Entrance to the company’s location in Civita Castellana, Italy. The accompanying handwriting font is PT Script Fog.

The.Artceram is an Italian manufacturer renowned for its bathroom furnishings. TheMix, designed by LucasFonts, is used in its logo. Introduced in 2014 as part of a major overhaul of the whole brand, the logo has become an integral part of the company’s identity.

The typeface blends in well with the vibrant yet elegant exhibition stands on which the products are displayed. The company successfully combines traditional craftsmanship with a modern, fresh aesthetic.

the.artceram exhibiting at Cersaie, the international exhibition of ceramic tiles and bathroom furnishings

2013 product catalog ft. Helvetica Condensed and ITC Avant Garde Gothic

Exhibition stand

Exhibition stand

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Show room at Cersaie

The logo displayed in front of the factory in Civita Castellana

The Dutch tile manufacturer Mosa uses TheSans, designed by LucasFonts, for its brand identity since 2011. The typeface is used consistently throughout all media, including printed materials such as catalogues, books and flyers, as well as signage, banners and letters on buildings and showrooms. It is also used for digital media such as websites and apps.

Outside of the factory building, Maastricht

Mosa stand at a trade fair

The Mosa website also features articles that use TheSerif.

Mosa Design Store

Carnival flag in front of the factory, Maastricht

Zucchetti presents its latest innovations in the shower space, a brand-new tap
collection titled Cabinets of Curiosities at Milan Design Week 2025. Text throughout the display is set in Romek.

Flogaus, the expert in beverage production and bottling, works with both small start-ups and major brand manufacturers. Branding agency arndtteunissen developed a distinctive branding that focuses on precision and creativity and emphasizes the uniqueness of the company as a specialist supplier.

The illustrative brand world reflects the bottling process in a modern and playful way. Drops, beverage crates and crown corks – symbols that represent the stages of bottling – are depicted in clear, minimalist forms. This graphic world combines lightness with precision and shows how ideas become high-quality products.

The color scheme combines shades of blue for professionalism with fresh, fruit-inspired pastel tones. This harmonious blend creates a modern, lively identity that is used in a variety of ways: on stationary, packaging, delivery vans, merchandise and a mobile trade fair stand.

The website picks up on the corporate design and uses the illustrations in animated form to visualize production processes. Images and videos, colored in the corporate colors in duplex style, underline the dynamic of the machines. The result is a clear, consistent visual language that combines professionalism and recognizability.

Flogaus combines precision and passion for beverages with a creative vision – with branding that is just as exceptional as the products. Cheers!

KIND has developed the brand identity for Aliva, a patented system that revolutionizes the treatment of severe dry mouth – a condition affecting millions of people worldwide. Dry mouth not only causes discomfort but also diminishes essential life experiences such as eating, speaking, and sleeping. As many as 22% of adults and 27% of people over 65 experience the effects of this condition.

A redesigned identity for the 25th anniversary of publisher Éditions de La Pastèque. The developed identity is playful and varied, to represent the diversity of the publisher’s offering, which includes children’s books as well as non-fiction for teenagers and comics for adults.

I had the pleasure of creating the visuals for AELAQ’s (Association of English-language Publishers of Quebec) presence at the Salon du Livre de Montréal (not shown here) and for their own event, the Read Quebec Book Fair 2024. Visual assets needed for both events were a branded kiosk, web banners for workshops and panels, ads, signage, posters, flyers and a sticker.

The design concept centers around books falling from the sky and piling up. The books are different sizes, colors and shapes to show variety and diversity. The key concepts here are are Elegance, Liveliness and Abundance. They are conveyed through the amalgamation of a variety of abstract shapes, the use of classic yet modern typography and a warm and inviting color palette.

