Melbourne-based branding and marketing agency Studio Perspective created a holistic strategy and brand identity for Loam House: “Offering 89 architecturally designed, home-sized apartments amongst a sanctuary of established landscaping, Loam House’s architecture pays homage to natural layers of rock that form over time”.

The identity is using Solare (Nikolas Type) paired with Swiss 721 (Bitstream).

Rotterdam-based creative studio The Phoney Club developed the branding and art direction for personal care brand Ajen. From Ritupriya Basu’s article for The Brand Identity:

“Building on the brand story, we delved into the history of Dutch typography. The Netherlands boasts a rich tradition in type design – something we can be quite proud of for such a small country! This exploration led us to Wim Crouwel, the renowned graphic designer born in 1928, whose iconic typefaces, like Gridnik, remain influential to this day,” de Wild explains. Driven by this legacy, the team chose PP Supply Mono as the secondary typeface, reflecting the clean, structured heritage of Dutch design. “The primary typeface, Neue Montreal, guided this selection, ensuring a cohesive and harmonious relationship between the two typefaces within the brand’s identity,” says de Wild.

The logo appears to be based on Roobert.

Future Viewfinder is a self-awareness tool for creative direction – designed to inspire you to “put your passions in places where you want to be.” This phrase, first written in my journal, has been my guiding mantra since early 2022. It reminds me – and now invites you – to seek out spaces that celebrate and elevate your unique passions.

The main card of the interactive print piece acts as a viewfinder – its die-cut, pixellated envelope design (linked to my monogram logo) invites you to press, push, and peek into your future.

I carefully selected typefaces that bring personality to the piece while dynamically filling the negative space of the die-cut. From a heavily condensed Grandmaster to the wide proportions of Afronaut. Their placement reinforces the project’s sense of movement and direction – shifting and changing as you engage with it.

Uplifting oranges, dreamy pinks and purples, and a hint of transformational teal – sourced from GF Smith Colorplan Papers – infuse the work with vibrant, forward-thinking energy.

Drivkraft i Eksingedalen is a history about one of Norway’s oldest youth centres located in Western Norway. Designed by Håvard Bergo, typeset in STK Bureau Sans and STK Bureau Serif by Smuss Type Kiosk.

Making jewellery creations with your own hands in a relaxed atmosphere – that's what Perlenreich stands for. Whether on your own or under guidance at a workshop or event: Perlenreich offers a wonderful place to express your own creativity and experience feel-good moments with like-minded people far away from everyday life.

The selection and possible combinations of the different beads on offer in the shops in Düsseldorf and Cologne or online are almost endless. Whether colour, shape, size or material quality – the new corporate design translates this diversity into a graphic world of stylised beads that can be combined and arranged in ever-changing ways. In combination with modern typography and a bright colour palette, a high recognition value is created with playful ease.

The new corporate design spreads inspiration on all channels and makes you want to get creative yourself. From course bookings on the website, crafting ideas on social media, the matching interior concept in the local shop to the packaging with which your own jewellery creation is proudly carried home or the special voucher as a gift for your best friend.

With the relaunch of the brand, Perlenreich is positioning itself to suit a young, modern target group in a fashionable, feminine context – changeable and flexible thanks to a playful design concept.

UNEINS is a young magazine that uses critical and progressive voices to give new impetus to peace and conflict, initiate new debates and diversify existing discourses. The magazine thus aims to make connections between socio-political debates, peace and conflicts accessible to a broad, interested audience. As a magazine, it presents a variety of contributions: from classic academic articles, journalistic pieces and essays, to photography, illustration, poetry, and prose.

studiokwi was in charge of the logo development, the creation of a design system, the web design, and the barrier-free web development.

For the exhibition Music Related Paintings by Berlin-based artist Klaus Decker, Burrow designed a poster, invitation postcards, and an accompanying exhibition catalog, showcasing Decker's recent series of works that explore the dynamic interplay between visual art and music.

