Designed by curler Benoît Schwarz-van Berkel for the Swiss national team at the 2026 Winter Olympics, these uniforms merge athletic function with traditional Swiss heritage.

The visual identity relies on BS Staahl, a geometric sans serif initially designed by Arthur Schwarz and Enen Studio for signage systems. On the jerseys, the typeface is applied to the athletes’ surnames and the country identifier “SUISSE,” providing high-contrast clarity against a complex background.

The graphic pattern features motifs from the traditional Edelweisshemd, a historical rural uniform, alongside iconic Alpine imagery such as the Jungfrau mountain range.

Analog photography and wedding assets designed for a romantic celebration in the Italian Dolomites, featuring typefaces from Bolzano-based CAST (Cooperativa Anonima Servizi Tipografici). The design employs the complete Arkit family alongside the distinctive Xanti Typewriter series—including Arkit Bomb and Arkit Regular for bold statements, complemented by Xanti Typewriter in Thin, Book, Book Italic, and ExtraBold weights. The typographic choices reflect both the industrial heritage of South Tyrol and the timeless romance of an Alpine wedding.

“Popalp” is a piece of 1970s Swiss pop oddity produced by Michel Neuville and performed by Hermann Studer and his ensemble of alphorn players. The cover for the French release on the Seabird label depicts the Alps, but avoids the stereotypical choice of Helvetica and instead features Marianna. The balloon-like face by Samoan New Zealand designer Joseph Churchward was available in France from Hollenstein Phototypo.

[More info on Discogs]

Despite the Italian sounding name, Vienna-based Café Azzurro is by no means a country cuisine, but rather a successful combination of high-quality products (such as Demeter vegetables from the Dorothea training center, fish from Radeberg or Lake Millstatt, game from the restaurant's own hunt) and lovingly prepared delicious dishes that put you in a state of absolute well-being.

Wine plays the leading role. Restaurant manager and qualified sommelier Mara Feißt presents a careful selection of 150 different wines from small, sustainable wineries. The aim is to make drinking as accessible as possible, appealing to both lovers of classic wines and friends of alternative wines. Jonathan Koller mixes drinks that will be remembered.
Thanks to the Grieskirchner private brewery, there is also plenty of beer flowing, and kombucha and water kefir are fermented here.

At lunchtime, there are delicious but simple lunch dishes (think homemade pasta) and in the evening Café Azzurro surprises the guests with a carefully curated selection of dishes.

“The most important thing about this project is the people: That includes our wonderful guests, as well as every other person involved in this new place of culinary comfort.”

Nora Eros is Café Azzurro’s graphic designer, in close collaboration with Stephan and Mara she created the branding. The main inspiration have been laissez-faire gastronomic concepts in south of France and south-eurpoean countries.

Logo and Klanghaus

From Studio Marcus Kraft:

For over 20 years, Klangwelt Toggenburg has been offering unique experiences on the subjects of sound, resonance, tradition, voice and much more. Embedded in the foothills of the Alps in Eastern Switzerland, characterized by an original singing and music culture. Just in time for the inauguration of the new Klanghaus (sound house) in May 2025, the institution is now getting a contemporary visual identity that reflects this special connection.

Studio Marcus Kraft accompanied the rebranding process for three years and developed a visual identity that conveys the complexity of the Klangwelt Toggenburg. The centerpiece is a tailor-made dynamic corporate typeface that can be modularly expanded using recurring letter elements – creating a typographic resonance inspired by overtones, sound frequencies and the mountains and valleys of the alpine landscape.

I had the privilege of helping to develop this font, a customization of Forma DJR called Klangwelt that is used across the entire identity. The basic family employs Forma’s double-story a and curled j as default characters, as well as introducing arrows for signage and a handful of other tweaks.

But the real fun was in working with Marcus to create the special Resonance style, which involved writing a Python script to automatically slice up the letterforms, create component glyphs for the parts, and duplicate them above and below the base letters.

The resulting font contains over 1,600 alternate glyphs that provide options for resonance position (duplicated above, below, or above and below) and resonance amplitude (duplicated one, two, three, or four times).

