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.

Written by Josephine Berry, Art and (Bare) Life: A Biopolitical Inquiry explores the intersection of political philosophy with contemporary art theory, analysing the connections between current biopolitics and art’s drive to blur with life. The design of the publication makes subtle and oblique references to the contrasts and conflicts Berry explores within the text. Lining by A Practice for Everyday Life is used for titling on the cover and throughout.

Body text within the book is set in Spectral, which was designed as a screen-first font but is equally well suited to long-form reading.

Art and (Bare) Life: A Biopolitical Inquiry was first published in 2018 by Sternberg Press.

Wikipedia:

Sound Affects is the fifth studio album by the English rock band the Jam. The album was released on 28 November 1980 by Polydor Records. It is the only Jam album to be co-produced by the band themselves, and contains the only album track co-written by the entire band, “Music for the Last Couple”.

The cover art is a pastiche of the artwork used on various Sound Effects records produced by the BBC during the 1970s.

Jam frontman Paul Weller has opined that Sound Affects is the Jam’s best album.

Despite being a tribute to the BBC Sound Effects records, the album title uses a surprisingly different font: Vineta, in italic caps with shadow. “JAM” and “NO. 80” appear to be added in Univers Bold Italic. “POW!” is in Stencil. The artist and title on the back useEurostile Bold Extended, accompanied by Helvetica.

The back cover of the album features an excerpt from Percy Bysshe Shelley’s poem The Masque of Anarchy.

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.

Soft Love is a poster zine by Jakub Gessler exploring the tension between social expectation and self-definition.

The format sets the premise. A broadsheet scale, typically associated with masculine-coded publishing, is reworked through the use of soft, glossy paper more commonly found in fashion editorials. This contrast establishes the central dynamic of the project.

Typographically, the zine features Sirca (Edito). The letterforms are softened through colour, shifting their original rigidity into something more fluid. The type becomes both structural and expressive, appearing prominently across the cover and the sweatband.

Graphic design and art direction by ffforum, with photography and creative direction by Jakub Gessler. Printed by Pure Print Group in a limited edition of 50 copies.

Mujosh is a Chinese eyewear brand operating at the intersection of retail, fashion and culture. Grafa partnered with the brand to redesign its identity and reposition it for a new generation of consumers, moving away from its existing visual language towards something sharper, more expressive and culturally attuned.

The project centred around redefining Mujosh’s presence through a more reduced and confident system. Rather than creating disruption for the sake of novelty, the ambition was to retain recognisability while introducing a stronger point of view. The refreshed identity shifts the brand into a more contemporary space: one that feels less transactional and more editorial and self-assured.

Typography became one of the defining elements of the new identity. Built around Grtsk, the system uses the typeface’s balance of neutrality and character to create a visual language that feels precise yet expressive. Its flexibility allowed the brand to move fluidly between product communication, image-led moments and even patterns. More than a functional layer, typography became a central tool for shaping recognition and giving Mujosh a stronger voice.

This book explores the persistent and deeply emotional phenomenon of interpersonal attraction. Drawing from evolutionary psychology, neuroscience and Western culture, it traces the many ways we attempt to explain what it means to fall in love.

The publication juxtaposes typographic expression with methodical structure, moving between emotional intensity and analytical distance. Handmade lettering, distortion and visual glitches interrupt moments of clarity, reducing legibility and reflecting the irrational, unstable and often contradictory nature of attraction itself. Rather than arriving at a definitive conclusion, the publication turns the subject back onto itself, inviting the reader to question not only attraction, but also the frameworks through which we seek to understand it.

The final publication is presented as a hardcover volume bound to be read by two people simultaneously. By turning reading into a shared act, the book extends its central theme beyond the page, encouraging dialogue between its readers.

First released in Jamaica in 1972 on Lee “Scratch” Perry’s own Upsetter label, this is the cover created for the 1973 UK release of Cloak & Dagger on Rhino Records. The design combines a bichromatic setting of Filmotype Quentin with fuzzy lettering for the artist’s name.

