For the 2019–2020 program and poster of BigTorrent, creative studio Torrent paired Codec by Zetafonts with two spot colors green and blue. From the studio’s portfolio website:

Bipolar, an agency for the production of artistic works and events, entrusted us with the creation of event communication for BigTorrent (Avignon, Arles, Chalon-sur-Saône, Lyon), a project which mobilizes residents of the Rhône through contemporary creation and the Saône on the ecological issues linked to the river.

It’s not everyday you get to work with a client as exciting and energetic as this, so when Monkey Baa Theatre Co. approached Universal Favourite for a rebrand, we knew we were in for something fun. In need of a visual and verbal identity that could live up to the invigorating and imaginative nature of their offering, Universal Favourite worked with the team to create a brand that’s as rich in emotion and character as their performances and resonates with audiences both young and old alike.

The logo heroes Sebenta – a contemporary slab-serif in a style often seen in children’s books – and the lockups are playfully put together, creating a mark that’s grounded yet lively, like an excited child trying to stay put in a theatre seat. The simplicity of the wordmark not only celebrates the heritage of the company but acts as a confident, professional anchor for an otherwise energetic brand. It’s paired with Gellix for headlines and body copy – a modern, bold, geometric sans serif that’s easy to read but still holds character and quirk.

Graphics for International Women’s Day and Women’s History Month used by Apple in the App Store, Podcasts, TV+, Books, and Music. Feature stories and highlights honour powerful female voices in various Apple applications.

The typeface used for headlines is Spektra, designed by Alja Herlah and Krista Likar, published by Type Salon. Design by illustrator and artist Meredith Schomburg together with Jelly.

GOG – Gäste Ospiti Guests – is an exhibition of the projects developed by the students of the Faculty of Design and Art of the unibz – Bolzano, South Tyrol, Italy. At the end of each semester, the work produced by the students in the fields of visual communication, product design and art is displayed in the spaces of the Italian university.

The visual communication developed for the winter semester 2022/23 edition of GOG uses the Baustraße font designed by Fantasia Type. It’s supported by Folio. The unibz logo uses FF DIN.

Mýty v nás a kolem nás (“Myth in Us and Around Us”) was initiated as an e-mail conversation between the authors and lately transformed into a book format with original illustrations by Slovak artist Kristian Stupak and art direction from Studio M Nedved.

The texts were composed between March 2021 and March 2022 as a result of mostly e-mail based communication between the co-authors and close collaborators. During this period of time, the Covid pandemic was replaced by a pandemic of war madness after Russia’s aggression against Ukraine. The authors were drawn into the event from the first moment, aware of its fundamental and historical character. The central motif of their reflections are national myths and prejudices.

Book copy is set in Value Sans and Value Serif with lettering on the cover by illustrator Kristian Stupak.

To design the book Flaine, le Bauhaus des Alpes françaises, Marcel Breuer, architecte published by Éditions 205, Bureau 205 used the typefaces Augure and Muoto, both available from 205TF. From Éditions 205 (translated):

Acclaimed as the most iconic avant-garde ski resort in France when it opened, Flaine is a world away from home. Labeled “20th Century Heritage” in 2003, it was designed by Marcel Breuer, master of the Bauhaus. Unexpected, radical, austere, Flaine still questions our representations of the mountain resort.

See also the exhibition design which uses the same pair of typefaces.

Copy Shop cover

In the graphic novel Copy Shop, Julie works full time in a Berlin copy store, and she likes doing it. Her boss is unusually nice, and the pay is surprisingly okay. Ro also works here. He is a student and needs the part-time job. He can’t believe that Julie likes the store: in addition to boredom, there are fine particles in every corner. But Ro realizes that it’s not easy for him to talk to Julie.

Copy Shop is available from Felder Books Berlin. See a flip-through video on Instagram.

Copy Shop inside

Copy Shop inside

Copy Shop inside

Copy Shop cover

Source: www.behance.net License: All Rights Reserved.

Identity graphics for the ten-year anniversary of Gloob, a subscription-based children’s television channel owned by Brazilian network Globo. The bouncing logo uses Graúna, and is paired with a condensed style of Acumin.

Source: www.behance.net License: All Rights Reserved.

Source: www.behance.net License: All Rights Reserved.

Source: www.behance.net License: All Rights Reserved.

Source: www.behance.net License: All Rights Reserved.

L'art en jeu is a series of books to help children discover the art of the 20th and 21st centuries. As the pages turn, a work of art is revealed through the unfolding of images, questions, graphic surprises, games... An invitation to look at today's art in a playful way.

L’art en jeu (“Art in play”) is a book series published by Éditions du Centre Pompidou, named after a 1993 exhibition by the same name. Designer Fanette Mellier used the typeface Album Slab by Thomas Huot-Marchand (205TF) for both the book covers and the interior typography.

Meet ‘Penny 2.0’. ‍Penny have found a way to automatically find all your old misplaced pensions and then collate them into one place. An “incredible offering for a generation who change their jobs on average every five years”.

Back in 2021, the new fintech company Penny approached us to create a super playful identity system that would separate them from the very formal visual language common in the financial sector. See the award-winning work we created for them on our website and on Fonts In Use.

Now, after an amazing year of growth and a hugely successful round of investment from Google, Penny came back to us to help them mature the brand with the challenge of helping them take their 10,000 users to 1 million.

Our approach was to keep the ‘coin’ at the heart of the identity and create a familiar feeling visual home, not too far away from the beauty and excellence of Apple, while keeping Penny’s playful spirit.

For the typography, we used a stunning typeface from CoType Foundry: Ambit. An eccentric and unique sans serif inspired by early grotesques, but adapted for the 21st century. It has a distinctive personality and a subtle playfulness, resulting in a logotype full of character while also feeling established.