With so many glyphs, we worked to create a series of contextual rules that would automatically create a pleasing undulation of resonance peaks and valleys as words are typed. These rules take into account the presence of ascenders, descenders, and diacritics to ensure readability. From this “out-of-the-box” setting, designers can further customize their text using OpenType Stylistic Sets to access the remaining alternates, a typographic playground of near-limitless possibilities.

Brand introduction:

Embossing:

Klanghaus opening:

Website:

Resonance font:

Sound logo:

Booklet

Booklet spread

Stationery

Embossing

Environmental signage

Environmental signage

Flags

Posters featuring the Klanghaus

Design manual

3,466 meters above sea level: No other literary prize in the world is awarded at a higher altitude.

The name and logo alone allude to mission of the European literary prize 3466. A triangle indicates an altitude and the superscript 4 alludes to the location of the award ceremony: a peak in the Savoy Alps. But let’s start from the beginning…

Founded in Paris by Le Grand Continent, the first Prix 3466 was launched in 2021 and the annual prize honors a major work of European literature every year. Thanks to an exclusive partnership with the cable car operator, Skyway, the award, which comes with a prize fund of a very generous 100,000 Euros, has found a home in the heart of the Mont Blanc massif. The award ceremony takes place at an altitude of 3,466 meters on the Pointe Helbronner, which can be reached by a luxurious 360° glass gondola. The Pavillon du Mont Fréty stopover at 2,200 meters serves as a beautiful meeting place for the nine-member jury.

Creative agency Tundra, which was founded in Turin in 2009, is responsible for the visual identity of the renowned literary prize. Francesco Busso, Matteo Pont, Pia Panzanella and their team developed the memorable logo, website and printed and digital materials. They chose selected styles from Christoph Koeberlin’s Pangea family (Fontwerk) as the house font and combined them with Joshua Darden’s serif typeface Freight Text (The Freight Collection).

Double page spreads from the annual report of the Literary Prize 3466, set in Pangea Light and Medium by Christoph Koeberlin and the serif typeface Freight Text by Joshua Darden.

The current winner of the Prix Grand Continent 3466 is the German author Martina Hefter.

Steiner Architecture is a young firm based in Vienna and Zell am See and expertly run by Florian Oberschneider and Ferdi Porsche.

Amongst the usual letterhead, envelopes, vcards and website, the identity includes a publication design for an ongoing magazine in newspaper format – sent out to the firms friends and clients – dealing with architecture and urbanism on a theoretical yet playful level.

License: All Rights Reserved.

If you watched the epic opening ceremony to the 2024 Paris Summer Olympics, you might have seen the typeface featured in this post. Just before hoisting the Olympic flag upside down, you could have spotted the inscriptions on Palais de Chaillot, made from golden letters displaying A.M. Cassandre’s famous typeface Peignot. The Palais was built for the 1937 World Exhibition and Peignot was introduced with much fanfare on that occasion.

Another occasion for much fanfare were the XVI. Olympic Winter Games in 1992 that were hosted by Albertville, a town of just under 20,000 inhabitants in the French alpine region of Savoie. The visual identity for those games combined an Olympic flame in the heraldic colors of Savoie, French stripes bleu-blanc-rouge, the Olympic rings, and the name of Albertville set in a wordmark based on Peignot.

The flame logo was initially invented by Bruno Quentin, member of the Agence technique of the Savoie department. Later Paris-based design agency Desgrippes Beauchant Gobé Cato was commissioned with developing the overall identity. There, the pictorial logo was carefully redrawn under the art direction of Alain Doré, while Pierre Katz was responsible for drawing the Albertville wordmark based on Peignot. In comparison to the original version from 1937, Katz cut off the horizontal strokes diagonally and sliced open the counters of A and B – which makes them behave more like the R. Katz’s drawing of the figure 9 appears more stabilized than the original. The design guide for the Olympic games of Albertville is a treasure trove for everyone interested in the history of graphic design. And we sure all would want these sweaters and jackets today.

In 2023, Production Type from Paris acquired the rights to freshly digitize, extend and distribute all typefaces of the estate of A.M. Cassandre. This includes Peignot that is already available in Production Type’s Beta Program but still awaits release in the general catalog.

Comparison: Production Type. License: All Rights Reserved.