“Each painting is a composition of carefully coordinated colors, shapes, and structures, while also trusting in the influence of chance during the creative process to make musical aspects like composition, emotion, and movement perceptible.” — Michaela Nolte, Berlin 2024

Lu Yu is a designer working in visual communication, with a focus on interaction design and art direction. Raised in China, previously living and working in Melbourne, Istanbul, and Berlin, Lu Yu is experienced in working at the intersection of brand and product, bringing a heavy sense of graphic design into the digital work.

Lu Yu's portfolio website is using the display font Cosi Azure (Nikolas Type) for primary headlines, Cosi Times (also Nikolas Type) for secondary headlines, tastefully paired with Patron (Milieu Grotesque) for text.

Sagace Medium used by me, Alexandre Créquer, for my school thesis L!S!BILITÉ, dealing with typographic legibility in graphic and type design. Sagace is paired with Newsreader from Production Type for body text and custom lettering for the title. Printed at Copyright 35, Rennes.

Publisher Atelier Éditions writes:

John Cage: A Mycological Foray draws readers across the idiosyncratic, mushroom-suffused, innermost landscape of celebrated American composer John Cage. Upon the remarkable journey with Cage, one encounters assorted photographs, compositions, and contemplations; all in the very same unexpected fashion one encounters various flora and fungi species while mushroom foraging. Volume I encompasses Cage’s mycological-oriented Indeterminacy stories, Diary excerpts, and essays; and the complete transcript of Cage’s 1983 performance, MUSHROOMS et Variationes. Volume II offers the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book; authored in collaboration with illustrator Lois Long and botanist Alexander H. Smith.

Text throughout is set in Monotype Baskerville, with headings in Traulha and Cage's own writings in Space Mono.

The colophon credits design director Capucine Labarthe and illustrator Katty Maurey.

The back cover features Traulha Regulara and Italica.

Every Mushroom is a Good Mushroom is a supplement to the book.

Szűrögető is a periodical zine released yearly at EKKE University. The 2022 edition revolves around the topics Pinktober and Dry November, drawing attention to breast cancer and alcoholism.

The Palisades Parks Conservancy provides programming and assistance to over 25 parks and historic sites across New York and New Jersey.

To more accurately reflect their mission to preserve, protect, and support the parks, the organisation recently asked Order to update their identity. Their new branding pairs Esperanza Headline and Esperanza Stencil from Labor & Wait with Founders Grotesk from Klim Type Foundry.

From Order:

The Conservancy traces its roots to 1900, when the Governors of New York and New Jersey first took action to protect the Palisades Cliffs from mining. Since then, the Parks region has grown to encompass over 130,000 acres along the Hudson River Valley.

The symbol is derived from the pitch pine, a hearty and resilient tree that is native to the Parks region. As seed transmitters, the pitch pine's pine cones provide food for animals and help generate forest growth.

Esperanza Headline is used for most applications and is supported by its sister cut, Esperanza Stencil, for more expressive uses. Founders Grotesk provides clarity and contrast at smaller scales.

Michael McManus Architects (MMA) undertake projects across the Australian state of Victoria from their studio in North Melbourne. At the beginning of 2020, they pledged to make their business carbon neutral, reinforcing their belief in a sustainable future for our living and working environments.

In line with their vision, I highlighted their forward-thinking approach through an unexpected, earthy colour palette, which also provides contrast amidst the high-end nature of the work. The hues capture a snapshot of many of their projects: deep green for the landscape, yellow for sunlight, grey as breathing space and burnt orange for brick.

Research driven, multidisciplinary designer James Meadowcroft chose Elma Trio to showcase his various projects.

The Australia-based creative updated his portfolio website using technical Elma by Philipp Neumeyer, giving it a modern monospace revision – but with extra balanced proportions.

The font is set in a gridded layout, perfectly partnered with dashed lines and lively pictures. Elma Trio Regular works here as text font and main design element for the cutting-edge website design.

Grand Slang (Nikolas Type), Archia (Atipo) and the Korean typeface Sandoll 고딕Neo1유니코드 (Sandoll) in use for the Blue-ray box set of Céline Sciamma’s Trilogie. The coming-of-age trilogy by the French director consists of Naissance des pieuvres (Water Lilies, 2007), Tomboy (2011), and Bande de filles (Girlhood, 2014).

