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Moinframe is a community, blog, and YouTube channel focused on Kirby CMS. The project is run by Justus Kraft, one half of the design studio Gute Kombi.

The typographic system pairs Fictional and Fixel.

On the website, Fictional is used for bold, prominent titles and headings, while Fixel is used for body copy and navigation.

On the YouTube channel, Fictional is used for bold video titles in preview images and within videos, while Fixel is used for tags displayed above the titles.

About page

Blog entry

Youtube video thumbnail

Video titles within videos

Mobile website

Intro header

Phosphor Icons is an icon library that can be used everywhere from UI design to presentations. Icons are designed by Helena Zhang, while the website is made by Tobias Fried.

The majority of the website uses Manrope, while the code and tags are set to IBM Plex Mono. Both typefaces are freely available on Google Fonts.

Closeup of one of the illustrations in the website, with the text set to Manrope

Another closeup of one of the illustrations in the website when it’s hovered. The labels pointing to the icons are also set to Manrope.

The main section of the icons, with the labels and the toolbar set to Manrope

A pop-up showing the icon’s detail. Most of the pop-up is set to Manrope, but the tags and code are set to IBM Plex Mono.

Footer

Hailing originally from Curacao, fashion designers practice Marc Martha is thoroughly inspired by their Caribbean and African heritage. A recent graduate of the prestigious Royal Academy of Fine Arts Antwerp, founder Marc Martha Pengel reshapes traditional garments to encourage self-expression.

Studio Böreck developed a minimalistic but distinct identity for the brand that is used throughout all media. In addition to designing their website, they also created a webshop to promote their unique editions online.

Outward is scaled up for maximal size and sometimes vertically extended on desktop/mobile devices, resulting in a typographic pattern which creates sort of a landing page moment. Skanaus is used for smaller display sizes, reflecting on the expressive quality Martha's outfits perform, while Neue Haas brings shape to most of the content in a modest manner.

The website is coded by Panadda Manarata and Ilias El Makrini.

See The Queens, or STQ for short, combines three fonts by Contrast Foundry for their website: CoFo Chimera Black, CoFo Sans, and the wide CoFo Kak Black.

STQ is a brand new community-built platform connecting drag artists with their audience. Born out of the need to find joy after the pandemic, STQ celebrates and uplifts the incredible performers and artists who bring so much vitality and life to our city. All forms of drag expression are welcome here and we look forward to going on this journey with you.

From Wikipedia:

Archive of Our Own (often shortened to AO3) is a nonprofit open source repository for fanfiction and other fanworks contributed by users. The site was created in 2008 by the Organization for Transformative Works and went into open beta in 2009. As of 28 November 2022, Archive of Our Own hosts 10,220,000 works in over 54,020 fandoms. The site has received positive reception for its curation, organization and design, mostly done by readers and writers of fanfiction.

Archive of Our Own uses Georgia for headers and the site logo, Monaco for publication timestamps (on machines where Monaco isn’t available: Consolas), and Lucida Sans for body text and buttons. The site also allows users to apply their own custom skins to the site itself and to individual works, allowing for the usage of different fonts on specific works.

Animal Crossing is a social simulation video game series developed and published by Nintendo. The series was conceptualized and created by Katsuya Eguchi and Hisashi Nogami. Since its initial release in 2001, five Animal Crossing games have been released worldwide. Published in 2020 for the Nintendo Switch; Animal Crossing: New Horizons is the fifth main entry in the series. [Wikipedia]

The Animal Crossing logo uses Rat Fink Heavy. This animated slab is part of House Industries’ Rat Fink collection, “based on the krazy hand lettering style of the man himself, Ed ‘Big Daddy’ Roth.” It’s rendered in yellow letters with a 3D effect, arranged on a bouncing baseline and attached to a wooden board with a clock on the top. The “New Horizons” tag is added in Ministry by Device, emulating embroidered lettering, with the second word made from elements in different shades of blue.

Some dialogue text, villager name on speech bubbles, and the UI was written in Seurat.

Aeonik is the brand typeface on the poster, exhibition materials and social media imagery for the concept store of the Romanian Design Week. The store hosts a social and co-working area designed to bring ideas and people together, along with a range of design brands and pop-up stores, which represent, promote and sell a total of over 100 Romanian designers and artists.

A.Avaati is a creative studio specialized in surface design, 3D, concept development, and digital processes.

Their identity is designed by Don Elektro, using the typeface Zorn for the logo and tags on clothes, as well as Ambiant Sans for their website and additional illustrations on certain clothing items.