The Albertville 92 wordmark (bottom) as shown in the style guide, compared to the original Peignot demi as shown in a 1937 specimen by Deberny & Peignot. The overall weight was increased a little. Apexes in A and V were made blunt, like in Peignot gras. The counters in A and B were opened up, probably to echo the R. All horizontals were cut off diagonally. The numeral 9 got a more balanced bowl, and the 2 was made narrower.

Source: collectionolympique.org Collection Olympique. License: All Rights Reserved.

Just a small sample from the huge assortment of pins by Collection Olympique – including versions of the logo in monochrome red and with a golden contour

License: All Rights Reserved.

The commemorative coins (engraving: Ponce-Buquoy) depict the logo alongside text in Peignot …

Source: mintedmarket.ca License: All Rights Reserved.

… and Pierre de Coubertin (1863–1937), father of the modern Olympic Games.

Source: www.flickr.com Photo by Jean-François Lipka, via Eric Bannwarth. License: All Rights Reserved.

A Mirage 2000B fighter jet by the Armée de l’Air (French Air Force) with the Albertville 92 logo

License: All Rights Reserved.

It was the 1990s! An Albertville 92 jacket with Coca-Cola ad.

Source: www.ebay.at tippitoerz. License: All Rights Reserved.

Albertville 92 sweater

License: All Rights Reserved.

Embroidered version of the Albertville 92 emblem

Source: www.francetvinfo.fr Gabriel Bouys / AFP. License: All Rights Reserved.

French biathletes Anne Briand, Veronique Claudel and Corinne Niogret won in the women’s 3×7.5 km team relay on 14 February 1992 in Les Saisies and proudly display their gold medals – with text in Peignot. The medals were designed under the direction of Marie-Claude Lalique.

From Monika Rohner’s website:

One year ago (August 2021) Swiss Post contacted me and asked if I would be interested in taking part in a competition for a stamp to celebrate the research station on top of Jungfraujoch. Swiss Post invited three studios for the briefing to the “Top of Europe”. We spent an amazing day at 3’500 meters above sea level and came back with a lot of impressions, information and fotos on our smart phones. After a clearly defined design process, a committee at Swiss Post decided whose stamp design should be produced. I was the lucky winner and, in addition to the stamp, was also allowed to design the sheetlet of 10 stamps and the first day envelope with a special stamp.

The stamp depicts the Sphinx Observatory, one of the highest astronomical observatories in the world, which has a viewing platform at a height of 3,572 metres (11,719 ft). The typeface chosen by Rohner is Steradian.

Iconic House has commissioned the Parisian creative practice eschenlauer sinic to design a book (and website) to present the legend surrounding the Chalet de l’Inconnu. This famous chalet, located in Megève at the heart of the Mont d'Arbois domain, was originally built by Jean Walter and Henry Jacques Le Même. It is now being offered with a renovation project signed by the interior design agency Claves. Inspired by Domenica Walter—the original owner of the chalet—and her art collection, our typefaces and layout evoke the elegance of mid-century art catalogues. We also drew on archival documents, including original plans and correspondence, to guide our choices. Our aim was to imbue the project with historical depth and sophistication while adding a contemporary twist.

The exuberant and luxurious Chalet de l’Inconnu: it resembles nothing that existed and nothing after it will resemble it.

— Centre d’archives d'architecture du XXe siècle en Savoie

Editorial and web design by eschenlauer sinic, featuring a custom digitization of ITC Busorama, alongside Persona (logo), Herbik (text), and Pantasia (captions etc.).
Interior design by Agence Claves (Laure Gravier & Soizic Fougeront)
Production by Iconic House
Computer-generated imagery by jeudi.wang
Photographs by Adel Slimane Fecih

The publication documents a public art project in the tourist area of the Grossglockner High Alpine Road, one of the most important and best-visited tourist attractions in Austria. It presents its planning and construction history in the 1920s and 30s, when the road was propagated as a heroic masterpiece of engineering and key building of the Austrian national consciousness of the young First Republic and the corporative state, as well as the changing role of fine art from its complicity with the tourist production of longing to a sometimes hyper-critical attitude, which was recently exacerbated by climate change, which is paradigmatically represented here in the melting of the glacier.

