Pinto aims to “relieve digital money’s core tension: stability without surrendering control”. As a project, the Pinto team is trying to redefine both stablecoins and money ready for transactions and suited for yield. Through autonomous rates and non-custodial systems, they aim to ensure price stability while preserving user sovereignty.

We translated Pinto’s crypto complexity into a clear visual identity and user interface principles that resonate with hardcore Discord lurkers and curious normies alike, turning the arcane into the irresistible.

Working within an fundamentally new economic paradigm, it was critical to illustrate an entirely possible, but currently theoretical future of money. All visuals were generated using several diffusion models.

Vew the full case study at newapology.com.

The publication Streitsache Straßennamen (“Street names in dispute”) documents the process of renaming streets in Darmstadt between 2013 and 2022. Over the course of 219 pages, it details the debates, decision-making processes, and the work of experts who critically examined the biographies of controversial street namesakes from the National Socialist era. The book also includes content from the exhibition of the same name, shown in 2021 at the Justus-Liebig-Haus, as well as transcripts of lectures presented during a symposium held online on June 1, 2021. Designed by Florian Schimanski, the publication is an important contribution to the ongoing reflection on the city’s history and how it is commemorated today.

The book is set in HAL Timezone, Tor grotesk, and Monotype Grotesque. Produced in collaboration with Büro für Erinnerungskultur and edited by Stadtarchiv Darmstadt, it is printed on Circle Offset and Circle Silk paper. It measures 170×210 mm, and is published in an edition of 1,000 copies.

Studio Boulon created the art direction for the first issue of the Observatoire des Tiers-Lieux (“Observatory of Third Places”), named La revue de l’Observatoire by France Tiers-Lieux (an organization that supports the development, professionalization and sustainability of third places in France).

This project is based on a pair of typefaces: Ginka (from lift-type) and IBM Plex (from IBM), with illustrations by Laurie Agusti Derimay.

Julie Soudanne, the type designer behind Ginka, shares her perspective on the project:

The first issue of the Observatory of Third Places immerses you behind the scenes of third places mobilized for the ecological transition, through portraits of initiatives, interviews, and analyses focused on three main themes: sustainable Experimentation, Food, and Local Production.

Experiments change our perspective. This experiment serves as a starting point for discussing the role of language and letters. The show HAHAHA / AHAHAH: Practical and Impractical Typographic Exercises show is part of the Bydgoszcz Design Days 2024 that took place at Młyny Rothera.

Through a series of algorithm-generated posters, the show reflects on the evolving nature of language and the interplay between artistic expression, technology, and unpredictability. The posters were created using p5.js and AI and are based on statistical data about various aspects of languages.

The designers and authors of the show (Pola Małaczewska, Marian Misiak & Honza Zamojski) have used all typefaces from the Threedotstype library for the posters, along with an unreleased font.

A bright, punchy and screen-friendly identity by Susu Studio for the best quiz and puzzle subscription in the game, Saturday Quiz Time.

The Saturday Quiz Time identity needed a brand toolkit like any good puzzle needs a manual. With a few key rules to guide us, the vibrant colours, instructional typography; Deacon (Central Type), Social Condensed (Dinamo) and communal experience all lends to an added warmth and comfort to the ritual of sitting down with the Quiz each Saturday.

Homepage for Wait Wait Stats Page

The Wait Wait Stats Project provides information about the news radio panel show Wait Wait… Don’t Tell Me! on NPR. It consists of the Stats Page, Graphs Site and Reports Site, use IBM Plex Sans due to the clean, legible, and data-focused needs for the sites. IBM Plex Sans has unambiguous characters (such as the number 1, a lowercase l, and an uppercase I) which is important for a site that has higher information density conveyed via text.

Wait Wait Stats Page: Location map with a pin dropped for the Studebaker Theater in Chicago, Illinois

Homepage for Wait Wait Graphs Site

Wait Wait Graphs Site: Heatmap showing the monthly average score over time, with months in the x-axis and years in the y-axis

Homepage for Wait Wait Reports Site

Wait Wait Reports Site: Panelist debuts broken out by year

From design agency View Source:

First Street [is] an NYC 501(c)(3) tech nonprofit that quantifies and communicates the impacts of climate risks. First Street’s data is used by leading experts across many industries, government agencies and everyday Americans.

