This new advertising campaign – made by TBWA\Paris that has been working with McDonald's since 1985 – celebrates the Big Mac's 50th anniversary. Each of these five decades is depicted by staged photographs that seek to be the ultimate cliché.

Each of those photos show a Big Mac, but there is no logotype or brand to be seen. The slogan is always “Indemodable Big Mac” [note the missing accent aigu in Indémodable]. The text is set in all-caps FF DIN Condensed Black, with ‘Big Mac’ smaller than ‘Indemodable’ (which means “Timeless” in English). I suppose that, by hiding the logo of the brand and making ‘Indemodable’ such a big word, the goal is to make the Big Mac a common word and not a proper name as if it was a heritage product. This may be caused by the fact that in France McDonald's is no longer the only fast-food burger brand, there are more and more concurrents.

The choice of the typeface is interesting because contrary to the photos that depict their decades, (FF) DIN seems to be relevant for each of those decades. As a result the font in itself says that it is ‘Indémodable’.

The poster campaign is followed by a social-network campaign that allows users to see how they could look in the different decades of the Big Mac.

A winner of the 2016 50 Books | 50 Covers competition. Juror Notes: “A spatially playful exploration of typography against a dynamic picture plane, all of it still remarkably legible.” —Jessica Helfand

Fictional designs for an exhibition (see the full project at Behance). For longer than we can remember, humanity is trying to reach the sky. Skyscrapers are the most complex architectural objects. Design of the buildings is the main engineering problem, but it has found many solutions in the modern world. The purpose of the exhibition is to show people the achievements of architects in this difficult job and tell about how humanity has passed long way to the sky.

The metaphor of the brand is the height inherent in all skyscrapers. It is reflected in the "floors", supplemented by growing letters. FF DIN was used in the identity because of "industrial" design of the font.

Architectural lettering seen from the interior of Estación de Autobuses Murcia (Murcia bus station)

Annual reports for Fundación Aqualogy — currently known as Suez Advanced Solutions. The challenge was to make a bunch of Word and Excel documents into an appealing publication, with the overall contents being data tables. Development of printed and digital versions.

The official ball of the FIFA World Cup Final match is printed with the date, location, and two contenders using FF DIN. As reader Leslie Kuo observed, perhaps this is an unfair advantage for the Germans who see some variation of this typeface every day in their home country — DIN is an industry and governmental standard.

The ball itself is Adidas’ “Brazuca”, which the company unveiled in December, 2013 and has been used throughout the World Cup. The other type found on the ball consists of the Adidas logo and AdiNeue, a custom typeface derived from that logo. AdiNeue, designed by Joancarles Casasin at BaseLab, has shades of ITC Avant Garde Gothic, Chalet, and Neuzeit Grotesk. Neuzeit? Another German advantage!

Of course, Adidas also comes from Germany, as well. So everything about the ball could be considered German.

Except for that World Cup Brazil logo and font. That’s half British. The Works Ltd, an agency in Leeds, UK, developed the identity for both the 2014 FiFA World Cup and the 2010 event in South Africa. No wonder that goofy lettering style looked familiar. Oh well, at least they have an office in São Paulo, so their work for this year’s tournament has some local legitimacy. Still, the Germans, at least, were not amused.

More World Cup coverage on Fonts In Use »

“The Euro Shopper brand renewal aimed at making the design more contemporary, fresh, and easy to recognize, without changing the positioning: Euro Shopper is a price fighter for basic everyday products with basic quality and low price. We created the concept with the core idea that choosing a value-for-money brand is not embarrassing but smart.

The design concept is no-nonsense, straightforward and consistent. It doesn't try to imitate the visual appearance of either A-brands or discounters, but has a visual language of its own. The design fits in different cultural environments internationally and suits varying levels of printing techniques.”

More info on SEK Design’s website.

Update 2014: Albert-Jan Pool adds the image at the bottom and this comment: “Euro Shopper disappeared from the shelves. In 2013 the Dutch supermarket chain Albert Heijn stopped selling Euro Shopper products in order to enhance the sales of their own AH Basics products. In the first year of the change from Euro Shopper to AH Basic, the strategy turned not to be as successful as planned …”

Old old design pre 2011.

Ibán Ramón + Dídac Ballester's fantastic identity for the Mueble de España furniture brand is neo-modernism at its best – minimal typography, visual elements reduced to the bare essence with a dash of visual wit. 

The Currywurst Express chain store at Stuttgart Hauptbahnhof

Obviously inspired by Luc(as) de Groot’s famous typeface Jesus Loves You, the Currywurst Express fast food chain decided to use a special version of FF DIN for their Stuttgart branch. When the birds have managed to shit on it, it will probably look like Jesus Loves Your Sister

Signage in the Harpa concert and event hall in Reykjavík, Iceland.