[More info on Discogs]

Future of Creativity Report made by Future London Academy × OFFF Festival is a survey of designers, creative leaders, and founders on the future of creative work. Instead of the expected clean editorial look, we built the website in a retro 1990s style: digital collages, Microsoft clips, small funny characters, and unusual colours. A nod to the wild, expressive era of the internet, when the web still felt handmade.

Published by ArtAsiaPacific and Korea Arts Management Service (KAMS), Extreme Beauty: 12 Korean Artists Today features the work of twelve contemporary Korean artists and their unique styles and approaches to making art. This volume is the first of a yearly series by the same publishers and to-date always designed by the creative studio Barnbrook: Accelerating Realities (2023), Contingent Worlds (2024), Hidden Realms (2025).

From Barnbrook studio's Instagram post:

Our design approach experiments with an extremist typography style that aims to synthesize the new by crossbreeding legible and experimental fonts. This approach brings intensity to the design, particularly in the repeated words on the names of the featured artists, which benefits from the dynamism of brush stroke gestures. We balance this experimental typography with a clean and legible style for the body text, which includes generous space for featuring the work. We also highlight the work titles in the text using an inbuilt underline function of the font, which merges all descending characters to create unconventional letter shapes. Finally, we use red as a representative color for Korea, but also to evoke danger, courage, and passion in the design context.

The book title is prominently featured at the center of the cover and set in Swiss Typefaces’ Black Mamba. The title showcases all the peculiar features of the typeface, from the arabesques, to the bold uppercase and light caps alternates in the lowercase slots. Black Mamba also appears throughout the interior, notably in the index and for the artists’ names, where it is applied with horizontal repetition to create a brushstroke-like effect. Accompanying Black Mamba in the titles is NaumType’s Base&Bloom, while Dinamo’s ABC Favorit is used for the body text. A special detail is the use of Swiss Typefaces’ Vogy Smog for the X on the page after the flyleaf, before the colophon and title page. The same glyph reappears in the index to vertically spell out the book title.

Other typefaces used in this volume for the multilingual parts are Source Han Sans and Cairo. The latter is not shown in the included images.

The ArtAsiaPacific logotype (not part of the book design) is set in Tiempos.

春莺舞 is set in Source Han Sans.

Homepage

Telder has been used throughout the brand identity of Coronet Conservation, including the website, and all associated typography. The typeface appears throughout the website, from the homepage and services pages to the gallery, about, and contact sections.

Designed by HT Fonts, Telder is a contemporary sans serif that combines geometric clarity with subtle humanistic details. Its open counters, balanced proportions, and extensive range of weights make it suitable for both display and text applications.

For a conservation studio whose work requires precision, care, and restraint, these qualities feel particularly appropriate. The website uses Telder Extra Light for headlines, giving them an elegant and understated presence, while lighter text weights provide clear and comfortable reading throughout. Together with the logo refinement carried out by HT Fonts, Telder helps establish a consistent typographic voice across the entire identity.

Website detail

A quote by Coronet Conservation

Focal is used throughout this beautifully designed spiral-bound book about an intergenerational dialogue between two artists.

From publisher Book Works:

distinguish the limit from the edge is an intergenerational dialogue between Theresa Hak Kyung Cha and Jimmy Robert. Their connection emerges through the intersection of text and image between selected work from Cha’s oeuvre and Robert’s practice that share the formal strategies of the fold.

Robert’s work utilizes paper as a sculptural material, and his hand sometimes appears to shape the page. For Cha, the fold is present in her compositions enmeshing language through strategies of visual poetry, as in L’Image Concrete feuille L’Objet Abstrait (1976),  and Untitled (après tu parti) (1976) which are both previously unpublished. The possibility of overlaying one’s work with the other, emphasised by the book’s spiral-bound double spine, and reverse fold-outs, forges an intimacy, a shared sensibility, and an encounter with the corporeal. In conversation with editor Jacob Korczynski, Robert refers to Fred Moten’s In The Break, stating, ‘Suddenly time falters. Words don’t go there. And if words don’t go there, then what does?’ 

