Many Danes believes that wind turbines spoil the country’s beautiful landscapes. To challenge this view and inspire a conversation about what true beauty means in the face of environmental change, energy company Andel launched “Danish Beauty Remastered” – an art collection reimagining how we see and value the Danish landscape.

“No more climate records”

“Grønnere fremtid for alle” (“A greener future for all”) is the slogan of Andel. From their website:

As Denmark’s leading energy group, we are ready to invest over 90 billion in a greener future for everyone by 2035. We do this through projects that can promote renewable energy and the green transition of our society.

The typefaces used for the campaign are Andel Sans and Andel Display. The latter is an all-caps style that was recently added to the custom typeface family designed by Playtype.

The basic alphabetic glyphs of Andel Display

Bolt homepage

Gamay serves as the brand typeface for Bolt and Plenty.

Bolt is a Belgian supplier of green and locally sourced energy. In 2025, the company launched their new cooperative, Plenty. On this occasion, Bolt commissioned design studio WeWantMore from Antwerp with a new visual identity that encompasses both enterprises.

The clear-cut sans by Darden Studio plays a center role in it: Gamay is often used in all caps from one of its bolder weights, for example in billboards and online campaigns. On the two websites, boltenergie.be and plenty.be, it features in various styles, from the Book Italic to the ExtraBold. Gamay makes for impactful headlines as well as for crisp body text, and looks good in both the French and Flemish language versions. It’s supported by italic styles from Dave Rowland’s Gelica.

“Know where your electricity is coming from”

Video ad for the Plenty cooperative

Selection of social media posts by Plenty

Flemish version of the Plenty website

French version of the Plenty website

New Energy Transport is a vertically integrated trucking company that combines low-cost renewable energy and electric trucks to deliver zero-emission heavy road freight. The company is pioneering an innovative business model which utilises onsite batteries and the wholesale electricity market to match the cost of diesel-based freight.

The visual identity was designed by Human Relations Studio using Melange Grotesk in Regular, Book, Medium and Semi Bold styles.

clearvise stands for environmentally friendly energy production through wind and solar parks as well as a biogas plant in Europe, combining sustainable values with attractive returns. As part of a strategic reorientation, a new brand name, an independent corporate design and an innovative website were created to meet the highest visual and technical standards.

The new logo, inspired by a stylized wind turbine, symbolizes movement, energy and innovation. The brand name clearvise combines clarity and consulting, reflecting the commitment to sustainable projects with vision, expertise and long-term success. Dynamic arrow elements, inspired by natural forces such as wind and sun as well as the dynamics of the financial world, create a lively and energetic brand identity.

The site combines modern design with innovative web technology: fast load times ensure a seamless user experience, while dynamic content is delivered flexibly and efficiently. The result is a platform that is both visually appealing and functionally optimized, tailored to the needs of investors and stakeholders.

Professional brand communication is reinforced by the typography in TWK Everett, which blends organic forms with a clean, technical aesthetic. The color palette – with bold shades of dark blue complemented by vibrant accents of yellow, green and blue – creates trust and emphasizes the focus on renewable energy sources. In this way, clearvise combines high-quality design with sustainable energy and a clear vision for the future.

Martin Klaffensteiner has designed a website for sustainable data center company OnZero. The typeface used is the book weight of Store Norske Skandia from Skriftkompani.

OnZero write on their website:

We commence a new era of sustainable Data Centers. By recycling 99% of our excess heat, we achieve groundbreaking efficiency values. This means, we’re not only able to offer HPC co-location services, but also play our role in the energy transition by generating high temperature CO2-neutral waste heat. Additionally, proprietary software allows us to help prevent blackouts by offering our capacities to grid balancing markets.

Founded in 1998 in Laufenburg (Swiss Canton Aargau), Energiedienst is an energy supplier that offers electricity and energy-related services in southern Baden, north western Switzerland and Valais. At the end of 2023, the group restructured its brand strategy, which led to its renaming in 2024 to naturenergie, with the sub-brands enalpin (active in the Upper Valais market area), tritec (Swiss photovoltaic market) and naturenergie netze (the grid operator for South Baden).

