Karolina Stelmach is a real estate agent who knows how important a professional offline and online presence is. We’ve created a personal branding that communicates her personalized approach to clients, as well as reflects her nature and passions. The visual language oscillates between greens and a burgundy palette, and the offer is shown through artistic filters making it look like paintings. Choosing a property is like art, isn't it? We’ve also created a range of printed materials: from an unusual presentation deck, to business cards and stationery. We are delighted that Karolina will stand out in the vast pool of online creators.

Pump Bold is a typeface I would normally never consider using. I created this logo in the early 1970s when I was first becoming a self-taught designer. It was done with Letraset rub-down lettering. I liked that the d’s and the p’s were the same letterform, and that the lines could interlock up and down in an interesting way.

In 1971, Cuban percussionist Mongo Santamaría played the Montreux Jazz Festival in Montreux, Switzerland. Atlantic Records brought out an album with a live recording of the concert. Haig Adishian used Bifur for the cover, alongside all-caps Kabel and a photo by Tom Hanley.

[More info on Discogs]

Campaign graphics for Oatly’s Bar Ista campaign, with art direction and design by Codea Studio.

The visuals channel DIY rave–flyer energy: high-contrast neons, stacked type and chaotic layering. The logo lettering uses Offset TM by Type Mania alongside Sloop Script by Richard Lipton and ITC Garamond. The result sits somewhere between corner-shop signage, underground club poster and contemporary FMCG branding.

Letterpress poster in 70×100cm printed from traditional wood type (Dalmazia Serie C by Xilografia Italiana) in 50 Cicero (225 mm). Since I only have the set in uppercase, it is a bit hard to identify. Oh boy, how I would love these lower case sorts! But since I bought it from Italy, it makes sense that is by Xilografia Italiana.

The smaller written info cast from hot-metal is Ludlow Condensed Gothic. And all over and between are many historic and a few new photo plates. 

Made for Salomon Départ, Annecy. In celebration of “Post Park Skiing”, these kids really ski everything. ♥

The exhibition Have You Checked the Children by Diego Marcon was presented at the Kunsthalle Basel from the 27th of October 2023 to the 21st of January, 2024.

The Kunsthalle Basel was founded in 1872 and is Switzerland’s oldest art museum. It is one of Europe’s leading institutions for contemporary art and is committed to bringing emerging artists to the attention of the public.

The exhibition text presented here is based on the exhibition poster by Sina Gerschwiler, a graphic designer based in Basel. While the exhibition texts were put together by the museum’s own communications team, they were designed using the same fonts as the exhibition poster. The fonts used for both the poster and the exhibition text are AC Modern Gothic and Big Caslon Italic. However, it is important to note that significant modifications were made to the title lettering, altering the typeface’s overall appearance. The text typeface is Practice.

Designed by Matthew Carter, Big Caslon is a high-contrast serif typeface for display applications, published by Carter & Cone. It is a digital reinterpretation of the “eccentric” display typefaces made by the original 18th-century Caslon foundry for large-scale applications, offering new uses for the typeface. These display typefaces have a distinctive design with striking stroke contrast, complementing but contrasting with the original Caslon text typefaces.

AC Modern Gothic is a sans serif belonging to the American Gothic style. It is considered a digital revival of the historical typeface Modern Gothic, a design made by the Chicago foundry Barnhart Brothers & Spindler around 1895. The digital version was created by the foundry AllCaps. The design was modernised, with optical corrections to avoid the classically heavy caps look, while maintaining the wide-set frame inherited from the Gothic style to preserve its character.

Practice is a serif typeface “anchored in the research of typographic paradigms” and “introduces a new perspective with an unprecedented sharpness”. It was designed by François Rappo and released with Optimo in 2016.

Solæ in use for The Garden, an art exhibition in New York curated by Jeanette Spicer and inspired by “Le Jardin” (1978, translated as “The Garden”) by Monique Wittig, a major figure in feminist and lesbian theory. Drawing on her vision of radical spaces for lesbian existence, the project offers a contemporary interpretation of that utopian framework.

Bringing together darkroom prints, collage, scanned flowers, a card deck, portraits, and video, the exhibition at the Bureau of General Services—Queer Division (BGSQD) emerges at a time of renewed threats to LGBTQ+ lives. Featuring works by Rhiannon Adam, Deborah Bright, Sara Duell, Naima Green, Lindsey Perryman, Sunny Leerasanthanah, and Tray Tsui, The Garden centers lesbian vision, presence, creativity, and connection.

The italic is from Eugénie Bidaut’s Adelphe Germinal. Additional fonts used by designer Sara Duell are Kadabra by Dai Foldes and Victoria Rushton as well as BBB Baskervvol by Bye Bye Binary.

