L.A.-based studio Forth+Back have created the new brand identity for Sotheby’s Motorsport (SOMO), pairing Leto (Ornamental & Title Type) with ABC ROM (Dinamo). From the case study:

SOMO is reshaping automotive auctions by pairing its industry expertise with a digital platform built for modern collectors, making the experience more transparent and accessible than ever.

Forth+Back was brought on to refresh SOMO’s identity with a system that feels sleek, modern, and aligned with the platform’s forward-thinking approach.

Our studio introduced a new streamlined wordmark that is low, elongated, and designed to feel sharp and fast even when static. The expanded palette adds a bold hit of orange to a foundation of racing green and gold, supported by a range of tones that allow the brand to shift its voice depending on the moment.

For the style guide, we selected a format inspired by retro driving manuals, offering clear and concise instruction with a functional, on-the-go sensibility.

SOMO’s updated foundation extends into a flexible layout system that uses the physicality of the mark and strong blocks of color to frame logos, imagery, and key information across the brand.

In the summer of 2020, the image of the Ferenczy Museum Center was rethought, building on the unique and characteristic motif world of Szentendre, placing special emphasis on local values. The unique architectural character that is still known today was formed as a result of the interaction of the exceptional stylistic features of the city’s Dalmatian, German, Hungarian and Serbian ethnicities, which spiced up the art of the artists there.

The activity of researching emblematic symbols is not unique, as it previously attracted artists to the city, such as Dezső Korniss and Lajos Vajda, who laid the foundations of modern Hungarian art. Following in the footsteps of Béla Bartók and Zoltán Kodály, the two defining artists began to explore the formal peculiarities of the houses, signs and everyday objects in the region, mainly in Szentendre and Szigetmonostor, and document them in their own style. The immortalized motifs do not necessarily correspond to the traditional ethnographic definition, as they immortalized countless elementary objects that are primarily formally exciting for an artist.

Summarizing their research activities based on folk traditions, they recognized that Hungary, in terms of geographical and cultural influences and due to its special location, forms a symbolic bridge between the West and the East. Vajda and Korniss, who call themselves bridge builders, started from this insight and created the “Szentendre program”, which was intended to do no less than give birth to modern Hungarian art.

In developing the visual foundations, how and where we positioned ourselves in the museum sphere played a very important role, since Szentendre is a city with a 110-year-old artistic tradition, where both 20th century and contemporary artists play a prominent role. It was important to explore what values ​​we represent and what is the cause we are carrying forward.

The spirit of the bridge builders is represented by many artists who still work here today. Building on the traditions, I continued to search for an appearance that is deeply rooted in the ideas and traditions described by the bridge builders. After many solutions, the emblematic sign depicting a cathedral in Péter Bereznai’s 2015 work entitled In the Middle of Darkness embodied the ideal that is most characteristic of the museum’s mission.

Every brand has a perceptible and an imperceptible part. The imperceptible part includes how the institution communicates, what its PR and marketing activities are like. The imperceptible part includes the image elements and their visual appearances. The most important visual element is the logo.

After stylizing the selected motif and standardizing the typography, the currently used emblem was finalized. The most important visual element of the image is the logo, and the unique visual design language is built around it, which makes the institution easily identifiable. Additional tools of visual language are the shapes, colors, typography, and imagery that originate from the logo. Their unique design and the impact of their appearance are what makes the institution identifiable.

See more images on Behance.

White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

From the website of Canterbury Tech Summit:

The world is evolving at a rapid pace, and with it comes both uncertainty and opportunity. What better time for our Canterbury Tech community to come together – to collaborate, share insights, and explore how we can accelerate the growth of Aotearoa New Zealand’s tech sector. We warmly invite everyone involved in tech and anyone curious about where it’s heading, to join us for the 2025 Tech Summit.

The conference’s identity typeface is FH Lecturis, which is paired with Inter and the visitor’s default sans serif on the summit website.

Armin Hofmann designed this 127×90 cm poster for a 1961 exhibition at Gewerbemuseum Basel entitled Basel und die Stadtstrassen der Zukunft (“Basel and the urban roads of the future”).

This poster beautifully demonstrates Hofmann’s ability to create effective and powerful images with the simplest elements. Here, Hofmann restricts himself to one typeface and four triangular shapes in one shade of red, yet produces a poster that is at once functional, relevant, and visually striking. The alignment and sizing of the type leads the reader’s eye in a logical order and at a pleasant pace. The negative space around the shapes is dynamic, almost creating an illusion of movement. Despite its abstract nature, the negative space is evocative of the poster’s subject matter (urban roads). Through its contrasting point sizes, alignment, and its relationship to the four shapes, the typography creates a sense of perspective or depth – without ever resorting to overlapping elements. Rather than simply being smaller, text at smaller point sizes appears to be further away.