The new visual identity was developed by Tonic, a Swiss agency from Upper Valais. According to their website, “Many people call us marketing specialists or creative agencies. We call ourselves design activists”.

With this in mind, Sebastian Bonani and his team created the brand kit for naturenergie with colorful, partly animated pictograms (“glyphicons”), a turquoise-yellow color scheme and Pangea as the new corporate font. A slightly modified Pangea is also used in the logo for the word “energie”, while “natur” appears to be set in (modified) Söhne Leicht.

“Energy transition is a major goal. Anything is possible if we join forces. If everyone pulls together, the future can become greener and more colorful at the same time,” says Bonani as he sums up his team’s motivation on the project page. With this in mind, Pangea is a good fit. 25 percent of Christoph Koeberlin’s designer royalties from Pangea go towards rainforest conservation and large-scale reforestation projects.

In terms of design, the font also supports the sustainable transformation of the naturenergie brand, under the motto “Welcome to the We & Now”. Pangea is modern, compact and cohesive. The striking “pince-nez glasses” g, the double storey a and the l with a curved end give the otherwise neutral typeface a humanistic touch. Diagonal terminals and round dots ensure a friendly appearance.

From the case study by Zeus Jones:

Climate change is by far the biggest problem facing our world, and Dimensional Energy has created a bold solution: transforming carbon dioxide into sustainable aviation fuel and other everyday products like surf wax. As they worked to scale their technology, Dimensional partnered with Zeus Jones to evolve their brand strategy, positioning, and brand identity to help them usher in this new future of energy.

The new identity of Dimensional Energy is a brilliant display of Pangram Pangram’s Neue Machina Collection.

B2K is a company specialized in the installation and maintenance of photovoltaic solar energy systems. With the aim of improving its positioning, they recently decided to carry out a complete renewal of their visual identity.

The brand represents the company's link with the sun – the element around which their reason for being revolves – in an accessible way that can be understood by its audiences. From it we generated a simple and flexible graphic system that gives prominence to typography and visual elements that are inspired by the company's own universe.

We used a single font, Roobert, for the entire visual identity with the intention of simplifying it and making it accessible.

Based in Bilbao, Iberdrola S.A. is currently the fifth largest energy company in the world in terms of turnover. The group supplies almost 40 million customers, more than eleven million of whom are in Spain. In addition to generating electricity from hydro- and wind power, the company also sells natural gas and is involved in the operation of five nuclear power plants in Spain.

As Iberdrola is already an international pioneer in the renewable energy sector and wants to focus even more on protecting the environment, the company commissioned Design Bridge and Partners (a merger of Superunion and Design Bridge) to revamp its visual identity. In redesigning the brand, care was taken to ensure that every element of its visual identity has more impact and yet uses less energy.

The new design aims to create a brand that is more sustainable, accessible and modern. The digital footprint of the new logo is now smaller, as it has been simplified in terms of color and design. At the same time, a logo font has made it more accessible, secure and user-friendly. The updated color palette represents three key elements of Iberdrola’s values: green = renewable energy, blue = water and orange = the sun.

The new corporate font family, which was derived from Pangea and subtly adapted by Fontwerk on behalf of the client also meets the brand’s requirements. For office use, the 20 weights of IberPangea and IberPangea Text were also supplied in TrueType format, each with a single-story g as the default. Access to the leaf logo is integrated into the fonts and the (individually spaced) logotype is accessed via Unicode.

Description of the project from Stephanie Lüscher's website:

Stormvloed (Stormflood) is an organizational consultancy that focuses on major social themes such as energy transition, housing shortage, and infrastructure maintenance backlog. (...)