The project interpreted the motorised tourist experience along this road as a theatrical co-production of mobilised actors in a stage set consisting of landscape, road and vehicles of all kinds: a multi-part and far-reaching course of artworks of various genres was successively constructed in several stages during the three summer seasons from 2020 to 2022: Paintings, sculptures and a container cinema, which comment poetically and critically on the high alpine driving and nature experience along this High Alpine Road and the history (histories) inscribed in it. Parallel to this, the Museum of Modern Art in Carinthia functioned as a base station for art-historical contextualisation and a ‘safe space’ in which more delicate paintings, sculptures and installations were presented that would not have withstood the extreme weather conditions on the mountain – or that were only created in parallel to the work on the mountain by those in the museum.

The special format of this publication is inspired by one of the first folders published to advertising the road in 1933: the fold-out cover opens to reveal a wide road map showing a historical photo collage by Robert Haas, which visualises attractions on both sides of the mountain passage that are far apart from each other in just one image. This collage formed the centrepiece of the Austrian pavilion at the 1937 World Exhibition in Paris.

See more images on the website of designer Theresa Hattinger, or flip through the book on Issuu.

2024, the catalogue has been awarded a prize in the category "Art Books" by the Hauptverband des österreichischen Buchhandels and the BmKOES in the competition for "Die schönsten Bücher Österreichs 2023".

ADI Design Museum was established to showcase the entire repertoire of projects in the historical collection of the Compasso d’Oro award, created in 1954 by Gio Ponti to promote the quality of design made in Italy. It is the highest honour in the field of industrial design in the country.

The museum spaces hosts temporary in-depth exhibitions, cross-cutting initiatives and meetings for the general public. Parco Studio worked on the communication of one of the latest production, titled Testa e Croce: le convergenze parallele del design / Heads and Tails: parallel convergences of design, an exhibition under the overall curatorship and creative direction of Italo Rota.

At the heart of the exhibition there is a reproduction of the Cervino, or Matterhorn, as this mountain divides geographically the territory but also allows Switzerland and Italy to communicate. It is chosen as the key image because it alludes to the different perception of design from the two points of view of the landscape, yet from a sustainable point of view the mountains beyond the border become common territory to be safeguarded and protected. The exhibition is completed by two thematic islands, Young Italian Designers, curated by Erica Petrillo, and Young Swiss Designers, curated by Laure Gremion, which illustrate the panorama of contemporary design in the two countries.

To communicate the exhibition Parco has chosen Forma DJR as it represents the Italian edition of the famous Swiss Helvetica – Forma is a 1960s Italian neo-grotesque. Somehow this warm, rich sans serif did not make it to the digital era – until recently.

The typography is split in two parts: one side/word is coloured to represent the Italian authorship while the other side/word is in neutral black for the timeless neutrality of Swiss everyday design.

Parco Studio has been working on all graphic materials of the exhibition to be used online and offline, including the poster layouts, the video at the exhibition entrance, and all captions of the exhibition setup. The studio was also invited to create and design the exhibition catalog.

This catalog is itself at the center of the exhibition, physically because it is shown under the symbolic Cervino in the exhibition setup, and also because it is meaningfully as the heart of Italo Rota’s philosophy.

To design the book Flaine, le Bauhaus des Alpes françaises, Marcel Breuer, architecte published by Éditions 205, Bureau 205 used the typefaces Augure and Muoto, both available from 205TF. From Éditions 205 (translated):

Acclaimed as the most iconic avant-garde ski resort in France when it opened, Flaine is a world away from home. Labeled “20th Century Heritage” in 2003, it was designed by Marcel Breuer, master of the Bauhaus. Unexpected, radical, austere, Flaine still questions our representations of the mountain resort.

See also the exhibition design which uses the same pair of typefaces.

To design the signage for the architectural photography exhibition Flaine, photographs by Myr Muratet Bureau 205 used the typefaces Augure and Muoto, both available from 205TF. The exhibition is shown at L’îlot S in Annecy, France, until April 14th, 2023. From L’îlot S (translated):

The release of the first architecture & resorts guide dedicated to Flaine and co-published with Éditions 205 is an opportunity to take a new look at this emblem of modernist architecture, designed by the Bauhaus master Marcel Breuer. Through the images of photographer Myr Muratet, this exhibition seizes the myth to reveal the spirit of the place.