This mooncake packaging project for the Macau based Mandarin Oriental Hotel is a brand new attempt for the next generation market. Indego designer Kun Lam opted for “Far side of the moon – 月球的另一面” as the design concept and tailor-made packaging including mooncakes, the iconic paper fan of Mandarin Oriental, and a reusable tote bag.

The far side of the moon is the side that always faces away from the Earth. As it cannot be seen by the naked eye, humans are curious about this unknown hemisphere of the moon. Mandarin Oriental was known to be luxurious and rich in oriental culture, but this far side of the moon mooncake packaging brings people to the unknown side of the brand – young, bold, and interesting, luxurious but trendy with the continuation of oriental culture.

The “Far side of the moon” project intends to to explore and discover the non-traditional side of Mandarin Oriental infusing new vitality. Typographically transported by Nikolas Type’s Grand Slang, mixed in the Roman and Italic styles and conveyed by Aeonik from CoType for the body text, Indego carried out bold creations to take over the public’s traditional impression of the brand.

Logotype in Bolivia Semiextended G

The traditional company stands for solid wood furniture and series production of the highest quality. After 142 years, the family name Wittmann was replaced by the new brand name TREWIT, due to a change of generations. The new development of the brand brought with it a fundamentally different appearance — a language of its own was developed not only graphically, but also in its typographic approach.

The cornerstone of the new company is the lettering in uppercase letters, set in Bolivia Semiextended G. To complete the strongly typographic concept, after numerous headline applications, an exclusive text style (Bolivia Text Medium) was developed for the small-part application. The uniform typographic hierarchy provides clarity and an unmistakable moment in which the company’s vision is carried forward in a contemporary manner.

Particularly noteworthy is TREWIT’s extensive web presence, which includes furniture configurators, the entire product range, and a narrative thread with interesting facts about the wood industry.

Product folder

Product tags

Vienna Design Week 2021, TREWIT launch party and exhibition

TWK Everett in use for Kate Colin Design. From Faith Studio:

Kate Colin is a designer/maker based in Glasgow who works with paper to create handmade lighting, wall art and installations. Inspired by origami and geometric forms, Kate's bold and sculptural work emphasises the interplay between light and shade.

She is interested in colour, tonal variations, shadow and geometric form and uses her work as a vehicle to explore how they interact with one another. Each piece is scored, folded and assembled by hand and when illuminated, their appearance is radically transformed; folds, creases and angles become emphasised while an intensity of colour is brilliantly revealed.

The visual identity itself pays homage to these ideas and aims to capture the same clean, geometric aesthetic in a graphic format. This is achieved by harnessing the crisp vertices of the logomark / chosen typeface and the vibrancy of the colour palette (which draws direct influence from the paper stock(s) used throughout Kate’s portfolio). Once combined, these graphic elements create an own-able maker’s mark that can be used for years to come.

Euclid Circular A and Neue Haas Grotesk are the brand typefaces of dog product brand Yonder. From The Brand Identity:

Yonder is a Melbourne-based dog accessories brand that offers a collection of vibrant, durable and ‘puddle-proof’ collars and leads. It was established after its founders first year with their whippet, Wally, in which they only found cheaply-made, dowdy dog products on the market. In response, they’ve created a line of products that are “here to bring that good feeling”. Made from a robust flex-poly strap with coated steel and zinc hardware, each collar and lead set is fully adjustable, available in six colours and most importantly, built to last.

For Yonder’s visual identity, local design studio Never Now focused on a warm, friendly approach representative of the sheer variety of dog owners in Australia and beyond. The centrepiece of the brand system is the geometric wordmark, which uses the lowercase characters of Swiss Typefaces’ Euclid [Circular A] alongside a custom, uppercase ‘Y’. Creative Director Tristan Ceddia explains that “the strokes of the ‘Y’ are mirrored and form a hidden loop if you follow their curve”, adding that he “wanted the ‘Y’ to lean slightly into the lowercase characters to subtly reference a dog pulling on its lead”. The wordmark is finished with a perfectly round full stop, which doubles as a ball, heightening the effect of the leaning ‘Y’ while behaving as a readymade connector for the brand’s ‘yonder.dog’ URL. The more neutral Neue Haas Grotesk is used for the remainder of the typography to “save the brand from becoming too geometric”.