The organisation’s 2024 rebrand features a combination of Superior Type’s Restart Hard (headlines and body text) and MD IO from Mass-Driver (supporting text & technical data). Together with some great photography, the result is an identity that feels clean, confident, and high-tech.

Change is a festival about architecture and climate change, a place to share ideas and create connections between architects, universities, and people. A conversation to find solutions and think about how much we impact our way of life.

Data is a tool for measuring changes, which is why we designed a variable data-driven identity system, to show through an easy-to-understand visual system all the changes and their impact on everyday life. A visual identity to attract, raise awareness, and create participation.

Editorial staff: Davide Paterna (Open City Roma)
Photography: Flavia Rossi

Studio Size crafted a holistic brand identity for Determ, an AI-powered media monitoring tool previously known as Mediatoolkit. The new name ‘Determ’ suggests that the tool aids users in determining relevant information, empowering them to be more determined in making decisions.

The new visual identity captures the brand’s digital essence while also reflecting the vibrant, fast-paced world of real-time media monitoring. The motto ‘Make Sense’ encapsulates the brand’s mentor role, guiding users toward informed, better decisions.

In addition to creating a new visual and verbal brand identity, our project scope also included motion branding, audio branding, data visualization, and merchandise design.

Visual identity designed by Estudio Salmón using Marcus from MA-MA Type together with Monotalic from Kostic.

Commissioned by Visibles, together with Hivos and the LGBTIQ+ Open Data Center, Estudio Salmón developed a campaign whose purpose was to publicize data about violence due to prejudice in Guatemala, its effects within the LGBTIQ+ community, and the results of the justice sector regarding these violations of human rights.

More than 70 years have passed since India gained independence from colonial rule, and many Indians believe that their country has successfully achieved one of its post-independence ideals: a society where followers of diverse religions can live and practice freely.

India's population is both diverse and devout, with the majority of the world's Hindus, Jains, and Sikhs residing there, as well as one of the largest Muslim populations in the world, and millions of Christians and Buddhists. Despite the increase in religious riots and discrimination caused by a Hindu nationalist government, the survey found that Indians generally felt free to practice their religion.

The Pew Research Center survey, which was conducted between late 2019 and early 2020 (before the COVID-19 pandemic) and involved nearly 30,000 face-to-face interviews with adults in 17 languages, explored religious attitudes and practices in India.

The booklet visualizes some of these findings.

Main game’s logo, with the familiar Pricedown. “V / FIVE” is added in what looks like custom drawn letters, with similarities to Barclay.

Excerpt from Wikipedia:

Grand Theft Auto V is a 2013 action-adventure game developed by Rockstar North and published by Rockstar Games. It is the seventh main entry in the Grand Theft Auto series, following 2008’s Grand Theft Auto IV, and the fifteenth instalment overall. Set within the fictional state of San Andreas, based on Southern California, the single-player story follows three protagonists—retired bank robber Michael De Santa, street gangster Franklin Clinton, and drug dealer and gunrunner Trevor Philips—and their attempts to commit heists while under pressure from a corrupt government agency and powerful criminals. The open world design lets players freely roam San Andreas' open countryside and the fictional city of Los Santos, based on Los Angeles.

The entire UI uses both Chalet 1960 and Chalet Comprimé 1960, while on some UIs, such as locations and vehicle names, texts are rendered in House Script.

Title screen, all written in Chalet 1960 London (regular)

Alert dialog, written in Pricedown

Pause menu. Chalet Comprime 1960 was used on the game’s title as well as the player's profile on top right.

Character Creator, where the House Script font is used

Population in India. Official Projections 2011–2035 is a booklet containing data based on the 2011 Census of India. It is part of a series of publications by designer and data enthusaist Saumya Mittal. She combined Right Didone with Acumin Variable.

