The Murgia Run Club project is built on years of adventure and exploration in the heart of Italy’s Alta Murgia National Park. In 2025, the collective reached a new milestone with a complete rebranding designed by Gabriele Colia. This new visual identity aims to promote the Puglia region while organizing the club around a more modern image, standing at the intersection of high-performance sport and lifestyle.

To embody this renewal, the typeface Quadro from Blaze Type was chosen. With its geometric structure and massive forms, the typography evokes the solidity of limestone and the ruggedness of mountain trails. Its modular appearance adds a technical touch that perfectly fits the world of trail running and the requirements of contemporary communication.

The use of Quadro effectively bridges digital communication and physical assets. By relying on such a distinctive typeface, the new design provides the club with a professional and international image. It is a striking example of how typography can redefine a sports collective into a powerful territorial brand.

The accompanying monospaced typeface is yet unidentified.

TT Firs Neue is the branding font of Non Architecture.

Non Architecture is everything that is not architecture yet. Non Architecture develops initiatives, mediums, and projects to explore innovative design solutions and experimental collaboration models. Today it’s a portal for design contests, a community for architects and non-architects, an open-source online journal, an independent publisher, and a remote architecture studio.

This poster series for Plugball (yes, the sex toy) is a collaboration between Plug.Radio and community center Circolo il pallone, both based in Bologna, Italy.

Details from recent rebrand for engineering design practice Ritchie+Daffin. Bitum by Brownfox in used in Regular and Italic across all materials.

Photography by Thomas Adank.

Protest Grotesk is the typeface used by Neues Amt Altona.

From Stan Hema:

Neues Amt Altona eG is ready for the groundbreaking ceremony. The cooperative construction project, which will start in 2025, combines sustainable timber architecture with a concept that focuses on community and creativity. Co-working spaces, art studios and local meeting places – locations that connect people and enable inspiring interaction – are being developed around the popular creative site of the old tax office in the Hamburg district of Altona.

To mark the start of construction of the ambitious project, the NAA has a new visual and verbal brand identity, developed by Stan Hema. The revised identity combines a clear brand language, cross-media recognisability and the diverse voices of the more than 250 committed members. With heart, soul and conviction, they are designing a neighbourhood that is entirely geared towards people and community.

[Be]Life is a young brand dedicated to developing healthy hair products. The products are vegan, cruelty-free, sulfate-free, paraben-free, and petroleum-free. The brand asked us to create its identity, packaging, and web design. The premise was to create something that would capture attention and stand out in the current market within its industry.

For the identity, we worked with the concept of duality between the scientific and the organic, the structured and the gestural. Both the brand and the texts make reference to laboratory formulas. The typeface used is Dazzed with an editorial and minimalist approach. On the other hand, the illustrations representing the natural ingredients are gestural, organic, and feature vibrant colors.

The duality is reflected in both the formal and chromatic aspects, creating a logic that allows us to develop the different visual elements of the brand's system.

Living+ works to plant seeds of awareness about care, health and community in the hearts of younger generations. Its inaugural programme, Memories in Motion, reflects on how experiences of grief, resilience, love, shame and healing continue to shape and circulate through public health narratives on HIV/AIDS. It places care and memory at the centre of how we understand what public health means today.

Unfolding across Amsterdam through a curated month of performances, exhibitions, youth-led interventions, rituals and storytelling, Memories in Motion invites a new generation into a living archive of survival and solidarity, asking them to carry it forward with intention, care and urgency.

We designed the visual identity for Living+ and its inaugural season, Memories in Motion. Acknowledging that HIV/AIDS may not resonate immediately with many younger people today, we worked to reframe the conversation: moving from isolated or clinical topics to exploring deep connections in care, justice, visibility, intimacy, inequality and shared responsibility.

The collaborative 7″ split single between Fetus and Les Testarudes comes with a bold visual identity designed by Pau Llop. The artwork captures the raw energy and political edge of the bands’ sound.