The concept of Stormvloed's visual identity is inspired by the upward trajectory of a storm flood, symbolizing the consultancy's commitment to raising the bar in the market. This recognizable and simple visual element represents how Stormvloed takes charge, driving quality and fostering the growth of talents. The visual identity embodies both energy and simplicity, creating a powerful and appealing combination.

Stormvloed uses NaN Holo in 2 widths all over the place. The compressed bold style makes the huge size titles compact, such as the name of the project taking 100% of the width of the screen. All the texts are set up in NaN Holo Narrow, either Regular or Bold, a choice that reflects the voluntary simplicity underlying the project.

Agency: KesselsKramer Digital
Art Director/Designer: Stephanie Lüscher, Roland Cos
Creative Director: Merijn Straathof

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

TT Commons Pro is the signature font of IBC SOLAR, a leading full-service provider of energy solutions and services in the field of photovoltaics and storage. The company offers complete systems and covers a wide range of services from planning to the turnkey handover of photovoltaic systems.

S’exposer au vent (“Exposing yourself to the wind”) is a book that gathers conversations around the project of floating wind turbines in the Gulf of Lion. It is published by the Bureau des guides du GR2013. This cultural association carries out projects that offer original experiences and situations to a wide audience in and around the Aix-Marseille metropolis.

Design by Aéro Club with assistance from Pedro Cardoso, using Bourrasque and Feijoa.

A typical use of the “Where clean energy lives” slogan, using Degular Display Regular with leaf and plug device

In March 2021, New York City area public utility company Consolidated Edison, Inc. (typically referred to and styled as "conEdison" or just "conEd") contracted agencies Code and Theory and Assembly to create ads publicizing the utility's clean energy commitments. From late 2021 through to the present (summer 2022), the massive Where clean energy lives campaign has appeared in ads on television, public transport, radio, promotional products, and social media all over the New York City metropolitan area.

At the heart of the campaign is Degular Display Regular by OH no Type Co., often framed by a leaf and electric plug element that serves as a mark for the campaign. The campaign is also localized into Spanish to reach more of conEd's New York and New Jersey customer base.

The use of Degular allows the campaign to stick out from the rest of conEd's branding; making the campaign instantly recognizable, even without the enclosing leaf and plug element. The lighter, sharper forms of Degular stand purposefully in contrast to the heavy and blocky forms of Futura Maxi Bold, conEd's typical brand font, but it also rhymes well with the Helvetica found in the conEd logo.

Finally, a grotesk that could be Söhne or similar is used as a secondary font for smaller text on some ads.

Examples of campaign applications, prepared by Code and Theory

“Where clean energy lives” video ad as seen outside an MTA subway station, August 2022

The tag of a TV ad

The tag of a TV ad translated into to Spanish

In a country with deplorable climate targets, in the midst of a global environmental crisis, Future Super believe that Australians’ superannuation is their collective superpower — we just need to know how to use it. In collaboration with their creative team, we built a rebrand that shines light on the ways we can harness the power of our super to make a meaningful difference.

Using this idea of shining a spotlight on both the (deliberate) lack of clarity most funds provide and the power our super can have, we began with a logo. Well, many logos, really. Designed for motion and interaction, the mark is responsive — there’s no limit to its number of iterations. It adapts and flexes, shifting size and shape to suit where it sits and do what it needs to, from small format digital applications to expansive billboards to the 3D space. At any touchpoint, it anchors the design system and serves as an infinitely flexible tool to push away unnecessary noise and put what needs to be said front and centre.

In much the same way, the design system as a whole takes flexibility and responsiveness beyond just the logo to create even more visual impact. Building on the idea of bringing light to key communications, we created a set of layout and motion principles that would guide the brand. It can push, uncover, frame and give perspective to the content and works seamlessly across every pillar of brand communications. As a direct response to the stock-image-saturated world of super, images are only ever used to support messages — never as filler.

