boga is a craft brewery based in Mungia, Biscay, in the Basque Country of northern Spain.

Metro Bilbao is the subway system of Bilbao, the largest city in the Basque Country in northern Spain. It uses Rotis SemiSans for signage and communications.

The corporate design including the logo as well as the wayfinding system were designed by Otl Aicher and developed by his team members Michael Weiss and Hans Brucklacher.

In 1988, the contract for the underground metro system in Bilbao was awarded to the architects Sir Norman Foster and partners, following an open competition. The same year the first underground station was opened in Erandio, on the existing Bilbao-Plentzia railway. [Wikipedia] According to Bienal Internacional de Arquitectura MUGAK, this “exemplar mass transport information design project was realized thanks to [Aicher’s] special relationship with […] Foster”. Bilbao’s subway signage system was the last important design project of Aicher. Born in 1922, the German graphic designer and Ulm School of Design main co-founder died in 1991, and didn’t live to see the opening of the first part of line 1 in November 1995.

From the brand presentation:

The symbol of Metro Bilbao is an abstract figure based on tunnels and wheels in movement. It is formed by three rings of different thicknesses, which “move” inside each other. Their thickness grows in the direction of reading (left to right) and creates a sensation of movement that perfectly expresses the dynamic nature of this means of transport.

The wordmark uses Rotis SemiSans 65 Bold, in lowercase letters. The serifless yet contrasted typeface is part of Aicher’s Rotis superfamily, which also comprises Rotis SansSerif, Rotis SemiSerif, and Rotis Serif. The initial eight Rotis styles were released in 1988 for AGFA Compugraphic’s laser and digital imagesetters, followed by Postscript versions for desktop use.

On Issuu, Michael Weiss has shared the brand manual as published in November 1995 in three volumes; Vol. 1 (introduction, basic signs, materials), Vol. 2 (stationery, publications, promotion, advertising), and Vol. 3 (signage, rolling stock, equipment). In 2020, Metro Bilbao still uses the identity with Rotis SemiSans, with applications ranging from station signs to social media.

Casco Viejo station sign.

Areeta station, 2018.

“Trena geldi dagoenean sartu.” (Basque for “Enter when the train is stationary”), photographed in 2012.

Line diagrams show station names set on an angle.

Intercom system, 2019.

Trilingual sign; in Basque, Spanish, and English. Key info is also provided in Braille.

On this district plan, the English text is set in Rotis SemiSerif, which appears to be an exception.

Cover of a brochure with general contracting conditions, 2019.

“Masks with valves are not allowed”, 2020.

Sopelako dorrea / Torre de Sopela, 1999.

Euskal Zine Bilera is a festival dedicated exclusively to Basque cinema. For the 42th edition (2019), the graphic image was create by the designer Rubén García-Castro using Sul Sans from R-typography as the main font.

Kubika is an architecture studio based in the Basque Country led by young architects. They apply their way of seeing architecture as a functional and minimalist expression, becoming a vital companion to improve the spaces they work in.

The identity tries to locate these three-dimensional spaces by means of a predominant diagonal line. This visual load represents vertical construction and the human desire to reach the sky. It is a dynamic graphic system adapted to offline.

The entire project was resolved with Ahamono font, a free rounded monospaced typeface designed by Alfredo Marco Pradil available only in regular style. The characters of this typeface show unique features and great fathomability.

See the full project on Behance.