At the core of the design is GS Triomf (by GS-Type). Its sharp serifs and rhythm inject a sense of urgency and directness, echoing the aesthetics of protest posters and grassroots publishing. Used for the main titles, Triomf anchors the artwork with a voice that feels both historic and uncompromisingly contemporary.

Complementing it is Plast, a sans serif developed by 131 (Pau Llop & Esteve Padilla). Its rough, industrial character balances the elegance of Triomf, creating a visual tension that reflects the music’s mix of tradition, critique, and rebellion.

Together, the two typefaces embody the spirit of the project: rooted in collective identity, and designed to amplify voices that demand to be heard.

The record was jointly released by Buenritmo and Bankrobber. From the latter (translated):

The vinyl includes “La gran xefla” by Fetus as performed by Les Testarudes and “Terra de secà” by Les Testarudes as performed by Fetus, as well as a version of the classic “Au, jovent!”, where Les Testarudes already added their voices to the original Fetus recording.

With Shift going through a new phase of growth, Jonathon approached Noramble to help bring the refill packaging to lean more into the brand’s premium positioning.

We created an entirely new visual that is now able to stand on its own. Creating a cleaner look through the use of colour blocking, clean typography and premium materials, whilst reimagining the back of pack to include a new QR code linking to the brand's sustainability mission.

All text is set in Hasköy (except for the Shift logo which predates this design.

The rebranding of Mateus Arruda Arquitetura came about with the aim of consolidating the studio as a regional reference in high-end residences. As an architect and teacher, Mateus has more than 17 years of experience working in other renowned offices before founding his own company. Today, he leads a studio that delivers complete, tailor-made projects – with total attention to deadlines, costs and details that make a difference to the result.

The new visual identity is based on the abbreviation MAA, which has now become the brand’s main signature. The symbol communicates precision, method and trust, three of the firm's central pillars. The choice of a minimalist palette, with black and white as the base, reinforces this mature and technical positioning, while earthy tones and grays evoke the connection with the work, the territory and natural materials.

The “You Can’t Be Here” brand identity, social media, and spatial design was developed in 2022 for Zawraq Collective.

From Ananas studio:

Built around a striking plus/minus symbol, the identity distills the essence of the pandemic years (2020–2022) into a minimal, impactful icon. Inspired by the ritual of PCR testing and the constant suspense of positive versus negative results, the design transforms a medical act into a powerful visual language.

The color palette draws directly from the atmosphere of those years: blue for sterilization and safety, red for contamination and caution. Together, they create a sharp tension that reflects the push and pull of uncertainty, resilience, and adaptation. The result is a brand that feels raw and charged – transforming a global experience into a bold cultural statement.

The design talks to an architecturally literate audience, but also one that understands the significance of this publication. Contemporary typography as well as a bold palette of orange and blue underlines a fresh approach and new appreciation for the content. The minimal and generous pages create respectful space between the layout and the photographs, but the warm paper stock and fresh colours invite a non-academic audience. For us it was important to make this book appealing as a beautiful object so that it remained out of the bookshelf.

Sally Jeffery on Internet Archive:

Catalogue for an exhibition of work by by artists and cartoonists that opened at the Partisan coffee house, Carlisle Street, Soho, in February 1959. The typography and the graphic elements were devised, made and printed letterpress by Desmond Jeffery.

Jeffery’s modern layout uses Standard (Akzidenz-Grotesk’s English name) and Doric Italic (Stephenson Blake’s version of Fette Kursiv-Grotesk).

Spanish creative studio LA TECLA brings theatrical nuance and poetic tension to life in their digital identity and website for stage director, playwright, and performer Alberto Cortés. At the heart of the project is Faust by Bouk Ra, a typeface whose dramatic contrast and idiosyncratic details echo the artist’s rich and unpredictable creative journey.

Cortés, who describes his body of work as a “theatrical journey that begins with stray playwriting and grows wild,” sought a platform that could reflect the depth and evolution of his interdisciplinary practice. Latecla responded with a website that feels both enigmatic and emotionally charged – a fitting mirror of Cortés’ narrative voice.