For Kaiserslautern in Zahlen, students of Fachbereich Architektur der TU Kaiserslautern (FATUK) dug deep into statistics and numbers about their hometown Kaiserslautern. The occasion was the question of how, for example, land consumption in Germany can be transferred to Kaiserslautern, a city in southwest Germany. Three working groups on the topics of land use, consumption, and mobility reviewed material from a wide variety of sources and developed concepts to present them.

The A5 leaflet unfolds to an A2 poster, completely printed in two Pantone colors.

The design features Barbecue and Clock by Xiaoyuan Gao (notyourtype foundry) for titles and pie charts. Px Grotesk by Optimo is used as part of FATUK’s identity (by Deutsche und Japaner) for body text.

Design: Simon Bretz and Hannes Brischke. Photos: Simon Bretz.

Words from The Office of Ordinary Things:

A family-owned and -operated print shop, D&K tasked us with creating a piece that showcases the scope, quality, and ambition of their craft, while also educating their customers about sustainable printing basics. They gave us free rein to design a print promo that exemplifies this in both form and content.

The promo comes alive in the ways it asks readers to participate and engage through sliding, tearing, flipping, ripping, unpacking. Zip strip letters spelling the client’s initials demonstrate the delight that can occur when print is combined with playful design.

We put Söhne through its paces, using it a range of point sizes (the bookmark sheet features teeny tiny 3pt type!) and printing on a variety of substrates. Söhne held up beautifully on press in all scenarios. We utilized the middle to lighter weights of Söhne, including Halbfett, Kräftig, and Buch, with a touch of the Leicht weight of the condensed cut, Söhne Schmal.

Poster series that seeks to explain the reality of refugees in the current war between Ukraine and Russia through the importance of proper names and their contributions to the war. The Ukrainian title reads Путін вторгається в Україну (“Putin invades Ukraine”).

Please note that the names are figurative in order to maintain the respective privacy.

From a conversation with designer Artem Militonian:

In early 20202, I was put in charge of type.today’s Instagram, dealing with a great font library. The collection featured Druk, and this font became one of my favorite typefaces.

I am a product designer, but sometimes I create non-commercial long reads with Readymag. First I brought together a project about Armenian genocide, and later, in late October 2022, a project about the war. These two projects received more than 40 design awards and mentions, including Awwwards and The FWA.

I believe that a properly chosen typeface is half the battle, especially when it comes to the Web. For the war project, I wanted to find a typeface which would be brutal and heavy yet contemporary at the same time. Druk was a great fit. I used it in headlines, and it made the reading process somewhat… uncomfortable for the user.

As for body text, I’ve been looking for a neutral font to communicate facts in a dry manner. And I think Atlas did its job.

It was important for me to do this project. Journalists publish stories and investigations, photographers capture all the horror of what is happening, and I, as an artist and designer, found my own way to talk about the war.

The Berlin ambulances adorned with Change

The Berlin Fire Brigade was founded in 1851 and brought unprecedented safety to the city’s citizens overnight. Today, with 35 fire and rescue stations, 1,050 emergency vehicles, 5,200 permanent employees, 59 volunteer fire brigades and 48 youth fire brigades, it is the largest fire brigade in Germany. Berlin also ranks fifth in the world, coming after Tokyo, New York, Paris and London.

Berlin would not function without a fire brigade. It is the city’s central crisis manager: for fire protection, rescue services, and in the event of a disaster. The rescue teams have more and more work to do because the city is growing and becoming more dense. The population is also getting older and older and so isolation is increasing and to top it off, the climate crisis is also causing more extreme weather conditions.

With its “Strategy 2030”, the Berlin Fire Brigade is preparing for the challenges of the future. With a focus on expanding material and human resources, job satisfaction, more diversity and helping to shape politics and urban development, the new directive and strategy requires a lot of communication. No wonder that the fire brigade has developed into a strong brand with a stringent corporate design.