The powerful effect of the typography is demonstrated further by comparing the poster to the accompanying exhibition booklet that Hofmann also designed, see the website of the Museum für Gestaltung Zürich. The shapes and their placement in the frame are the same. The booklet’s title is positioned in a similar place as the poster’s headline. The composition thus remains satisfyingly dynamic (now with the flow of the negative space predominant). However, due to the small size of the cover (20.8×14.8 cm), there is no supplementary text and only one point size is used. Without contrasting typographic sizes, the poster’s incredible sense of depth is lost.

CorContainer.nl is a Dutch container rental company operating in a sector where visual identities are often purely functional. The branding was designed to stand out – primarily through typography and color – while remaining appropriate to the construction environment.

The identity is built around GT Flexa, a typeface that balances strength and clarity with a friendly, distinctive character. Headlines are set in GT Flexa Black in uppercase, forming bold, compact typographic statements that function almost as graphic elements. For body copy and supporting text, GT Flexa Regular provides legibility and warmth, offering a subtle counterbalance to the heavy display style.

A vibrant purple – rare within the industry – reinforces recognition and sets the brand apart from the typical blues and reds associated with construction.

Application shifts depending on context. On containers, office units, and site cabins, the branding is deliberately understated, functioning more like a garment label: present but never intrusive. In contrast, promotional materials – posters, cycling jerseys, coffee cups, and other brand touchpoints – allow the typography and color to take center stage, building visibility and recognition.

The result is an identity that is both bold and considerate – distinctive when needed, restrained where appropriate.

Bandit Grand Prix (@banditgrandprix) is a running event within a F1 style racing series, hosted by Bandit Running. The first event took place in Brooklyn in July 2025.

From Jake Heyen:

But this thing was nothing like a normal road race. They built a technical, multi-lap circuit that winds through Brooklyn. With sharp turns, indoor sections, and spectators lining the course – cheering like it’s an F1 Pit Lane. Racers kicked things off with 5k qualifying heats, battling for spots in a 3k super final under the lights. If you didn’t want to run solo, they had a team relay option also. Plus a $12,000 prize pool was up for grabs across individual and team scoring. But it gets even better. The event didn’t end at the finish line. There was a full on afterparty with a DJ, food trucks, and drinks. The entire event experience was really one-of-a-kind. Mixing fitness, fun, and community – just bringing a real unique energy to the running world. Well done Bandit.

Well done, Bandit – and a special shout-out for using Yapari as the main typeface across the entire event identity.

Smaller text on the website is specified in FK Grotesk.

The Master Studio Speculative Software at the Design Department of the Fachhochschule Potsdam is dedicated to the design and exploration of creative, experimental software user interfaces. It is part of a full-time two-year Master’s programme, taught in English.

The informational and promotional website combines Scope with Geologica.

Scope is used as a variable font. The main title and first-level headings make use of live font interpolation, with the vowels in each word changing their width on cursor movement. Sub-level headings and student names are also set in Scope.

Geologica is used for the body copy.

Born in Melbourne, MAAP builds performance cycling gear with a sharp eye for style, function and detail. Since 2014, the brand has fused fashion, graphic design and technical expertise to push the culture of riding forward—on and off the road.

The visual identity reflects this hybrid DNA. TWK Everett and TWK Everett Mono, designed by Nolan Paparelli and published by WELTKERN®, form the foundation of MAAP’s typographic system. These two utilitarian grotesks offer clarity, rhythm and modern restraint, whether used for bold headlines or technical specs. They are paired with Rhymes, a confident serif by Jakub Samek (Maxitype), which adds tonal contrast and editorial flair.

glug is a sensory throwback for the modern palate. A wine bar living inside an old arcade with classic cabinets, natural wine, and curated simplicity. Good things take time.

This Master’s degree project, realized at Elisava, goes beyond branding. It was created together with Shaina Suri. The digital motion was guided by Gerard Mallandrich.

Hauss and Raum, the new typefaces by Justin Sloane and Huw D. Williams, in use for display and text for Mitome, the world’s first comprehensive mitochondrial analysis testing kit. On their website, they use Neue Montreal.

Hauss and Raum are living up to their promise as a perfect display and text pairing. The futuristic health testing company, founded by Chris Masterjohn PhD, seeks to put mitochondrial health at the forefront of conversations around energy, cognitive function and aging. The forward-facing clarity of Hauss and the organic cellular forms of Raum fit the job perfectly.

Iterra Designs is a product design company focused on creating precision outdoor accessories for overlanding and off-grid travel. The brand describes its approach as driven by iterative improvement and engineering. Their catalog includes carbon-fiber mounts, sink and fridge-system components, heater kits, Starlink mounts, and other equipment built for durability and dependable performance in outdoor and vehicle-based setups. Under the motto “The Outdoors, Engineered,” Iterra Designs develops products intended for people traveling the road less traveled.

Their visual identity makes use of Scope in different styles. On their website, Scope is used for headlines and buttons, while Hiragino Kaku Gothic and Geist Sans are used for body copy.

