Written by Edward Gibbon in 1776–1789, The Decline and Fall of the Roman Empire has been published in many editions. This Washington Square Press boxed set from 1962 is very America in the early ’60s: the colors, the informal illustration, and the type – a casual hand-drawn boxy sans with a subtle swelling at the ends, Microflair.

Compare to the 1970s Modern Library edition which also represents its time quite well.

Kolemhlíny is an interdisciplinary creative platform focused on the use of clay materials in architecture with an emphasis on sustainability and regenerative design.

Designing the identity for kolemhlíny required capturing the tactile essence of clay while ensuring clarity across digital and print applications. Our challenge was to translate the granular, layered quality of rammed earth into a coherent visual system. It needed to feel raw yet intentional—expressing materiality, craft, and the interdisciplinary, experimental nature of the platform without appearing chaotic or overly decorative.

The final logotype is set to evoke the density and texture of clay particles. Its modular, grain-like rhythm mirrors the layered process of rammed earth construction, creating a strong link to the project’s material focus. A bold orange palette and dynamic composition amplify this connection, while a supporting typographic system ensures versatility, giving kolemhlíny a distinctive identity rooted in craft and contemporary design.

Paranoid is the second studio album by Black Sabbath. It was released on 18 September 1970, just seven months after their self-titled debut, and contains several of the band’s best-known songs, including “War Pigs”, “Iron Man”, and – a last-minute addition – the titular “Paranoid”.

As with the first album, the design and photography again was the work of Keith Macmillan a.k.a. Keef. Assuming the album’s title will be War Pigs, he dressed his assistant and model Roger Brown with a sword, a shield, and a pig mask (though the shots eventually used didn’t feature the mask).

From Kory Grow’s 2020 interview with Macmillan:

The “Paranoid” single came out in July and quickly became a hit, and Warner Bros., the band’s U.S. label, decided it was a better album title than War Pigs and requested that the band change it. Ozzy Osbourne remembers seeing sleeves printed up that said War Pigs on the front with the image of Brown, and was horrified when the title was changed to Paranoid.

“You look at the photo and go, ‘What’s fucking paranoid about that?’ ” Osbourne has said. “It’s two guys with shields and swords and pink leotards.”

Sandy Field, a fellow student of Keef’s at the Royal College of Art, took care of the typography. He used Black Casual, a phototype adaptation of Lettre Coupé. This alphabet of crude cut-out capitals was originally created by Swiss designer Walter Haettenschweiler and reproduced in the second volume of the Lettera alphabet source books from 1961.

See the Blog post.

[More info on Discogs]

Detail

Gatefold from a 1970 German pressing. Track names and credits are set in Times New Roman, just like in the original. The run-times – which are absent in the UK release – were added in a Garamond, alongside the small print in Univers and Helvetica.

Back cover

The Lonesome Valley Singers were a Canadian country and western band from Victoria, British Columbia. In 1965, Diplomat Records released an album with a Vietnam War theme.

The cover typography brings together three typefaces from the Filmotype library, including two originals, all used in all caps. Vermont is an open and shaded variant of Wagner. The top halves of the letters in “WAR SONGS” were manually filled in red, creating an effect that resembles chromatic wood type. Windsor is a bold condensed gothic with tiny serifs. The song names are set in Futura Display, which was carried by Filmotype as “FD”.

[More info on Discogs]

BC Vafle and Graphik are the brand typefaces for a project about keeping a safe distance – but not from each other as one would guess from the artwork year: 2020. This project is about bicycling, not about COVID. On their portfolio website, design studio Studio Najbrt quote the project initiators:

“Let's respect each other. We want motorists to overtake cyclists 1.5 meters away,” says project initiator Roman Kreuziger, a multiple participant in the Tour de France. He is joined by Slovak cycling star Peter Sagan, motorcyclist Filip Salač, Olympians Petr Vakoč and Jaroslav Kulhavý, The Autoclub of the Czech Republic and the Czech traffic police. That 1.5 m as the appropriate safe distance is a conclusion of a number of scientific studies and as such it is enshrined in law in many European states. In Central Europe, it is currently a symbol of a more universal campaign for greater consideration on the road: “The risk of an accident affects everyone, whether you are training for the Tour or going to buy groceries to your local deli. Also, most cyclists are also motorists and vice versa,” Kreuziger explained. We are happy to join the initiative with a campaign graphics, which quite commonsensically use a warning color and an appearance of a ruler.

