Saut Hermès is an annual show jumping competition held at the Grand Palais in Paris, France, sponsored by the fashion company Hermès. For the 2022 edition, the visual identity has been entrusted to Pierre Jeanneau and 34 studio took care of all the variations. Pierre Jeanneau used Molitor by Matthieu Cortat (205TF) and Sang Bleu Kingdom by Ian Party (Swiss Typefaces).

The Saisons Culturelles poster

Following the creation of the town of Chaumont’s visual identity, the Baldinger•Vu-Huu studio team started work on the sub-identity for Chaumont’s Cultural Seasons. The city of Chaumont boasts a rich cultural programme. As well as being the city of graphic design, it also wants to showcase the city’s cultural offering. To this end, eight years ago, they launched the “Saisons Culturelles”, supported by a newspaper, a website and posters, which are renewed every year.

It was necessary to create a sub-identity, with a visual link to the main identity in order to clearly identify the sender, but at the same time distinct from it in order to be recognized as something special. To achieve this, the Baldinger•Vu-Huu studio used Dina Chaumont, the typeface family they created for the city of Chaumont, and designed new pictograms, abstract shapes that are freer and more organic. On top of that, they played with a bright and bold color palette.

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles newspaper

The Saisons Culturelles website

Magazine G is a magazine that aims for knowledge, insight and inspiration beyond boundaries. It is designed by Korean studio Everyday Practice.

The big letter g on the cover is from Voyage. Titles and body copy are set in ABC Maxi Round from Dinamo. The font used for Korean body copy is unidentified.

From the design studio’s website:

Magazine G features writers and researchers from various fields, including literature, history, philosophy, psychology, social studies, science, religion, and engineering, showing insights that fit each topic in various ways, including essays, novels, and cartoons. The theme of Magazine G Vol.4 is “Can We Start Again?” and contains a variety of thoughts and senses, focusing on the topics of “New Beginning” and “Unstoppable Change” as the wave of big changes continues in the aftermath of COVID-19.

Everyday Practice tried to visualize the keyword “new beginning” with the rather wild imagination of a “cat who went to the beauty salon” who is looking forward to a new hairstyle. Sometimes, a different future than expected awaits us, but we wanted to talk through this cover that the imagination of dreaming of change becomes the driving force behind our daily lives. In addition, various texts that make up the magazine were delivered to readers in a more intuitive way through layouts, colors, and various forms of typography suitable for each manuscript.

Cantina Mandia is a restaurant in the Colegiales neighborhood of Buenos Aires. To design the identity, Ufficio Studio used the typeface Molitor by Matthieu Cortat, Banana Grotesk by Mitch Paone, and Modern Prestige by Hendry Juanda.

On their website, we can read:

This branding was inspired by the frames of cinema in the 1960s era. The logo, based on a contemporary Art Deco typography, incorporates diagonal elements evoking the lively Italian spirit of Tarantella, with its vibrant voices, post-dinner conversations, and lively music. For the styling, we included photos of Sofia Loren related to food and leisure, and took the relaxed color palette from one of her images that combines an orange-golden hue to a great set of green tones. To introduce a feminine touch, we incorporated frames that remind us to the trimmings of folders and fabric napkins embroidered by grandmothers and added a script typography reminiscent of romantic movie titles. This blend of unique elements conveys the spirit of the era in a modern way.

Photos by Maria Eugenia Solla

Halyard Display by Darden Studio stars alongside several typefaces by Vocal Type in the design of Ben’s Best Blnz.

Ben’s Best Blnz, or B3, is a cannabis brand initiated by Ben Cohen, co-founder of Ben & Jerry’s. Its mission is “to sell Great Pot and use the power of our business to Right the Wrongs of the War on Drugs.” The independent non-profit organization advocates for the decarceration of those convicted of nonviolent cannabis crimes and the descheduling of marijuana as a Schedule 1 substance.

For the branding, Eddie Opara and his team at Pentagram relied on eclectic and colorful typography, exclusively using typefaces by Black designers. Halyard Display by Joshua Darden is the text typeface on the B3 website (development by Jacob Macdonald), and is also used in the packaging designs as well as for merchandise such as T-shirts. Halyard is paired with a range of more expressive fonts all designed by Tré Seals from Vocal Type, namely Eva Peron, Eva Maria, Martin, Bayard, and Ruben.