Brand identity for Quidax, a cryptocurrency exchange company.

Mabry was chosen by the in-house design team for the visual identity of Quidax. The choice of Mabry is largely influenced by the personality of the brand. It works to maintain consistency, create clarity, and provide equity to the brand as a global leader in the cryptocurrency space. The font is applied on every touchpoint of the brand ranging from the application to the website and marketing materials etc.

Founded in 2018, Quidax makes it easy for individuals and businesses to buy and sell cryptocurrency using their local currency. They also enable fin-techs to provide cryptocurrency-related services to their customers through Quidax API thereby making it possible for your customers to buy, sell, send, receive or store crypto.

Et alors… (English: And then… Chinese: 然后呢?) is a trilingual book to read, between parents and children, and a book to look at. It was published by Semiose éditions and designed by Jean-Philippe Bretin.

33 Letters for Ukraine started as a spontaneous and independent idea inspired by 36 Days of Type, where we drew 33 letters of the Ukrainian alphabet and posted it on our Instagram account in March–April 2022.

We wanted to use the power of the design community to express solidarity with Ukraine, show that it is an independent country with its own culture, history, and language.

We quickly gained following and were able to invite many special guests to contribute to the initiative with their work.

In our design we are using fonts designed by Ukrainian designers Ivan Tsanko (Menorah Grotesk) and Dmytro Rastvortsev (KyivType Sans) and want to feature interviews with Ukrainian creatives in the future to help promote their work.

Design by Joasia Fidler-Wieruszewska, with support from Aga Kotowska and Alina Rybacka-Gruszczyńska. Development by Olena Subchuk from Editor X / Wix Studio team

To design the catalog for the exhibition Yayoi Kusama. The Moving Moment When I Went to the Universe, shown in 2018 at Victoria Miro, London, Why Not Associates used Cosimo. The typeface designed by Matthieu Cortat is distributed by 205TF.

Sometimes Coffee – Sometimes Tea is Martin in ’t Veld’s new picture book. Each spread features a phrase on the left page and an illustrations on the right page. The words are set in Atica by R-Typography.

From the Happy Potato Press website:

On alternating pages, this caffeine-colored book serves you coffee and tea in various forms and flavours. It begins with a simple cup of coffee but quickly becomes more absurd with things such as coconuts filled with tea, buckets of coffee or dogs filled with tea, until both beverages find common ground in the same pile of dishes on the kitchen sink. A perfect companion for all coffee or tea tables.

Ornella Ketchangue is a Paris-based art director and photographer. Her portfolio website combines Fictional Bold, presented in a huge font size and all-caps, with Manrope Light.

Hand in Hand is a cookbook for children’s first contact with cooking. With easy but healthy recipes it teaches kids the importance of local and organic food, while showing them how much fun it can be to prepare your own meals.

The green script style font is Gobbble Brischke from open source type foundry Lobbby24. Texts are set in Gimlet Sans by DJR.

All the illustrations were executed by a handful of future artists and designers – the kindergarteners who helped to cook some of the meals for the photos.

«Tu verras, quand tu seras grand!» is a children’s book written by Tiphanie Blanc and published by Edition L’Amazone. It was designed by Roxanne Maillet together with Tiphanie Blanc in 2021. The title page is sets in the upright version of my Gaya. Other fonts in use include DINdong (Clara Sambot), Zarathustra (Lorène Picard), and Cormorant (Christian Thalmann). The inner flaps additionally feature Bonbon (Ksenia Yerulevich) and Casa Sans (Peter Wiegel), with pictorial drop caps from Critter (Craig Frazier). [See the comments for more font IDs.]

From the publisher’s website (translated):

“You’ll see when you grow up!”, the first children’s book from Edition L’Amazone, explains the globalized capitalist economy through four chapters on money, the banking system, the police, and revolution. It was based on books cited by author Marie L’or Kaeppelin-Billaudot in Il sera une fois... Essai sur le contenu des livres pour enfants (Espaces féminins, La pensée sauvage, 1978). «Tu verras quand tu seras grand!» (“You'll see when you grow up!”) is based on the observation that few children’s books deal openly with the economic question, even though it is omnipresent in their daily lives. The detour of these books, more than forty years after their publication, allows us to rethink our relationship to these founding myths, in the same way that a tale plays a role in the construction of a common history.

Belgian design collective Moxs created the new identity of the young public theatre La Montagne Magique in Brussels. Created at first by the municipality in 1972, the theatre reopened after a few years of closing, under its new name and direction in 1995 and hasn't closed since.

Moxs created a vivid and playful identity mixing bold colors with photography and illustrations by Yu-Hsuan Wang for the 2021-2022 season. This identity shows once again that one can be playful and talk to/about children without relying on silly and immature tropes. The typographic palette is built using the NaN Jaune Midi and Mini families, from the logo to the body copy, using its broad range of weights and optical sizes to full extent.

Relying mostly on simple grids and rigorous hierarchy, only disturbed by tilted titles inheriting from the logo layout, this identity shows a kind of post-International (Swiss) Design were the main stage is occupied by the typeface, here Jaune, making a bizarre sidestep from the ubiquitous neo-grotesques usually preferred in this graphic design trend.

The cover and interior spreads from the 2021 Restaurant Issue of Bon Appétit magazine is peppered with OH no Type Co.’s latest release, Irregardless.

The Restaurant Issue addresses how the hospitality industry was impacted by the pandemic, and where it’s headed now. This issue, designed by Walter Green together with Alex Madrid, Christa Guerra, and Rachel Lasserre, is using Irregardless judiciously, as the main headline typeface, paired with Futura for body copy. Some of Irregardless’s signature alternates, like the round O and the wide D, were put to clever use, and can be spotted throughout the issue.