Bootzy TM and AF Leiter are put to good use in the New York Times Magazine’s “Extreme Voyages” issue from March 2025.

From record collector oopswhoops:

Killer funky single, produced by Barry White and arranged by Barry White and Gene Page.
1974 French pressing on Warner Bros. label.

The typographic sleeve design relies on the shadow-only Umbra, supported by all-caps Univers 63.

[More info on Discogs]

Front cover

Greatest Hits: My Prerogative is a best-of compilation album by American singer Britney Spears, released on November 3, 2004, by Jive Records. The album art is credited to Jackie Murphy (art direction), Courtney Walter (art direction & design), and Matthew Rolston (cover photography).

The artist’s name, album title and track names use FF Confidential. Other text uses Futura.

[More info on Discogs]

Back cover

The collaborative 7″ split single between Fetus and Les Testarudes comes with a bold visual identity designed by Pau Llop. The artwork captures the raw energy and political edge of the bands’ sound.

At the core of the design is GS Triomf (by GS-Type). Its sharp serifs and rhythm inject a sense of urgency and directness, echoing the aesthetics of protest posters and grassroots publishing. Used for the main titles, Triomf anchors the artwork with a voice that feels both historic and uncompromisingly contemporary.

Complementing it is Plast, a sans serif developed by 131 (Pau Llop & Esteve Padilla). Its rough, industrial character balances the elegance of Triomf, creating a visual tension that reflects the music’s mix of tradition, critique, and rebellion.

Together, the two typefaces embody the spirit of the project: rooted in collective identity, and designed to amplify voices that demand to be heard.

The record was jointly released by Buenritmo and Bankrobber. From the latter (translated):

The vinyl includes “La gran xefla” by Fetus as performed by Les Testarudes and “Terra de secà” by Les Testarudes as performed by Fetus, as well as a version of the classic “Au, jovent!”, where Les Testarudes already added their voices to the original Fetus recording.

Farmyard elevates frozen food to level with gourmet restaurant dishes and the Brighton-based UnitedUs brand agency took on the challenge to deliver their image with a punch.

An americana-inspired custom “Farmyard” wordmark is seen in the brand’s loud pink and medium yellow colours. A choice of palette displaying the balance of soft and strong, which take presence throughout various ingredients of this brand identity including its typographical elements.

While Roslindale and Rough Marker are both used in header texts independently, more visual interest is brought out when both are used together resulting in a striking visual contrast of quick strokes and elegant lettershapes. In an interview with The Brand Identity, Luke Taylor, Co-founder and Creative Director of UnitedUs, explains:

The typography is a visual representation of that, with Roslindale providing the refinement juxtaposed with Rough Marker representing the electric attitude and handcrafted energy that Andrew and his team provide.

Combination of these type styles take position in several forms: A line of Roslindale text is overlapped with a line of Rough Marker. Two words are set in juxtaposed fonts sitting beside one another. And elsewhere, Rough Marker letters are singled out and dancing in an environment of Roslindale text using some good kerning game.

These playful typographical header treatments bring together the world of refined restaurants and quick frozen meals onto a single plane.

An amalgamation of visual push-and-pulls is grounded with body texts set in Neue Montreal and web menus in Instrument Sans. As a cherry on top, the Farmyard wordmark is cleverly woven into the background of crisp photographies to tie the branding identity design together.

The titles in the issue of Financial Times Weekend Magazine from July 1/2, 2023, are set in Sud.

The cover story is about two North Korean defectors. After she fled to South Korea, Kim Joo Kyung couldn’t stop thinking about her first love. She decided to try to find him. The magazine cover shows the word love in large type against a peach pink background.

This is the portfolio website of Filip Felbar, a Croatian designer based in Copenhagen. Filip is a digital designer and art director helping brands and businesses communicate with their audiences in a meaningful way.

The website uses Right Grotesk and Editorial New by Pangram Pangram alongside Azeret Mono by Displaay.

Source: node.international Studio Bowie. License: All Rights Reserved.

Exhibition at HKW

Ceremony (Burial of an Undead World) was an exhibition shown in late 2022 at Haus der Kulturen der Welt (HKW) in Berlin.

Source: www.karlnawrot.com Karl Nawrot. License: All Rights Reserved.

Overview of the four styles of Lÿon: Ulys, Stan, Walt, and Jean

The typography uses the custom version of Lÿno that was designed in 2016 by Karl Nawrot together with Radim Peško for NODE Berlin Oslo’s visual identity for HKW. While HKW predominantly used Lÿno’s Stan style, the exhibition title also features details from another style of the Lÿno family: in “Ceremony” we recognize the curly Walt style with the C and the second E which forms a custom interlinear ligature with the letter Y in the line below.