Design by Marek Pistora at Studio Najbrt for Kreuziger Projects s.r.o., with art direction from Aleš Najbrt. Web design by Michael Dolejš, animation by Zdeněk Trinkewitz.

Founded in January 2023, the Australian environmental company Powerhouse Renewables Group works closely with the continent’s indigenous people. Rather than focusing solely on decarbonization and electrification, Powerhouse strives for “true sustainability” based on nurturing and revitalizing natural systems.

“Because Aboriginal people have a keen awareness of these systems, their perspectives, cultural knowledge, and collaboration are critical to designing successful projects” emphasizes Powerhouse’s founder Brigette McDowell in her Capability Statement. This guiding principle forms the basis for all decisions made by the consulting firm in its projects and initiatives.

Creative agency Side By Side Studio from Melbourne is responsible for the visual identity of Powerhouse. The logo is set in Marguerite Grotesk, which was designed in 2017 by the Berlin artist and type designer Charlotte Rohde. The distinctive trunk of the R gives the otherwise neutral logotype a strong personality, even a certain exclusivity, because in the latest version of Marguerite Grotesk this shape of the letter is only available as a stylistic alternative hidden in the character set.

The house font is Pangea, an obvious choice because its designer, Christoph Koeberlin, invests 25 percent of his royalties for this font in reforestation projects. Jack O’Sullivan, the founder and art director of Side By Side, describes his design strategy as follows: “Ethical and thoughtful design decisions are important in all projects, and we felt this particularly when working with Powerhouse because the company is committed to environmental solutions and social problems in Australia. Pangea is a beautiful font with clarity and character, but its added environmental benefits made the choice an easy one for the studio and the client.”

Draft for the Powerhouse Sustainability Report Q3/2023, designed by Side By Side Studio using the Pangea font family.

The typography of Powerhouse Instagram posts designed by Side By Side Studio using Pangea

Sense Constructions hardhat

Sense Constructions’ brand identity captures their trailblazing confidence and expertise. Drawing inspiration from worksite stencils, the logo combines utilitarian cues with modern boldness. Employing a graphic, copy-driven approach, it audaciously communicates simple values and adapts seamlessly to diverse scenarios. Contemporary typography with subtle construction-inspired elements adds precision, while the deliberately limited color palette amplifies the visual impact, crafting an elevated and distinctive brand identity.

Sense Constructions vinyl wrap

Sense Constructions T-Shirt

Sense Constructions poster

Sense Constructions website

Sense Constructions website

TT Firs Neue is the brand typeface of neo architektur, an architectural firm in Widnau, Switzerland.

Maren Schwitalla was approached to rebrand the company after more than seven years of existence. The occasion was the move to a specially designed and built office and commercial building. Thanks to the facade consisting of recycled car tires, this building is not only unique in Switzerland, but of course also a clear statement in terms of sustainability. The goal of the rebranding was therefore to do justice to this professional, modern and innovative attitude. The result is a visual appearance based on a minimalist design system.

Algeco designs and constructs modular buildings for temporary and permanent use. This new visual identity symbolizes the projection of Algeco into a new era, that of its commitment and its contribution to a better and sustainable world where modular and circular construction creates value for territories, whether urban or rural. It thus embodies Algeco's capacity for innovation and its ability to build a modular, sustainable and inclusive future around three key issues: economic progress, societal progress, and environmental progress.

Inspired by the geometric and minimalist aesthetic of Bauhaus, Algeco’s (custom) logo is made up of typographic blocks where the design of each letter comes from a construction grid that refers to the advantages of modular construction. It has only slightly evolved as it remains iconic and timeless.