The corporate design was developed in-house by the Press and Public Relations department in cooperation with a communication scientist. The two most important goals of the CD are the positive public perception of the fire brigade and the identification of the staff with their company. The national emblem, which has been in use since 1977, has been reduced to a few clear lines in a single color. The corporate colors are, of course, still red and white, but other colors have been removed. Furthermore, a uniform logo “Berliner Feuerwehr” (Berlin Fire Brigade) was developed using the Change Letter font, which used to be the headline font of the state of Berlin. When set in capitals, Change Letter, a variant that is planned to be released at a later point, differs only slightly from Alessio Leonardi’s Change, which is now available from Fontwerk as a completely reworked and revised font family. The fire brigade uses both Change and Change Letter for headlines on their website, in printed matter and annual reports, as well as on vehicles, buildings and equipment.

The in-house adoption and use of the new brand identity was overwhelming. Possibly the familiarity with the typeface, which became city-famous through the Be Berlin campaign, (see also the post on Fonts In Use) helped. “The implementation went surprisingly smoothly. First drafts of the new logo spread furiously and were eagerly used by staff long before a binding business directive came into force,” recalls Jens-Peter Wilke from the Press and Public Relations Department.

Fire station Pankow, set in Change Letter, which is no different from Change (Sans) in most capital letters.

Fire station Blankenfelde

Job advertisement in Berlin Fire Brigade’s annual report 2019

Statistical chart in Berlin Fire Brigade’s 333er Magazine

Statistical chart in Berlin Fire Brigade’s annual report 2019

Crafting instructions for those who want their own ambulance car at home

Exodus is a data visualization magazine about Italian migration, from 1861 (year of the unification of Italy), up to the present.

Italian emigration is a large-scale emigration phenomenon aimed at expatriation that affects the Italian population, which first concerned northern Italy and then, after 1880, also southern Italy, also experiencing significant internal movements, that is, including within the geographical borders of the country.

The magazine was made as a student project in the Progettazione Grafica II course at the Accademia di Belle Arti di Bologna. The text typeface is Suisse Int’l. It’s paired with BallPill for headings, key figures, lists, and other display use.

In 1998, posters appeared all over New York City’s subways and buses, reading:

77% of anti-abortion leaders are men. 100% of them will never be pregnant.
It’s your body. It’s your decision. The Pro-Choice Public Education Project. It’s pro-choice or no choice.
1(888) 253-CHOICE or www.protectchoice.org

The design was unmistakably leaning on the work of artist Barbara Kruger, using her signature style of text set in Futura Bold Italic, white in red bands on black-and-white photographs. It’s not an actual work by Kruger, though. The campaign was devised by Abi Aron Spencer and Aaron Eiseman, then senior art directors at DeVito/Verdi, along with copywriter David Brenner and art director Rob Carducci, and was commissioned by the Pro-Choice Public Education Project. Kruger endorsed the message, having previously spoken out against anti-abortion laws herself. Most prominently, she produced Untitled (Your body is a battleground) for the Women’s March on Washington in support of reproductive freedom in 1989.

From Katherine Diekmann’s contribution to the Barbara Kruger monograph (MIT Press, 1999):

[…] the body remains a battleground, to paraphrase one of Kruger’s better-known sayings, especially since right-wing infiltrations into a woman’s right to choose gain ground by the day, and no one seems to notice. For that reason, Kruger allowed a campaign by the Pro-Choice Public Education Project to adopt her style in a 1998 ad campaign for abortion rights. The images were basically Kruger clones, right down to the red-and-white slanted slogans, although they lacked Kruger’s punch and precision (“Think you can do whatever you want with your body? Think again’’). Whatever the impact of the campaign, it also revealed how inimitable Kruger’s work truly is. By agreeing to let herself be copied for a cause, Kruger displayed yet another of her facets – call it Barbara Kruger, Anti-Author. She’ll always permit her visual methods to be borrowed in service of an important issue, without fussing over ownership.

You can read more about the campaign in Paula Span’s article for the Washington Post from 1998.

Square variant with a different crop and what appears to be a mirrored version of the photo