ESCMID, the European Society of Clinical Microbiology and Infectious Diseases, is one of the largest medical societies in the world. As it continues to grow and gain influence worldwide it is rapidly turning into a global science brand. Scholtysik consolidated the extensive brand portfolio and changed the congress name to “ESCMID Global” which highlights its position as the world’s largest and most relevant congress in its field. At the same time, Scholtysik renewed the complete visual identity and brand communication.

Selecta by Maxitype was chosen as the brand typeface across all touchpoints. Scholtysik looked for a typeface that would generate impact in large applications at international events and at the same time could provide precise, factual communication of scientific content and medical guidelines. The typographic look and feel must do justice to the never-ending curiosity and methodical rigour of scientific research and ultimately convey the clarity and strength to fight infectious diseases worldwide.

A custom version of the type family for ESCMID includes a set of Greek characters for proper representation of biological and medical terminology.

Accelerated Money For U (AMU) is an NBFC specialising in EV financing and leasing. The aim of their branding refresh was to have the brand logo and identity reflect their work at the frontier of modernity. At the same time, as a long-standing organisation, they had to retain their essence for recall from past customers and clients.

Studio Ping Pong partnered with them and centred the brand on their three primary tenets. The logo was text logo was updated and a symbol was attached to the brand. The new brand symbol forms an A with three intersecting ovals representing sustainability, finance, and technology.

Similarly, the colours and type echo these tenets. Teal blue and white were chosen as the primary brand colours. These are used in most of AMU’s collaterals. Orange and green as secondary colours break the monotony where needed.

The brand identity is formed around intersecting discs and lines, to signify movement and as a call back to the logo symbol. Stroked discs, matching the logo stroke weight were used as containers, bases and dividers within the branding.

The brand relies on two typefaces: Komet for titles and headings and Arpona Sans for body copy. With the company dealing in vernacular as well, Anek (all scripts, Regular, Medium, Bold) was chosen for any vernacular language use. As an NBFC, the script could not have too much flair – these typefaces were thus chosen for their readability and straightforwardness

This was a corporate branding project where conveying dependability and legitimacy were of utmost importance. The branding aimed to balance elements of modernity (ovals, lines, secondary colours) with classics of the sector (primary colours, typeface) to create a brand that stood for innovation without compromising trust.

The identity and its principles were then translated to a website, developed by ThunderClap.

Source: www.instagram.com Anne Morgenstern. License: All Rights Reserved.

Fall 2023 preview

Founded in 1981, Edition Moderne is the oldest independent comic publisher in the German-speaking world and the only one in German-speaking Switzerland. In 2019, graphic designers Julia Marti and Claudio Barandun took over the baton, and introduced a new visual identity.

The logotype is set in Proto Grotesk. This “beast” (André Mora) by Production Type also serves as one of the two typefaces in the wider identity. It’s used for the website, the biannual previews in newspaper format (photos by Anne Morgenstern), and other materials. There it takes turns with Livory AS. The first serif designed by Aurèle Sack of LL Brown fame, it was released in 2023 with Lineto as LL Ivory.

For the design of Proto Grotesk, Jean-Baptiste Levée found inspiration in faces like Breite halbfette Grotesque. Shown by the Bauer & Co foundry in Germany in 1883, this raw sans has roots in early American Gothics. Sack, in turn, cites “19th century wood type and poster fonts of American origin” as the main influences for Ivory. No wonder the two typefaces go along so well. Both Ivory and Proto Grotesk exhibit a strong contrast and some eccentric details. They’re not stuck in nostalgia, though, and make for a mix that suits the contemporary, funny, and at times cheeky program of Edition Moderne quite well.

As of 2024, the publishing house is managed by Julia Marti and Marie-France Lombardo and maintains its focus on comics, graphic novels, and humor.

Source: www.editionmoderne.ch Edition Moderne. License: All Rights Reserved.

Homepage of editionmoderne.ch

Source: www.editionmoderne.ch Edition Moderne. License: All Rights Reserved.

Product page

Source: www.instagram.com Anne Morgenstern. License: All Rights Reserved.