Algeco reinstalls Fedra Mono at the heart of its visual identity. This monospace typeface was chosen because of the identical widths of the letters and spacing, thus reinforcing the technical notion and geometry of modular constructions.

Streem, previously called Ermewa Group, is one of the leading global players of the freight railcar and tank containers leasing industries. In 2023, the group is taking a strategic shift in its brand: a new name, logo and brand narrative. Streem reflects a global vision to reaffirm our market leadership and put our values at the heart of our discourse. This new name looks towards the future, where innovation rhymes with leadership and reliability with sustainability.

This identity is built around a strong symbol, reminding the rail flows and converging networks. It embodies the group’s expertise, its dynamism and unity around a common vision.

Local Office Landscape & Urban Design , LLC, is a research-based design firm building innovative, resilient, and environmentally just landscapes. It was founded in 2006 by Harvard Graduate School of Design classmates Jennifer Bolstad and Walter Meyer. Operating between infrastructure, urbanism, and ecology, the firm has garnered accolades from across the disciplines of architecture, landscape architecture, public policy, science and art. The firms’ partners were both raised on farms – Walter on a tree farm in tropical South Florida and Jennifer on an organic cattle farm in temperate Wisconsin. Their lifelong interest in natural systems and plant communities fosters an intuitive sense of how to intervene sustainably in the living landscape.

During the design, F37 Foundry's F37 Lineca was used for the branding of the company. In the words of designer Bo Floejborg from 87 Studio:

Initially, I recommended using F37 Lineca as the typeface for the new visual identity for Local because it had a nice balance of technical angles and organic shapes, making it unique and playful.

After presenting the typeface to the client, they fell in love with the typeface because of its horizontality. Local work with landscape architecture, which differentiates itself from “regular” architecture by primarily building on a horizontal plane instead of a vertical plane. Therefore the client thought it was a perfect fit that F37 Lineca has many horizontal properties designed into the body of the typeface.

Leslie Cabarga’s BadTyp, a purposefully clunky typeface with numerous alternates for the lowercase, makes an appearance on this NFL advertisement in Nickelodeon Magazine #56 from November 1999.

Kenny Stabler, notable for his 10-year career with the NFL’s Oakland Raiders, is featured here with his Houston Oilers team helmet – placing the date of this ad in 1980 or 1981 – when Stabler was with the Houston team.

Starting in 1979 (and continuing throughout the 1980s) the Motorcycle Industry Council launched their “Ride Aware. Show You Care.” public relations campaign [source]. Print media ads featured celebrities, sports figures, and motorcycle enthusiasts of the day, including Charles Bronson, Caitlyn Jenner, Lorenzo Lamas, Kent Howerton, Bobby and Al Unser, and American NFL quarterback Kenny Stabler.

Some of those ads, like this example from 1980/81, shouted “WHO CARES?” in large print across the top third of the page followed by a quote from the featured spokesperson warning the reader about the dangers of riding a motorcycle without protective gear. To quote Kenny Stabler from the ad:

I’d be laughed out of the stadium. Or carried out. Yet I see a lot of cyclists riding without even a helmet.

“Who Cares?” and “Ride Aware. Show You Care.” feature Futura Extra Bold Condensed Oblique. The body copy is set in Century Oldstyle Regular and Italic. The wordmark of the Motorcycle Industry Council uses Microgramma Bold Extended.

LTypI alert! Rustikalis for Rusticus: The Passion, Adventure, Intrigue, and Drama of Rome in the Second Century, written by Lonnie C. Mings and published as paperback by Moody Press in 1978. The title typeface is Rustikalis Black in all caps. It’s supported by Univers 75.

Design studio Manual has just completed a total identity refresh for Schwinn, an American heritage cycling brand with a lifespan and legacy similar to Raleigh. To reinvent an ‘American icon’, Manual sidestepped the approach of leaning heavily on the brand’s history to reflect the brand’s current output, spanning e-bikes to helmet technology innovations.

