Everett and Everett Mono were chosen by design studio Order for the visual identity and website of Breaker.

Formerly SingularDTV, Breaker's mission aims to evolve the entertainment industry with a decentralized ecosystem empowering creators to deliver a diverse collection of classic and original content.

The Breaker logo uses Eurostile.

Visual identity for Ramp, a new credit card company. The design is applied on the card, the website, the application, and videos. Lausanne and Burgess in use.

The Ramp wordmark is based on Lausanne, with some customizations.

Convoy is a financial focused company from Hong Kong. Their new headquarter was designed by Toby Ng Design:

The signs use a number of different typefaces, with Lausanne (designed by Nizar Kazan) being the primary choice.

“Communication is the key” in all-caps Portrait.

“Work Hard / Eat Well / Love Truly” in Founders Grotesk.

ITC New Baskerville for “Integrity is everything”.

“Today is another chance to get better”, presented in a matrix of Gill Sans caps.

From design studio Clear:

Merge Capital is an innovative business bringing together local residential knowledge with big investment smarts, walking the line between high finance and the creative arts to build better places. From the redevelopment of lots once neglected to the masterplanning of shopping centres, residential areas and mixed-use developments, Merge has a knack for finding the right opportunities to spark outcomes that enhance the local community. Clear’s partnership with Merge evolved out of the success of Five Horizons Developments. Working with the Merge team Clear defined the brand, created a unique identity and led a community engagement process. The name Merge immediately inspires notions of collaboration, of growth and agility. The brand identity was designed to be dynamic and always on the move.

Melbourne-based Clear used Everett overall in the Merge Capital branding. The responsive capital M is derived from the typeface and is used throughout Merge Capital’s website.

The Future Circular Collider (FCC) is a project by the European Organization for Nuclear Research. Better known under the acronym CERN, this institution is particularly famous for discovering the Higgs boson and of course for the creation of the World Wide Web. The FCC is an ambitious project: the circular particle accelerator with a circumference of 100 kilometers will help going further into the knowledge of how particles work, of how dark matter behaves, and generally, to get a better understanding of our world. The goal of creating an identity for it was to make the implications of such a structure understandable to all, and to sensitize different players who could contribute to the realization of the project.

The identity is based on a simple pattern that is the circle. However, the animated logo designed by the team of Bleed is not so casual. In fact, the circle is only what we see from one point of view, the animation displaying occurrences where different gestures meet in the same shape. This way, the design shows progressively the complexity hidden behind a single object. This animated logotype is paired with Dr from Production Type, designed by Bureau Brut. The odd aspects of some parts of the letters which look like prosthetic parts added to the body remind us of the many tools needed for physicians to operate their work. At the same time, Dr is legible and keeps a corporate look that communicates the scientific importance of the FCC.

From design studio Freytag Anderson:

Rapscallion started punting handmade soft drinks down an alleyway in Glasgow back in 2016. Their goal was simple: make the best tasting drinks possible without using artificial ingredients. Fast forward to 2020 and Rapscallion are growing, moving into a 1500 sqft railway arch in the Gorbals, more reminiscent of a scientific lab than a brewery.

Consumer tastes have also changed. They’re now actively seeking out low-sugar, well crafted alternatives to mass produced sugar-laden brands. The time was right to redefine the Rapscallion brand.

We've been working with founder Gregor Leckie to create a punchy new packaging design (new 250ml can) with real shelf standout. We wanted to build on the subversive nature of the Rapscallion name and better communicate the all natural ingredients. A product naming strategy was developed to work alongside a distinct and rebellious brand voice.

A sterile approach to layout, bold use of colour and minimal type treatments help to differentiate core range and seasonal product lines. The deliberate short stop label highlights the cans base metal, hinting at a more clinical and scientific approach to production.

Aeonik is used for headlines, with information set in a small size using a T-Star Mono Round.

Aeonik in use as the brand typeface for the new visual identity of the Scottish National Investment Bank. From design studio Freytag Anderson:

The Scottish National Investment Bank is an entirely new mission-led institution for Scotland. Its primary objective is to invest in projects and businesses to deliver its missions and provide a commercial return for the benefit of the people of Scotland.

As the name clearly provided a Scottish context, we wanted to avoid having any additional traditional Scottish cues. We felt that there were more interesting and original ways to express what it means to be Scottish in 2020. We wanted to create a contemporary vision of Scotland, new and positive but deeply connected to its people and natural environment.

The name itself was a bit of a mouthful. In order to avoid people shortening it to SNIB, we placed 'The' at the front, thereby creating a shorthand version of the name – ‘The Bank’. As an entirely mission-led institution, it was important that The Banks missions were at the heart of the brand. To do this we developed a dynamic and flexible identity system by highlighting the words ‘The’ and ‘Bank’, and placing evocative mission statements within the logotype.