Spring 2024 preview

Source: www.instagram.com Anne Morgenstern. License: All Rights Reserved.

Fall 2022 preview

Source: www.instagram.com Anne Morgenstern. License: All Rights Reserved.

Spring 2021 preview

Source: www.instagram.com Edition Moderne. License: All Rights Reserved.

Edition Moderne at Erlangen International Comic Salon, June 2023

Source: www.editionmoderne.ch License: All Rights Reserved.

Job posting

Source: www.instagram.com ETH-Bibliothek Bildarchiv. License: All Rights Reserved.

Social media posting celebrating the recognition as Publisher of the Year ’21

Source: www.instagram.com Edition Moderne. License: All Rights Reserved.

In 2019, the City of Zürich honored co-founder David Basler for special cultural achievements.

Expensify wordmark.

Expensify is a financial management app for managing expenses, sending invoices, reimbursing employees, and more. While that might sound like it could err on the side of boring, we assure you it absolutely isn't. After experimenting with a Super Bowl commercial in 2019 that got a little wild - featuring 2 Chainz and Adam Scott and a fully illustrated cast of characters by Augenblick Studios - this felt like a huge success, and they realized they might be playing it too safe with the rest of their brand. They wanted to step up their game and step away from the dull playing field that other financial software lives in.

The Collected Works teamed up with Expensify to give the brand a complete overhaul - no stone left unturned. From freshening up the wordmark and iconmark to expanding the color palette and animating everything they could get their hands on, everything was scrutinized with a fine-tooth comb. A huge piece of this was hiring foundries Newlyn and CoType to create custom typefaces: Expensify New Kansas (a custom version of New Kansas), Expensify Neue (a custom version of RM Neue) and Expensify Mono (based on RM Mono, not shown here). These are full families (New Kansas even has a Swash variant) and they’re put to use everywhere: from out-of-home ads and swag to the workhorse behind their app and website.

More examples in the full case study.

Render of Expensify credit card

Examples of Expensify app screens, utilizing Expensify New Kansas and Expensify Neue in product

Example of out-of-home advertising

Example of Expensify app's chat function, using Expensify Neue

Expensify New Kansas has a Swash variant, perfect for swanky headlines like this.

Expensify logo and assets in the physical world

Sample of Expensify New Kansas

Sample of Expensify Neue

Examples of custom typefaces pairing with illustrations or as quotes in layouts

Grid showing various Expensify assets, using a variety of typefaces

TT Commons Pro is the signature font of IBC SOLAR, a leading full-service provider of energy solutions and services in the field of photovoltaics and storage. The company offers complete systems and covers a wide range of services from planning to the turnkey handover of photovoltaic systems.

In 2015, BJI Fashion Group launched The Nest as part of their trade show AccessoriesTheShow held at the Javits Centre in New York City. The Nest was a section of the show used to showcase a curated selection of up-and-coming designers.

For the main logo and some other elements for the show the typeface Maeve by Bonez Designz was selected. With the typeface being created for fashion it was an ideal fit.

In 2020, we have entered a new post-digital-transformation era; an era where needs and usages are being reinvented non-stop. It became necessary for Gfi, an agile IT services company, to anchor this new reality and at the same time turn a new page.

Gfi becomes Inetum: a new name, a new visual identity, and a new approach to our digital world.

Yapari and Monorama is used by Quai Network, a set of EVM-compatible blockchains that achieve 50k+ tps without compromising decentralization.

Goliath CNC is a portable robotic tool that can cut and engrave a variety of materials, including wood, plastic, and metal. It was developed by a team of engineers and designers at Springa Srl, an Italian startup company, and was first introduced to the market in 2017.

Springa SRL choose Stencil Creek for the Goliath logo, using its alternate a – available in the first of Stencil Creek’s four stylistic sets.