In a unique approach for a cycling identity, Manual introduced illustration as an addition that could adapt over time, initially launching with work from Christopher DeLorenzo and Xoana Herrera. Swapping out the ‘over-used’ and ‘somewhat generic’ Gotham, Manual introduced Bobby, by F37 Foundry, and Ginto, from Dinamo, for typefaces. Finally, a vibrant palette was built around Schwinn adverts from the 1950s–1970s, to subvert the ‘cold’ feel of many cycling brands, says Tom.

Langara Construction is a building practice specializing in design-driven and architecture-led residential construction projects. Located in the Greater Toronto Area, Langara Construction works alongside teams of award-winning architects, interior designers, landscape architects, and property developers to realize innovative structures that aim to propel the future of city building. With a distinct drive to produce buildings of enduring quality, Langara Construction meticulously oversees each project from conception to completion.

Vanderbrand developed a new visual identity that would establish Langara Construction as a leading authority in residential and multi-residential construction. Led by a striking graphic symbol, the resulting brand is designed around a contemporary framework that reflects the internal structures and processes of building. Grounded by the weight of the logo mark and supported by captivating photography, Langara Construction’s new visual presence allows for compositional flexibility across a wide range of brand applications.

Drawn with reference to geometry and architecture, the logo mark utilizes overlapping primary shapes to construct an abstracted graphic monogram that captures both the angular edges and round curves of Langara Construction’s initials. The resulting symbol is an iconic emblem that feels organic yet constructed. The monolithic form is balanced by a light-weight sans-serif wordmark set in Beausite Classic; pulling apart from each other to anchor the visual space within each composition they occupy. The secondary type is Surt.

Regulation Roller Derby uniforms must have clearly visible numbers – at least six inches high. Numbers can count up to four digits, and may have to fit on uniforms as small as size 3XS.

Roller derby / park skating brand Frogmouth, Inc solves this problem with Heroic Condensed. The same typeface is also use for its logo, combining functional design with brand identity.

Myths of the Norsemen: Retold from the Old Norse Poems and Tales by Roger Lancelyn Green (1918–1987) was first published in 1960. This is the cover of Puffin’s paperback edition from 1976, with illustrations by Brian Wildsmith. The typeface chosen for the title is Libra: this modern uncial designed by S.H. de Roos in the 1930s strikes a good balance between the forms of Insular script as it was used in the British Isles during the Viking Age (see e.g. the Book of Durrow and the Book of Kells), and what’s easily legible to young readers today.

Although it has the same title as Gene Chandler’s debut album from 1962, this Duke of Earl issued by Upfront Records in 1968 is actually a compilation with a different track list, “selected from Vee-Jay Archives on the basis of their nostalgic quality”. Columbus is here used with its alternate swash caps. The song names are set in Cloister Bold, with the initial swash D taken from the Bold Italic.

[More info on Discogs]

The Future Circular Collider (FCC) is a project by the European Organization for Nuclear Research. Better known under the acronym CERN, this institution is particularly famous for discovering the Higgs boson and of course for the creation of the World Wide Web. The FCC is an ambitious project: the circular particle accelerator with a circumference of 100 kilometers will help going further into the knowledge of how particles work, of how dark matter behaves, and generally, to get a better understanding of our world. The goal of creating an identity for it was to make the implications of such a structure understandable to all, and to sensitize different players who could contribute to the realization of the project.

The identity is based on a simple pattern that is the circle. However, the animated logo designed by the team of Bleed is not so casual. In fact, the circle is only what we see from one point of view, the animation displaying occurrences where different gestures meet in the same shape. This way, the design shows progressively the complexity hidden behind a single object. This animated logotype is paired with Dr from Production Type, designed by Bureau Brut. The odd aspects of some parts of the letters which look like prosthetic parts added to the body remind us of the many tools needed for physicians to operate their work. At the same time, Dr is legible and keeps a corporate look that communicates the scientific importance of the FCC.