The designers of Wolfe Hall comment on the binding:

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.

For Wrenbridge’s rebrand, Campbell Hay uses Denton as the typographic voice of a more refined and human identity. The serif gives the system a sense of editorial confidence, softening the industrial subject matter while still feeling precise enough for property development, architecture, and workplace communications.

Denton appears across brand statements, campaign lines, reports, digital layouts, and presentation materials, often paired with restrained photography, generous white space, and a sharp blue accent. In headlines such as “Partners in Progress”, its high-contrast forms add polish and pace, helping Wrenbridge move away from a purely corporate built-environment tone toward something warmer, clearer, and more distinctive.

The sans-serif logotype appears to be custom drawn.

Studio Hagen Hall is an architecture, interiors, furniture and product design studio based in East London. The website keeps its structure spare, using large-format project photography and minimal navigation to foreground the studio’s work rather than explain it at length.

A compact press section links recent projects to coverage in Wallpaper*, Architectural Digest, Dezeen, Elle Decoration, House & Garden, Yellowtrace, The Modern House and Dwell, giving the site the feel of a tightly edited portfolio rather than a conventional agency website.

The website uses Store Norske Jazz from Skriftkompani. The logo is based on f:Ruder-Schrift@.

Mawmaw is a book by photographer Anthony Wilson, co-published by Guest Editions and Pomegranate Press.

Mawmaw is an intimate, long term exploration of West Virginia's grand families - households where children are being raised by their grandparents. Spanning all four seasons, the work moves beyond the usual narratives around the opioid crisis to examine the many reasons grandparents step into a caregiving role: incarceration, death, unpreparedness or neglect.

Through photographs made between 2021 and 2026, the book weaves together everyday life, from birthdays and play to exhaustion and resilience, to show both the triumph and the struggles of these families. At the heart of it all the grandparents themselves, who keep the children fed, happy, and most most importantly, deeply loved.

The book is typeset using DGM Saffron.

A striking typographic cover design for Beyond the Crisis in Art, featuring the overweight Gill Kayo in a single size. The book by British art critic Peter Fuller (1947–1990) was first published by Writers and Readers in 1981.

From the back cover:

Exhibition catalog for Four Young Artists: Maurice Agis, John Bowstead, David Hockney, Peter Phillips, presented at London’s Institute of Contemporary Arts in July 1962. With an introduction by the ICA’s co-founder Roland Penrose and biographies for each artist. According to The Print Arkive, this was the first ‘solo’ show for Hockney.

In memory of David Hockney, who passed away this week at the age of 88.

Hana Mulaku is a contemporary jewellery brand built around the belief that value already exists within overlooked materials, inviting people to look again through process, observation and transformation.

The typographic pairing work together to balance atmosphere with precision – pairing cinematic, literary softness with quiet contemporary structure to create a typography system that feels refined, restrained and deeply intentional.

Collier is a contemporary, visually balanced serif that brings warmth, tension and cinematic elegance to the identity through its refined proportions, subtle irregularities and literary character.

Inter is a sans serif providing a quiet structural framework for the brand. It's clean, contemporary and restrained, allowing clarity and precision without overpowering the atmosphere of the serif.

Packaging

Care card

Instagram post

Label tag

Poster design

Colour palette

Letter mark

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.

In the Beginning is a new book by photographer Roe Ethridge (b. 1969), designed and published by Loose Joints in 2026:

Loose Joints is proud to present In the Beginning, a three-volume set reuniting Roe Ethridge’s three formative, self-published books – County Line, Orange Grove and Spare Bedroom – originally released in 2004–05 and long out of print. Across these early volumes, Ethridge stages a sharp, playful inquiry into the American everyday. From rotting Florida citrus orchards to half-built suburban interiors and the static hum of strip-mall signage, each book turns on a clear typological register, where the familiar slides easily into the strange. Ethridge sets his pictures in a dialogue with photographic archetypes – catalogues, calendars, studio models, kitsch displays – using them to probe how images shape, naturalise and sometimes fracture American life.