Read and see more in Pentagram’s case study and on B3’s page about their art and design.

Homepage with mission statement, main menu, quotes, contact form, and infographics

Social Mission page with info on background, advocacy, investment, vendors and partners

Mission statement on the homepage. Interestingly, the lowercase glyphs from Halyard Display Regular are here combined with caps from the slightly heavier Medium weight.

Labels for the Blended SloSmokes that are available in various effects: Focus, Creative, Relax, Stimulate, Cloud 9, Kick Back, Happy Go Lucky, and Dream Sweet Dreams

Website detail featuring Eva Maria for the ticker text, Eva Peron for “B3”, and Halyard for text

Website details including an interactive shop finder

Get There Slower Full Color T-Shirt featuring Halyard Display with alternating glyph colors

Get There Slower Wavy T-Shirt featuring Halyard Display set on a wavy baseline

Full Spectrum Vape Pen packaging designs

Blended SmoSmokes packaging

Assorted packaging designs

Visual identity for French Bre(a)d, a branding studio dedicated to crafting bespoke and unique visual identities, with a focus on food-related brands. The application of their new look includes business cards, custom website design and social media templates.

Futura Passata from AlfaType is the brand typeface, supported by Kalice by Margot Lévêque. Smaller texts use Moderat from TIGHTYPE.

Staging the Table in Europe 1500–1800, curated by Deborah L. Krohn and shown at the Bard Graduate Center provides a window into the culinary spectacles created during Europe's early modern period. The exhibition and accompanying publication explore dining customs and practices of the time—showcasing carving knives and forks made of precious materials, exquisitely illustrated manuals on carving meat, fish, and fruit, as well as napkins folded into elaborate sculptural forms.

Design and typography inspiration were drawn from book layouts, ornaments, and typography of the era, as well as historical pieces featured within the publication and exhibition. Reflecting the essence of the content, the design incorporates elements of embellishment, intricate details, and a touch of playfulness.

In Babylon is a novel by Dutch author Marcel Möring, first published in 1997. This hardcover edition by De Bezige Bij came out in 2005. It measures 13,5× 21,3 cm and has black endpapers and a cover printed in black on yellow paper.

Giant capitals from Bodega Sans are paired with Venus. The original Berthold BQ PostScript version of Venus has been used.

Casava is a new insurance company that’s attempting to change the experience of insurance in Nigeria. The brand identity for Casava builds on the concept of enjoyable insurance.

Leveraging an underexplored approach to brand identity design that de-prioritises illustrations and doubles down on owning and communicating effectively with simple elements like characterful typography, vibrant colours and a relatable photography style.

Casava’s evolution started with the wordmark. Drawing inspiration from the typography of lifestyle brands, it is drawn to be as smooth as a gentle wave with ease in mind. The wordmark reflects the enjoyable feeling that comes with being insured by Casava. The animation sets the tone for what the entire Casava experience for a user should be, easy, calm and enjoyable.

The chosen typeface, Gooper, with its swashy, tight, and touching old-style serifs, harkens back to the phototypesetting era of the 1960s and 70s. Used in Semi Condensed styles, Gooper is supported by Fellix.

Taking an editorial approach in key communication moments, the new identity puts customers front and centre with a fresh library of brand photography that illuminates the people at the heart of the platform.

Cover designed by Bráulio Amado for Tilt, the second album by Australian dance/pop group Confidence Man. The typography pairs the yet unreleased Écriture by Benoît Bodhuin with Compacta Bold [and Druk Wide, see comments].

Art direction / graphic design by Bráulio Amado
Photography by Jamie Heath
Costuming, styling and additional art direction by Janet Planet

[More info on Discogs]

No optical trick at work here: one of the album’s editions is a special “tilted” version with right leaning cover and inner sleeve.

Artwork for remix album Re-tilt, released in September 2023

SIngle cover for “Angry girl”

Booch was one of the first successful commercial kombuchas to launch in Ontario, Canada.