The logotype is supported by ‘The Measure’, an iconic graphic device inspired by The Bank’s primary missions of equality, sustainability and innovation, whilst also referencing the Scottish landscape. Colour, type, photography and a graphic framework combine to create distinct visual narrative for Scotland's first development bank.

NYC-based studio CHIPS used Proto Grotesk from Production Type for the identity of Creative Capital, an organization that supports North-American artists in many different ways, like funding, counsel, gathering, and career development services.

In order to render the diversity of Creative Capital’s artistic community, the designers chose to create a constantly changing logotype. The changes occur on the capital letters C: the letters are fragmented into a line of dots and shapes, with unity suddenly turning into multiplicity. The logotype therefore shows diversity but also the activity of the organization, which never ceases to change depending of the supports.

A consequent part of Creative Capital’s identity relies on its website, where the clarity of Proto Grotesk is at good use, on all text levels. The simple yet direct webdesign is functional and impactful in spite of the few elements it involves: one type, one color, aiming towards a legible and institutional website. The economy of these two elements show the strong character of Proto Grotesk, a steady yet quirky typeface, ideal for evoking originality.

Baugeld Spezialisten asked us to completely redefine their brand identity and brand appearance of their home financing corporation. Therefore we went through an intensive design thinking process, extracting the most important features of the brand vision and finally creating a concept for a visual identity, which would embody those strategic insights. The final result is a greatly flexible identity system, which can easily be adapted to any new or existing format.

Baugeld Spezialisten tries to bring the idea of your dream home into reality, by focusing not only on the financial hurdles but also on the human, emotional perspective. Both combined create a full picture of the world they are constantly facing. The logo just builds on that exact combination of rational and emotional perspectives. The square acts as a frame, the circle as “focus” and the perspective as the human point-of-view. All together they visualize a grid and therefore build a bridge to the start of many ideas: The drawing pad.

Design and art direction by Gabriela Baka, Maximilian Heitsch. Development by Dario Soller, Max Langer, Maximilian Heitsch, Korbinian Lenzer.

After 25 years of being in business, Diagram had grown. More people. More offerings. New leadership. Bigger and better projects all the time. Together, we workshopped a fresh brand strategy and new identity. We equipped our client with all the tools they’d need to take ownership of their (truly wonderful) story and step boldly into their bright future. Hello world. Meet Diagram.

We took a deeply collaborative and interactive approach to articulating the what, how and why behind the business. What set Diagram apart from the competition was their cheerful blend of playful authority and strategic risk-taking, their all-around approachable cool, tech savvy and of course, the good time family feeling.

Emotive, connective and scalable, the new logo references the spark of innovation —the moment where collaboration and process give way to brilliance. Intersecting lines show different ideas and perspectives coming together in a strong, unified whole.

A more straightforward read on the spark and logotype keeps the strong connection while building brand awareness.

With the identity finalized, we got to work helping Diagram launch their new brand. The Diagram identity system was designed to be not only flexible, but fun. Cards, notebooks, totes, an oh-so-cozy hoodie, campfire mugs, a step and repeat, even a custom beer can label done in collaboration with Solemn Oath (a Diagram client and neighbor!).

Karelia is used throughout.

Tassat is a FinTech company that provides blockchain-based technology solutions for Digital Payments and Digital Exchange markets.

They use Finador as their brand typeface. Finador is a soft sans-serif by Julien Fincker. The functional style of a geometric sans has been softened by open apertures and rounded corners, which makes it functional and friendly.

Tassat’s logo is based on Zurich. [Not Univers, as listed before. See comments]

Byozo is an app for the ambitious. No frills, no gimmicks, only what you need to succeed. Byozo is built on the same system that transforms challengers into champions. It forces you to trip over the cold, hard truth. It’s time to move from challenger, to champion.

Ciutadella is the main font in use on the website of Byozo, a slick-looking app for those who wish to schedule and rate their road to success. For some reason, the blog simply specifies ‘serif’ for body text. Illustrations by Tokyo based artist Chiyun Yeh.

Ciutadella (Emtype Foundry) and Trim (Letters From Sweden) in use for the identity/website of Capdesk, a platform that helps unlisted companies manage equity. The company focuses on progressive finance, advanced technology and solving tough human problems. Capdesk's mission is to create an easy-to-use shareholding tool for both companies and investors.

Gravity Solutions gives SME innovative payment and paper workflow tools to optimize energy-consuming, low-efficient processes and discover new opportunities for growing their business. Gravity Solutions Framework is a legally and financially compliant set of blockchain applications.