Faust serves as a central visual thread, adding an expressive typographic layer that enhances the site’s overall atmosphere: subtly mysterious, yet deeply human. Paired with considered photography and a minimal layout, the typeface contributes to a sense of theatrical intimacy – perfectly balancing elegance with eccentricity.

On the website, Faust is supported by Héctor Gatti’s Archivo for the menu and all smaller text.

The result is a digital portfolio that feels more like an unfolding performance than a static website, blurring the line between stage and screen, artist and archive.

The 2025 album Passagen takes ZEMENT’s sonic exploration to new heights, offering more disco, punch, glitter, motorik beats, lyrics, and even more jazz.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combine psychedelic illustrations and weird AI generated images with bold and playful typography: Glyphs from Dinamo’s Maxi Round and Maxi Sharp form the band’s name while ABC Connect delivers Baustellen vibes, nodding back to the Rohstoff artwork from 2021. The lyrics and liner notes are set in GT America.

[More info on Discogs]

Right: Riso-printed inlay featuring liner notes by Tobias Lindemann

Limited golden edition of the LP containing a Riso-printed inlay with liner notes and a sticker

Left: LP inner sleeve featuring the lyrics. Right: Shirt design based on the LP artwork

LP back cover

Left: cover artwork for “Station to Station” single

Ulises Carrión (1941–1989) was a Mexican poet, artist, and cultural theorist who was pivotal in conceptual art and the artists’ books movement. His essay “The New Art of Making Books” (1975) radically redefined books as autonomous artistic spaces rather than mere containers for text. Carrión argued that “a book is a sequence of spaces” where meaning emerges not just from content but from the book’s entire physical structure, challenging conventional literary practices and influencing generations of artists to explore books as complete artistic works. The English translation of “The New Art of Making Books” first appeared in the magazine Kontexts, which was published by the University of Warwick.

This version featured text apparently produced with an IBM Selectric typewriter using Dual Gothic. Title and author name are added in two weights of Folio. Judging from the slightly unruly baseline and the damaged K in “Books”, it appears to be Letraset’s adaptation for dry transfer lettering. In this version, Folio’s alternate R with straight leg – which is used here – is the only available form.

Our good friend Lauren loves golf. She believes that sports belong to everyone but recognizes that the barriers to entry and surrounding culture aren’t always kind to newcomers. So, she created Chip + Birdie’s Virtual Golf Club to welcome both beginners and seasoned players.

We chose Learning Curve Bold for its easy elegance, balanced with straightforward DIN Alternate Bold (a version of DIN 1451). A closer look at classic-feeling Lastik reveals unexpected playful details. The color palette is soft, warm, and welcoming. With vintage qualities and a touch of bright athleticism, we drew inspiration from the elements characteristic of a great day out on the course.

Butter Baked Cookies + Cakes is a micro-bakery in Seminole, Tampa Bay, Florida. The Butter Baked logo was designed to feel fun and bright – playful but not overly sweet. We wanted it to have a light and airy quality, evoking the feeling of freshly baked treats. The top primary logos take inspiration from frosted cookies, with the drop shadow effect making each letter look like you could pick it up and take a bite.

Beyond aesthetics, versatility was a key consideration. The “cloud” version of the primary logo works well for large-scale applications, especially over images, adding a soft, dreamy feel. Meanwhile, the secondary logos were created with practicality in mind. The circular logos function perfectly as stickers or packaging seals, reinforcing the brand’s handcrafted charm. For embroidery or small-scale applications, the simplest logo (without the drop shadow or sparkles) is the best choice, ensuring clarity while maintaining the Butter Baked identity.

Rigatoni Runners is a weekly community running club, based in Saarbrücken, Germany.
This poster and flag was designed for their community event in November 2024.

The letter shapes of Goiters perfectly capture the rigatoni spirit, paired with a deliciously healthy dose of Vulf Mono.

Skinpossible is a skincare brand based in South Victoria, Australia. Their brand identity and packaging design were designed by AKLR, pairing Bagoss from Displaay Type Foundry and Simon Mono, available from Actual Source.