As the company has grown, the owner has remained true to her original philosophy of staying grounded, being highly collaborative with local partners, and to create a sustainable beverage company.

Aligned with this mission, she noticed that the lemongrass used in the making of kombucha still had a lot of essence left in its leaves after its first pressing.

She decided to create a zero calorie sparkling water product to stretch the lemongrass flavour further, thereby reducing waste. The result is Squeeze – sparkling water with upcycled ingredients.

We underlined the refreshing, bright flavour of the drink with a bold colour palette, and stayed true to the Booch ethos with the typography and graphics.

In late fall of 2023 2 new flavours were added to the lineup.

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.

Andrea Grudda was born in Augsburg, Germany, and is a renowned author, consultant and trainer. A few years ago, she began to specialize in the areas of strategy, lifestyle and sales. Today, she accompanies companies in their transformation journey into the new world of work, which is now characterized by digitalization, artificial intelligence and work-life balance.

Grudda teaches Trend Management at the European Media and Business Academy (EMBA) in Düsseldorf and joined the board of the Flexible Working World Foundation in 2020. Her clients include Aston Martin, Levi’s, MCM, Fraport, Dorint Hotels, Vero Moda/Jack & Jones, and Intergastra, among others.

Her website was conceived and designed by the Düsseldorf-based design studio vista. It is as multifaceted as her fields of work. Her competencies, CV and services can all be explored in a playful way in the über user-friendly website. Facts and suggestions complement each other elegantly and colorfully.

Her cell phone number (set in the distinctive Nikolai, just like the rest of the website) is unmissable because it takes up the entire width of the screen. For anyone who would prefer to write to her, you can start an online chat with the management consultant directly.

Andrea Grudda’s communicative power is reflected in both the unusual design and the typography used throughout. This aesthetic makes her website and brand clearly stand out from comparable offerings. Fontwerk’s Nikolai is the font of choice and is used throughout. It is a display family with a strong character and was created in 2020 by the Italian Designer, Franziska Weitgruber. Nikolai’s roots lie in the Renaissance, as it is based on a Jenson Antiqua. However, in the course of its creation between 2018 and 2020, it has clearly evolved in a more contemporary direction. Its Renaissance DNA is now barely recognizable due to its strong stroke contrast.

As her website is 90 percent text, the visual identity of the Andrea Grudda brand is primarily influenced by Nikolai’s identity.

The Journal of Architectural Design and History is a biannual journal, subjected to a double blind peer review process and created within the programme of UNESCO Chair in Conservation and Architectural Planning of the World Heritage Cities at the Mantua Campus of the Politecnico di Milano.

Between 2022 and 2023 Parco Studio has realized the graphic design and the development of the website as well as the layout of the printed version. In ADH the link between the online version and the printed version is particularly strong as the second is automatically generated from the first. This particular approach significantly simplifies the editorial work by defining a single flow that begins with the insertion of the abstracts in response to the call for papers and then materializes in the press by defining a truly hybrid language between analogue and digital.

The Blackpepper Studio (TBP) is an award-winning multidisciplinary design and experiential Studio creating engaging and meaningful design experiences and identities for brands within the fashion, luxury, arts, wellness and lifestyle industries. Our work is primarily informed by storytelling with a strong exploration of editorial design, expressive typography and colour all approached from a contemporary point of view.

In designing our website, one of our prominent visual languages was centred on the website's typography with Charlottenburg by Kilotype leading the pack. Its high contrast gave us the perfect bold editorial feel we needed while its wide O’s served as image containers for some visually sensitive concepts.

To balance out Charlottenburg’s razor-sharp serifs, we used Neue Haas Grotesk Display and Freight Display as body fonts. To add a personable touch, Altesse is used as an accent font throughout the website predominantly for writing names. The logo is based on Neue Helvetica Condensed.

The Governors Ball, also known as “Govball”, is one of New York City's most beloved summer music festivals. The 2023 festival was held at Flushing Meadows Corona Park in Queens from June 9th to 11th with music sets from Lizzo, Odesza, Kendrick Lamar, Kim Petras, Lil Nas X, Haim, and many more.