The Goliath CNC machine uses a combination of sensors and software to navigate and operate on a workpiece. The sensors include a camera that captures images of the workpiece, as well as distance sensors that allow the machine to determine its position relative to the workpiece. The machine is also equipped with a router that can be fitted with a variety of bits for cutting and engraving different materials.

From Naïf:

Naïf Care was established in 2013 in the Netherlands by Jochem & Sjoerd. When they became first time dads, they found out that even skincare products for babies contain harmful ingredients. And so, Naïf was born: skincare for Babies & Kids with natural ingredients that the baby skin really needs. Not only are they good for the skin, they also don't harm the planet. Nothing more, nothing less. Soon after, adults also started using Naïf's products. By now there is an assortment for young and old. They believe everyone deserves good, easy skincare made with natural ingredients.

Naïf use F37 Foundry’s bestseller F37 Ginger across their brand, including packaging. F37 Ginger’s geometric shapes and unusual near-circular counters, make it an ideal choice for logos and packaging. Since 2023, Ginger is accompanied by a (custom?) round and bubbly typeface named WorryFree.

Gifyyy is an iPad photo booth system. The logo and its string of y’s recalls back-to-back snapshots and changing poses, while demonstrating Cortado’s alternating glyphs OpenType feature at work.

Cover of the Spring 2023 Preview

“Bombs in yellow jackets” – that’s how German newspaper DIE ZEIT described the books by März in 1972. In 1969, the then newly founded publishing house with its signal-yellow volumes instantly became the epitome of left-wing politics, avant-garde literature, and pop culture: März Verlag came to stand for “Pop, Porn, Politics”. The März publishing house was the journalistic bogey of the bourgeoisie during the old Federal Republic. In 2021, it was revived by Barbara Kalender and Richard Stoiber.

The old books used Berthold’s Block typeface with a compact umlaut Ä in the all-caps logo. In 2021, the new publisher Richard Stoiber approached astype fonts with the question of whether it would be possible to adapt the Wood Heinz font to replace Berthold Block. Since the re-founding, an adapted version of Wood Heinz from astype fonts has been used – the custom MaerzType. Reprints of backlist titles retain the yellow dust jackets with the old MÄRZ logo. However, titles and subtitles are set in the new MaerzType. The new editions are colorful and varied, and almost always use MaerzType. So do the preview brochures and other promotional material.

Für eine afrikanische Revolution by Frantz Fanon, translated by Einar Schlereth

Bis aufs Blut by Kathy Acker, translated by Johanna David

Power Bottom by Eva Tepest

Manifest der Gesellschaft zur Vernichtung der Männer S.C.U.M. by Valerie Solanas, translated by Nils-Thomas Lindquist

Physical by Andrew McMillan, translated by Mazlum Nergiz and Richard Stoiber

Die Küche der Armen by Huguette Couffignal, translated by Monika Junker-John and Helmut Junker.

Eine Geschichte des amerikanischen Volkes by Howard Zinn, translated by Sonja Bonin

A new edition of Siegfried, with other books – including older titles – in the back

Cover of the Spring 2022 Preview

März at the Frankfurt Book Fair 2022

März: Alles Gute (“all the best”)

GoodRx is a free pharmacy coupons app that helps millions of Americans save money on pills, prescription drugs & medical costs. They track prescription drug prices in the United States and provide free drug coupons for discounts on medications. GoodRx checks more than 75,000 pharmacies in the United States.

In a rebrand, Gretel used F37 Foundry’s fonts F37 Moon and F37 Bolton to create their new logo and typography, giving a versatile and contemporary look complimenting the brand’s pharmaceutical image. On their portfolio site, Gretel writes:

The goal of the identity was to reflect GoodRx’s position at the epicenter of better health. With a direct tone of voice and a simplified information hierarchy on the labels, the GoodRx brand humanizes the healthcare process to make the experience straightforward and painless.

The slab serif used for the small text here is Colophon’s Goodall.