The exhibition was accompanied by a publication edited by Anselm Franke, Elisa Giuliano, Claire Tancons, Denise Ryner, Zairong Xiang and Haus der Kulturen der Welt. It presents articles by curators, teachers, and artists, with theories on the links between modernity myths on the principle of rationality and secularism of the Middle Ages.

The book cover illustrates well the duality of reading the modernity that is present in the book with a modern and contemporary typography and an illustration in the style of mediaeval engraving. The M which the extended descender that reaches to the illustration marks this link between myth and modernity

See more images and read more about the book on the website of publisher Spector Books.

Source: www.xiangzairong.com License: All Rights Reserved.

Exhibition poster

Source: node.international NODE Berlin Oslo. License: All Rights Reserved.

Exhibition flyer

Source: peinture-fraiche.be License: All Rights Reserved.

Book cover

Source: peinture-fraiche.be License: All Rights Reserved.

Book cover and spine

Poster for an event with Xwife, Kosmodod and Draugabani at Húrra, Reykjavík, with live visuals by Studio23.

Kids, don’t try this at home: pairing two very similar typefaces can be tricky, all the more so when they belong to a peculiar genre. I wouldn’t bother to try and make two multiline faces work together on the same page, but the one and only Nolan Pelletier can pull it off.

For the cover of Divine Intervention, he used Neo Prisma for the band name, and Prisma for the title. The former is an early-1970s face designed by Nicola Russo and issued by Mecanorma. The latter is Rudolf Koch’s display companion to his Kabel, first cast by Klingspor in 1930. Drawn with multiple parallel lines, Prisma was a pretty novel concept at the time. While the original Prisma has strokes with four lines in the smaller sizes (20, 24, 28 pt) and fives lines in larger ones (36, 48, 60 pt), this version has three. Is this a homemade “Prisma Text”? Or did Nolan use Prismaset Three from Lineto’s massive revival and expansion, and beef up its strokes? Anyway, together with his signature style illustration featuring concentric circles and stars, everything falls into place.

Client Liaison is an Australian indie pop/electronica duo. Divine Intervention is their second studio album, released in October 2021.

[More info on Discogs]

Cook This Book is the first cookbook by Molly Baz, food editor and recipe developer. Art direction and editorial design by Violaine & Jérémy. Cover and recipes photographs by Peden & Munk.

The Cook This Book logotype is a custom typeface. The book layout uses Dida, Voyage, and Kobe. Body text is set in GT Haptik and Fugue Mono.

A modern guide to becoming a smarter, faster, more creative cook featuring fun, flavorful recipes anyone can make.

Molly breaks the essentials of cooking down to clear and uncomplicated recipes that deliver big flavor with little effort and a side of education, including dishes like Pastrami Roast Chicken with Schmaltzy Onions and Dill, Chorizo and Chickpea Carbonara, and of course, her signature Cae Sal. But this is not your average cookbook. More than a collection of recipes, Cook This Book teaches you the invaluable superpower of improvisation though visually compelling lessons on such topics as the importance of salt and how to balance flavor, giving you all the tools necessary to make food taste great every time.

Beirut Re-Store is a humanitarian initiative, founded by creatives, aiming at helping restore Beirut after the tragic explosion of August 2020. It is an online marketplace that offers a selection of artworks donated by artists and designers of all kinds: proceeds will go to the Beirut Emergency Fund 2020, which will distribute the money to well-vetted NGOs.

Bureau Antoine Roux, in collaboration with Laura Tabet and assisted by Marwan Kaabour, used Proto Grotesk incl. Proto Grotesk Mono from Production Type for the charity’s identity. The principle of alternating black and white blocks catches the eye and evokes the idea of re-construction through the stacked arrangement of the text. The initiative is very much active on Instagram (@beirutrestore), where we can see a special focus on the artists who donated their works. The identity works well in this media: the association between the artists’ names and their donations is immediately visible, and the black and white blocks provide structure to the diverse range of artworks. The website is clear and dynamic at the same time. The pages are framesd by horizontal scrolling lines of text set in Proto Grotesk Mono, the text repeating itself, in a feeling of emergency: these thin contrasted lines also call to mind security strips enclosing dangerous sites. The monospaced Proto Grotesk is there used for its great legibility and its technical aspect, adding a visual metaphor and at the same time transferring information in the most comprehensible way possible.

Instagram account.

Website.

Advert published in Vanity Fair.

After the redesign of the Bio Austria association communication – including business cards, advertisements, packaging materials, member information etc. – this is the first sales brochure targeted at customers.

Nicolien van der Keur’s Sirba is used for text. It’s paired with another typeface by TypeTogether, Wolfgang Homola’s sans serif Soleil, for headings and boxed text. The informal marker script is Arsilon by Mauli Zari.