Produced by Founders Entertainment, LLC., and Ticking Clock Productions, this years Govball brand identity relies heavily on the Obviously family by OH no Type Co. From the official website, posters, and social media posts to merch items and festival signage, you can find Obviously being used around every corner. The wrapping of the type in the shape of the iconic NYC apple shape utilizes an alternate G with a flat top terminal, available as an openType feature. On the website and social content, the designers utilized several widths and weights of Obviously together, making for a very cohesive yet dynamic design. The Govball website also uses PT Mono for paragraph text.

On May 18th 2023, the Los Angeles Times released a checklist of the 101 Best California Experiences. This was also published as a full feature article on their website, Instagram, and in the printed issue from May 21st, 2023. The 26 page guide was also made available for purchase at the LA Times store, which has since sold out of all copies. In their own words:

The 101 Best California Experiences is a guide to the most awe-inspiring, fascinating and delightful things to do across the Golden State — right now in 2023. Stargaze in Borrego Springs. See the shoreline sparkle at Glass Beach. Eat with abandon at Grand Central Market. Written by L.A. Times travel writer Christopher Reynolds, “Cal 101” is packed with history, insider tips, traveler updates and a checklist to mark off your adventures.

The article headline “CAL 101” features Obviously by OH no Type Co (with a custom 1 in the CAL 101 animation). Obviously’s figures are featured throughout, along with some animated text weaving in and out of the scenic imagery, which can be viewed on the website. Body text is rendered in Benton Sans, with FB Kis Display for headlines. Social media graphics also feature Benton Modern Display.

Creative director: Amy King
Design director: Taylor Le
Senior deputy design director: Faith Stafford
Art direction, digital production and motion graphics: Anne Latini
Art direction and print design: Kay Scanlon
Additional print design: Jan Molen
Digital production: Denise Florez, David Lewis
Full credits on the Los Angeles Times website

“For the rock group Earth Quake, Danziger created this fragmented typographic treatment by photographing type through a prism. He amped up the visual tension by using blue and red of equal value for the background—an op-art treatment that causes the image to vibrate as the color wavelengths hit the eye simultaneously.” — Louise Sandhaus, Earthquakes, Mudslides, Fires & Riots: California and Graphic Design 1936-1986, p. 106

“One of the very few album covers I ever designed … The group liked the cover so well that they adopted it for their band’s logo.” — Louis Danziger, ArtCenter News, 2013

The original model for the title lettering appears to be Chubby, a phototype face released not too long before this album was released in 1971. According to Discogs, art direction was by Roland Young.

Logo variants

Launched by the CANA Foundation, Generation Cana is —

a concept by an established conservationist who wants to popularise and inspire a new and diverse generation of Americans to fall in love with their natural landscapes and support rewilding – of their own worldviews, and of the lands they live on.

The Cana Foundation (CF) supports research, policy and action to support the wellbeing of horses and burros in North America, and the role they play in America’s iconic prairie and grassland ecosystems. With strong connections to first nations communities and the nexus of social justice and environmental issues, CF’s founder wanted to reach more people and inspire a new audience to take action in ways that went beyond specific policy solutions.

The graphic identity was designed by Studio Chenchen with a range of new logos to promote the foundation through various printed and digital media. Studio Chenchen comments:

The brand concept, Love Songs to America, is based on revitalising North American Romanticism.

Its visual language draws on iconic precedents in North American naturalism that we updated to reach modern, urban audiences. An internal brand manifesto was established to crystalise the brand’s purpose, tone of voice and personality, along with a set of illustrative templates, design applications, and targeted messaging to demonstrate how the brand can be applied to achieve the clients goals.

Logo version ft. Kerozene, Swear, and Copperplate Gothic

Logo version in Swear and Copperplate Gothic

Kerozene and Editorial New Italic

Playlist covers ft. Kerozene and Editorial New Italic

Manifesto featuring Swear, Sharp Sans, and an unidentified serif [edit: it’s Eiko, see comments].

Instagram template ft. Swear, Copperplate Gothic, and Mighty Slab

Longsleeves

Swear and Sharp Sans, with an unidentified serif for the URL

A series of postcards designed by Dayan D’Aniello (Smith & Diction agency) for an art installation by Matty Geez at Group X in Philadelphia.