A drop of water plus ‘night sky’ black equals cosmic but warm identity for blockchain platform Gravity. The typography uses CoFo Sans by Contrast Foundry, with ITC Franklin Gothic used for italics. Art direction and illustration: Alexander Koltsov. Design: Valya Lazareva (Shuka).

Landing page for investing newsletter Capital Minded: www.capitalminded.com

Simpson Street Consultants is a financial services regulatory consulting and strategy firm specialising in helping clients in both contentious and non-contentious regulatory matters.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

It isn’t adored by quite as many young fans as other riders of the current geo-sans wave — typefaces like GT Walsheim, LL Brown, and LL Circular — but FF Mark is one of the more popular releases of the last three years, and it’s picking up steam. You see it in industries from tech to editorial, in print and on the web. As a plain, clear sans with a moderate x-height it works reasonably well in most of these environments, yet it’s often called to do jobs it’s not really meant to do: especially pages full of light body copy where the design’s uniform stroke and letter widths paint a pretty drab monotone.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

That’s not a period, it’s a ®. Trademark symbols have become like terms and conditions texts: legally required, but practically useless. Designers prefer to make them as small as possible to get them out of the way of their logo.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Designed by Hannes von Döhren and Christoph Koeberlin in 2013, FF Mark filled a gap in FontFont’s library: a geometric sans with a large lowercase. This sample image is by Pentagram, who is admirably steadfast in crediting the type they use.

This major redesign for Mastercard, however, is exactly the kind of mission FF Mark was trained for. Pentagram began by refocusing on the iconic interlocking symbol, now nearly 50 years old, wisely clearing it of its clutter and moving the name to the side or below. The new circular typeface obviously echoes the symbol’s geometry, but it’s not just about circles: FF Mark’s other characteristics fit well too — its broad stance, open forms (‘s’ and ‘c’), the roundness of the ‘m’ arches and ‘t’ tail.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

This redesign is not so much a revolution for Mastercard as a callback to the best logo of the brand’s past. In 1979, “MasterCard” was set in ITC Avant Garde Gothic, stamped boldly over the center of the circles. This was replaced in 1990 by an ill-advised italic which was later littered with a drop shadow in typical ’90s fashion. Going back to a geometric sans serif is a no-brainer, but Avant Garde is rather cold and closed. Switching to all-lowercase FF Mark refreshes the banal corporate presentation with a more approachable air.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

As we can expect from an experienced firm like Pentagram, the logo and type harmonize naturally. The designers resist the urge to rationalize the geometry via some contrived construction grid. And all the work is thoughtfullly implemented in a variety of environments where bite-size chunks of type combine with large images and the overlapping circle motif.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

These teaser images for the new identity came out pretty nicely. It’s solid work. Not thrilling, but as fresh a look as you can expect from a multinational payment network. The question remains, however: Will FF Mark be the only part of the typographic palette for this new identity? Will it be used to set long passages of text? Will it be pushed beyond its purpose? We’ll have to wait for the answer because the redesign was just announced today. (Mastercard.com is still set in Accord Alternate, a 2010 face that already feels dated, perhaps because it piggybacks on the well-worn spurless concept from 20 years ago.)

Source: www.youtube.com © Mastercard. License: All Rights Reserved.

This mockup (not necessarily a final design) overlooks a basic principle of setting body text: the more space letters have inside them, the more space they need between them.

I hope this teaser video is not an indication of FF Mark’s intended role, because some of these screens make all the most common geo-sans mistakes: a light weight, spaced way too tightly, for all the text on the page. A financial services company striving for clarity and simplicity should take the readability of mundane info as seriously as its logo.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

At its core, this is a strong mark, returning Mastercard to its former glory, by emphasizing not the name, but the symbol: a couple of unmistakable dots that shine your way to a shop door, even from across the street.

A few months ago, Apple was one of the last tech companies to hold out on using webfonts. That changed today when they published their online celebration of the Mac’s 30th Anniversary. The webfonts are two weights their custom Myriad (Myriad Set), including their Thin and Ultralight weights. A couple of icon webfonts are also used. Neue Helvetica is used for the “3” logo.

CEL Development’s new industrial building in Pasir Panjang, Singapore was designed to look unique as well as to take full advantage of ocean views. Zebra designed the brand identity for the development. In collaboration with ad agency TFO we helped position 100 Pasir Panjang as an iconic industrial building offering an upmarket, premium business experience.

The logo itself was created to match the unique look of the building, with the details of the identity mirroring its quirky slatted design. The monospaced typeface CPMono fit perfectly alongside the '100' logotype.