In addition to the wordmark, a Yonder dog illustration appears on a selection of applications. “I threw it in to give the brand something a little unexpected”, Ceddia declares, “nobody wants to think about a dog being pulled on a lead, but it’s the reality (and fun) of walking a dog”. Dynamic in its form and composition, he reveals that “the drawing didn’t change from my initial sketch, to keep the original loose energy”.

Euclid Circular A is part of the Euclid typeface, available from Swiss Typefaces.

NYC-based studio CHIPS used Proto Grotesk from Production Type for the identity of Creative Capital, an organization that supports North-American artists in many different ways, like funding, counsel, gathering, and career development services.

In order to render the diversity of Creative Capital’s artistic community, the designers chose to create a constantly changing logotype. The changes occur on the capital letters C: the letters are fragmented into a line of dots and shapes, with unity suddenly turning into multiplicity. The logotype therefore shows diversity but also the activity of the organization, which never ceases to change depending of the supports.

A consequent part of Creative Capital’s identity relies on its website, where the clarity of Proto Grotesk is at good use, on all text levels. The simple yet direct webdesign is functional and impactful in spite of the few elements it involves: one type, one color, aiming towards a legible and institutional website. The economy of these two elements show the strong character of Proto Grotesk, a steady yet quirky typeface, ideal for evoking originality.

Due to Covid-19, the Yeah! club in Girona decided to organize special open air events on the weekends, and hired Quim Marin to design the identity for this new adventure.

Grosa is used throughout.

Building upon the visual language of weaving and textile production, we created a distinctive logotype and a set of elaborate patterns, which serve as a vehicle for Bokhari's brand. With its modern expression and working across multiple media formats, the identity communicates their core values: sustainability, continuity and social engagement.

Using Garnett from Sharp Type for this project helped us to achieve a fine balance between character and simplicity. The pattern’s grid is based around the inner proportion of the typeface and its specific stroke contrast, which brought an organic dimension to the otherwise strict and rational approach. The b shape in the logo is followed by “okhari” set in Garnett with a custom single-storey a.

After a recent rebranding, Make Me Bio – a natural cosmetics producer and its subbrands switched to use Ivar Display and Ivar Text by Letters from Sweden.

The logotype is now based on Feijoa by Klim Type Foundry.

BOO is Vietnam's premier streetwear brand. Proudly Vietnamese, BOO was started in Hanoi in 2003 by a group of close friends who met as part of the emerging skateboarding scene. From their inception, BOO has grown into a real player in the Vietnam fashion scene with nearly 50 brick and mortar locations throughout Vietnam.

Roobert is used as the brand typeface throughout, making prominent use of its built-in “merged O’s” ligature. On a number of posters, Roobert is paired with (slightly squooshed) Times New Roman.

Kimoa is a clothing and accessories brand that celebrates individuality. The identity, designed by Murray, heavily features GT Walsheim and acts as a virtual space that allows for change.

Source: weszlo.com Weszło. License: All Rights Reserved.

Halyard helps to deliver the latest news in soccer, basketball, tennis, and other national and international sports on Polish sports portal Weszło.

The website takes advantage of the fact that the Halyard family was built in optical sizes, each of which is optimized for a certain application range. While starkly different in appearance, when seen together, the members maintain a consistent personality at their intended size, creating the impression of a single type design. Halyard Display, with its compact proportions and tight spacing, adds punch to headlines. Halyard Text is used for body copy, where its more open spacing and larger apertures ensure a pleasant reading experience.

Source: weszlo.com Weszło. License: All Rights Reserved.

The Halyard fonts support a large number of Latin-based languages. As a matter of course, they include the Ż with kropka, the ę with ogonek, the ł with kreska ukośna, and other diacritics needed for the Polish language.

Source: weszlo.com Weszło. License: All Rights Reserved.

Source: weszlo.com Weszło. License: All Rights Reserved.

Source: weszlo.com Weszło. License: All Rights Reserved.

Source: weszlo.com Weszło. License: All Rights Reserved.

Source: weszlo.com Weszło. License: All Rights Reserved.

Table rendered in Halyard Text, with its default proportional lining figures. The fonts also offer dedicated tabular figures, distinguished by glyphs of equal width.

Source: weszlo.com Weszło. License: All Rights Reserved.

Front.

Jackson 5 Christmas Album LP was released by The Jackson 5 in 1970. Many of the tracks still receive airplay today. The album is maybe most known for a cover of 1934’s “Santa Claus Is Comin’ to Town” with 12-year old Michael Jackson on lead vocals.

Back.

Dutch 7″ Maxi single.