On the occasion of the redesign of the magazine Architecture & stations, the CAUE (council for architecture, town planning and the environment) of Haute-Savoie wished to create a brand: “a&s”. Bureau 205 recommended building a strong image for the project by designing a global graphic identity. The logotype is the cornerstone of this system and must reflect the renewal of the project’s identity. The magazine must dare to position itself in such a way as to be noticed.

Typographic choices are central to the project. The two typefaces chosen, for titles and body text, have a strong link with the architecture.

To design the logo and headings, Bureau 205 uses the Augure typeface designed by Simon Renaud. It gives the word the status of a sign, necessary to catch the reader’s eye. Its design and rhythm lend it a singular and immediately remarkable quality, while preserving unobstructed legibility. It leaves a strong impact and combines perfectly with the other signs created for the needs of the design. Constructed from simple geometric forms, Augure refers to functionalism through its combinations of elementary forms while at the same time proposing daring forms of great freedom.

The text typeface, Muoto, designed by Matthieu Cortat, is a synthesis of a sensitive and human approach to modernist design. It was chosen for its discretion, which does not interfere with reading, its legibility and its wide range of weights (from Thin to Black). This variable sans-serif typeface combines sweeping curves and solid stems, demonstrating that functionalism can be warm and gently effective.

US One Sheet (27″×41″) with artwork by John Alvin and an unexpected appearance of Granby for the tagline.

While the titles in The Eiger Sanction use Venture (see James’s contribution), the posters as well as the trailer feature another typeface by VGC that was also released in 1972: it’s Aquarius, a “semi-sans” (or semi-slab) by Ronald Arnholm. See it side by side with Venture and other VGC novelty faces in the December 1972 issue of Industrial Art Methods on Mark Simonson’s website.

Aquarius is used in caps from one of its bolder weights for the title as well as for Clint Eastwood’s name. Co-star George Kennedy gets squooshed Helvetica Light, the names of Vonetta McGee and others are set in Univers Condensed.

[More info on IMDb]

British One Sheet (27″×40″) with artwork by Jean Mascii. The title here is shown with quote marks. Kabel Black is used for the tagline.

Still from the trailer

Still from the trailer

Clint Eastwood directed and starred in The Eiger Sanction, a 1975 American spy/‌‌action/thriller movie. He plays an unlikely character called Jonathan Hemlock, art professor, mountaineer, and retired government assassin.

The film is notable mainly for the realistic climbing sequences filmed in Monument Valley, USA, and the Bernese Oberland, Switzerland.

The Venture typeface (VGC, 1972) looks suitably rugged and craggy, but also appears to be slightly squashed vertically.

[More info on IMDb]

Large-format advert for the Südbahnhotel, a former grand hotel near the Semmering Pass in the Austrian Alps. Constructed around 1850, the Semmering railway is commonly referred to as the world’s first true mountain railway, and is still fully functional as a part of the Südbahn, or Southern Railway, that connects Vienna with Graz. The hotel first opened its doors in 1882.

This ad from 1913 uses a typeface that went under various names, including Viktoria. The Poppelbaum foundry in Vienna sold the design as Phönix.

Raphael Jérôme Schmitt, mentored by Reto Vogler, designed a proposal for a poster campaign for Swiss Tourismus advertising the Canton of Uri. Varying motives are printed on yellow paper which is based on the canton’s blazon.

The format-filling three letters U, R, and I are set in the free font Generation Mono designed by Nguyen Gobber and available at their website, while the rest of the text is set in Syncro by Fabio Furlani for and with Out of the Dark.

“Cortina” is the debut track of the Italian music producer Tudor Laurini a.k.a. Klaus.

The colored limited-edition vinyl designed by art director and graphic designer Luca Ricci is a desirable object as part of a bigger roll-out of the track, which has been selected by the City of Cortina as the official soundtrack of the World Ski Championships taking place in their famous “Cinque Torri” peaks, conveying the mountain feelings through sound and design to the world during the Covid-19 lockdown.

“Cortina” is set in Nikolas Type’s Grand Slang, accompanied by Kern from Pizza Typefaces and Ogg from Sharp Type, seen at the back of the sleeve for the logo by music label Wanderlust.