Dia Black – used exclusively in all caps – brings its bold and confident character to the logo and, though used sparingly across the rest of the system, also lends additional expression to the brand, extending across headings within type frames and pullout text.

The matter-of-fact and Swiss-like nature of ABC Monument Grotesk as our core typeface makes for an effective and striking contrast with its Dia counterpart. It’s highly robust, comes in multiple styles and weights (useful for a brand with so many copy-driven touchpoints) and includes tabulated figures, fractions and a full set of mathematical operators, which makes sense for a company that deals in numbers.

For more images, animations and information, visit the Universal Favourite website.

Source: www.goto.energy Goto Energy. License: All Rights Reserved.

Jubilat is the brand typeface of Goto Energy. The British supplier of green energy uses the slab serif by Darden Studio for its logo. Jubilat is also the font family embedded in the mobile app, and used for ads, social media, and other platforms.

The name in the logotype is stylized as web address, in all lowercase letters: goto.energy is set in two sizes and two of Jubilat’s eleven weights. With their ball terminals, Jubilat’s numerals combine character with clarity. This is utilized in the app which needs to display a wide range of numbers, from meter reads and dates to the account balance. For the “switch it off” campaign, the designers came up with a hashtag design that playfully integrates a toggle button, shown in place of the letter o.

Source: www.goto.energy Goto Energy. License: All Rights Reserved.

Source: apps.apple.com Goto Energy. License: All Rights Reserved.

Mobile app: splash screen

Source: apps.apple.com Goto Energy. License: All Rights Reserved.

Mobile app: register form

Source: apps.apple.com Goto Energy. License: All Rights Reserved.

Mobile app: overview with balance, meter reads, and tariff info

Source: apps.apple.com Goto Energy. License: All Rights Reserved.

Mobile app: account menu

Source: www.goto.energy Goto Energy. License: All Rights Reserved.

Infographic using color and boldface for emphasis

Source: www.goto.energy Goto Energy. License: All Rights Reserved.

New Energy Coalition aims to accelerate the energy transition by partnering research, education, innovation and business.

The logo uses Thomas Huot-Marchand’s Minuscule (205TF), “a typeface for extremely small sizes”. The chosen style is the most extreme one: Minuscule 2 was designed to remain legible at 2 pt. For its design, Huot-Marchand looked into the theories of 19th-century ophthalmologist Émile Javal who found out that at sizes this small, “we pay more particular attention to the difference between the letters”. The particularities of each glyph hence are exaggerated, and secondary details eliminated. As with most typefaces optimized for small sizes, Minuscule 2 can also be repurposed as eye-catching typeface for display and branding purposes, as it has been done here, too. Now its weird shapes don’t help so much with legibility, but rather symbolize the radical changes that are necessary for the transition to green, renewable energy. “Coalition” is added in Typold (The Northern Block), which is also used for other aspects of the brand.

The logo as used on the cover of an annual report, with display typography in all-caps Typold.

I was patiently waiting for an excuse to use Sandrine Nugue’s Orientation, and the opportunity presented itself when the good people at Garage Project came to us with their “Turbine” beer. Their brief was to explore the concept of the local wind turbine as a pinwheel, and Orientation’s sharp blades and sense of motion seemed perfect.

We created the illustration and type treatment, and designed the label, box and street posters. The team at Garage Project took care of the small text on the labels – set in Trade Gothic. Among the other typefaces on the packaging are Erbaum (“PALE ALE”) and Sofia (text on the side of the packaging box).

We’ve created the magazine Stallets for one of our clients, Scandbio: Sweden’s largest company within solid processed wood fuels. They sell 100% renewable energy in the form of pellets. This magazine targets horse owners, showcasing eminent Scandbio clients in their business.

We gave the typography an essential part of the design, and the use of Cirka and Sabon created a nice editorial feeling. Booth classic and modern at the same time. We also like the combination of them, and they are a contrast to Scanbios’ regular typefaces – making this project stand out and attract the horse interested and lifestyle audience in a better way.