Designed by Studio Gomin in Seoul, the trilogy collection comes with a high-quality outer box and digipak case, an 80-pages mini book, as well as beautifully blind embossed postcard sets that remind of Polaroids, displaying six stills per film.

In collaboration with Nikolas Type, Studio Gomin made a transformation of Grand Slang to express the symbol of growth and anxiety, to emotionally match this special collection.

The box set was published by Plain Archive.

Céline Sciamma coming of age trilogy set in the Korean Design Annual.

Niki de Saint Phalle. Les années 1980 et 1990. L’art en liberté (“Niki de Saint Phalle. The years 1980 and 1990. Art in freedom”) is an exhibition dedicated to the French-American artist Niki de Saint Phalle. It was held in Les Abattoirs in Toulouse from October 7th, 2022 to March 5th, 2023. In the accompanying catalog, you will find images from her œuvre, various texts (by Annabelle Ténèze, Lucia Pesapane, Julie Crenn, Karine Lacquemant, Thibault Boulvain, Mica Gherghescu, and Ruba Katrib), and a chronology of de Saint Phalle’s work. A substantial book of 224 pages, measuring 22×27 cm and weighing 1.25kg that makes a complete retrospective on the work of Niki.

Titles are set in all-caps ABC Maxi Round, marking a certain modernity in the look of Niki de Saint Phalle’s work. Art direction and graphic design by Agnès Dahan Studio, co-published by Gallimard and Les Abattoirs. The sans serif used for the texts and captions is ABC Marfa. You can flip through the whole book at cantook.net.

Grand Slang Roman and Italic (Nikolas Type) paired with Toshi Omagari's Neue Haas Unica (Linotype) for the website of the Parisian choreographer, dancer and choreologist Lola Rudrauf.

Lola Rudrauf is a freelance artist and lecturer at the Conservatoire National Supérieur de Musique et de Danse de Paris and spezialized in choreography and movement direction for filmed media, where she acts like a dancer by herself, or is composing movements for other dancers and actors. Her clients range from cultural institutions to Apple, Hermès, and Longchamps, just to name a few.

Rebranding and graphic guidelines of MIDEM+, short for Marché International du Disque et de l'Édition Musicale (English: International Record and Music Publishing Market), an event organized since 1967 in Cannes, France.

The festival performs its revival in a more global, digital, interdisciplinary and prospective way. Previously known as Midem, it’s now stylized as MIDƐM+ (and sometimes as MID3M+) – with a mirrored 3 repurposed as fancy E, and a superscript plus.

The design uses Neue Haas Unica (by Monotype) and Supply Mono (by Pangram Pangram).

The event took place at Palais des festivals from January 19 to 21, 2023.

See our Instagram account for the animated posters and displays in the public space (motion design by Bettina Comte).

The RUFA Annual Report 2016 was designed by Intorno Design (Guido Lombardo, Tommaso Salvatori, Giampiero Donno, Roberta De Cristofaro, Matteo Sampaolo). The report collects the best of the academy’s dense annual educational and creative production.

Inside, the use of an expressive typography, photography combined with artwork in magenta thread, a free layout and visible binding aim to evoke the multidisciplinary characteristic of the school, made up of art and design contaminations and stratifications.

The design makes early use of Jim Ford’s Posterama (Monotype, 2016), mainly in the 2001 style, combined with Eric Olson’s Klavika (Process).

The poster shows the various actions that have been implemented, while the blank offset cover features a letter written by the lecturer to a future student.

The insert of 16 pages of different formats, printed in two colors, features one of the main events of the past year: RUFA contest.

“Extra” and “Diary” are set in Posterama 1913, with stacked glyphs.

The product is printed in six colors with the use of neon Pantones 802 and 806.

The program of the cultural season of Ernée, a commune in the Mayenne department in north-western France, was designed by Geoffroy Pithon and Antonin Faurel. The typeface Gröb, designed by Benoît Bodhuin, is featured throughout the book; for titles, the designers made it slightly thinner by applying a stroke to its outlines.