Stickers Gallery is a directory of stickers from brands, artists, designers, and archival sources, designed and curated by Monika Michalczyk. The visual identity uses bold, label-style type and sticker-inspired elements across the interface to reinforce the project’s theme.

Pirelli World magazine is the modern, global evolution of the company’s house organ, Rivista Pirelli, which began in 1948. Launched in 1993 as a global concept, World tells stories of innovation, culture, business, technology, sport, and lifestyle, reflecting Pirelli’s heritage and global reach through photography, illustration, and design. It serves as a tool for in-house communication and a public platform for engaging communities across various platforms, from its renewed print version to its website and social media.

Lotmore’s logo is custom. It draws inspiration from the transformable nature inherent in the products. The negative space in each letter mirrors the way the furniture folds, while the form has been meticulously optimized for clarity and impact, performing seamlessly across both large and small sizes.

Lotmore is a furniture brand that aims to solve the problem of space utilization in small homes and apartments through highly engineered and functionally designed furniture solutions. Practical and form-changing, they are designed to solve real pain points, so that their customers can thrive in every moment and make space for life. We worked with them to coin the brand name, define a clear narrative that articulates its positioning, and create a distinctive identity and design system that truly embodies the idea of space-saving.

Typography is a foundational pillar in Lotmore’s visual language. Transducer was selected as the headline typeface for its mechanical construction and extended style, bringing dynamism to communication. To balance its boldness, we paired it with Acumin Wide, establishing a clear visual hierarchy and distinction.

Website detail

Website detail

Two Times Elliott designed the identity for Union Spaces, a UK-based workspace / office‑space provider that helps companies find, design, build, and manage office / workspace premises.

Haltung, released by Order Type Foundry, is used as the primary typographic voice for the brand. The logo appears to be based on Eurostile Bold Extended.

In 2020–2022, GQ Mexico embraced typographic restraint, allowing simplicity to take center stage. For each cover, dynamic photos were paired with mostly sans serif fonts, occasionally punctuated by a hand-lettered or outlined word or phrase.

For the coverlines, the magazine used Sequel Sans Extended by OGJ Type. The designers took full advantage of its wide stance, flat terminals, and range of styles. Each use feels cinematic, often stretching across images or enjoying interplay with a hand-lettered word or phrase.

Supporting this was Suisse Int’l from Swiss Typefaces. Its versatile, clear construction lends structure and balance to the authoritative presence of Sequel Sans Extended. Together, the two typefaces created a harmonious hierarchy: one expansive and deliberate, the other understated and precise.

Some of the covers pair Sequel Sans with Broadway Lights by Red Ink. Secondary fonts used include Breve News by DSType.

Ana Cecilia Aviléz served as Head of Design, with creative direction from Priscila Casañas.

The drone industry faces a user experience problem. While technical specifications continue improving, manufacturers have largely ignored fundamental usability issues that plague everyday operators. Antigravity, a new company incubated by Insta360 and third-party partners, has launched the A1 drone as a direct response to this gap. The project brings together engineers and aviation enthusiasts focused on intuitive flight control rather than raw performance metrics.

The A1 targets the space between traditional camera drones and FPV racing models. Standard camera drones limit users to static, single-perspective shots, while FPV drones require extensive training and carry safety risks for novice pilots. Antigravity's approach centers on delivering cinematic 360-degree footage through simplified controls, with built-in safeguards to prevent unsafe flight patterns and potential misuse scenarios.

Antigravity employs the Yapari typeface across all primary branding materials, reflecting their emphasis on modern, approachable design and bold impression as Yapari's creator describes the font—a characteristic that aligns with Antigravity's mission to challenge industry conventions and break away from traditional drone limitations. The company frames their product around accessibility with the philosophy: “What if drones felt like an extension of ourselves?” The A1 represents a user-centric approach in an industry traditionally focused on technical specifications over practical experience improvements.

Navmaro is a Romanian tubulature and steel manufacturer in the naval industry that builds for performance.

With projects on construction sites in Romania and Europe, they rely on professionalism, solid qualifications and a constant commitment for performance. Each stage of their evolution reflects the seriousness with which they treat each project. They offer complete piping solutions, from production to installation — precise, fast and adapted to technical requirements. They work with a wide range of materials: carbon steel, stainless steel, copper, CuNiFe and PVC.

What matters most to them is their commitment to quality.

The fluid lines in the visual language evoke depth and movement, symbolizing exploration and connectivity, while subtle geometric elements refer to strength, durability and industrial craftsmanship. The design strikes a balance between nature and engineering, creating a modern, versatile identity that conveys reliability and innovation.

The Loos typeface is useful for a naval company because its clean, modern, and highly legible design conveys precision and professionalism—qualities essential in maritime industries. The icon is derived from the Loos Wide Black typeface, as well as an abstract pipe layout. The supporting typefaces are Roboto and Roboto Mono.