Founded in 2023, Nuent is a European dental supply group company that provides everything dental practices need to excel. Through advancements in digitalisation, distribution, and sustainability, they were looking to write the next chapter in dentistry.

Onsite is used in both its Regular and Extended widths.

We made an eclectic type palette for Peralta Supermercados, a chain of supermarkets in Brazil.

The simplicity of Pacaembu for text, paired with giant Acme Gothic and Graúna for punch and prices. Verveine serves as a soft, hand drawn counterpart to complete the set.

Scale and punch go hand in hand with supermarket visual communication. This one sets an active yet not as in-your-face retail tone.

See the full case study including detailed credits on Behance.

Through an integrated and holistic approach, Sunday Wellness addresses chronic health issues through lifestyle and diet choices. Focusing on the root cause, Sunday aims to establish routines and practices that promote long-term health, healing, and wellness.

The logotype was built from VC Henrietta Condensed, a chunky serif typeface that takes inspiration from the legendary Cooper Black. VC Henrietta is also used as the display typeface, supported by Mori.

Read and see more in the case study.

Access is the leading destination management company in the country, with over 50 years of experience. They coined the term “DMC” and have continued to redefine what it means. Access sought a new identity that reflected the true nature of their business, and prestige in the event industry. An identity that communicated their driving forces and motivated internal teams around the future to come. FRNDS in Denver brought us on to build a daring identity that balanced warmth with sophistication, and embodied the strategic and creative powerhouse behind the nation's biggest corporate events.

We use the highly-contrasted serif GT Super Display as the display font to push into the neighborly aspect of their new tone and voice. The display font is complemented by the mono-linear geometric sans-serif Roobert, packed with loads of personality and detail.

Read and see more in the case study.

What Counts is an interactive installation conceived by Giorgia Lupi and team at Pentagram for the exhibition Who We Are: Visualizing NYC by the Numbers at the Museum of the City of New York.

It questions the historical legacy of census taking and data representation. Rather than offering usual dull data visualizations composed of bars and circles, Pentagram designed a whole apparatus centered more on what makes an individual identity, calling into question the collective identity brought by administration. This formalizes in a series of questions not based on facts but on world views, where each answer adds up to finally create a unique data portrait, emphasizing the emotional aspect of what makes one’s own identity. All these portraits are then used for the dynamic data visualization screened on the wall, where the visitors can read the proportions of different answers.

For the graphic design of the installation, Pentagram used two different kinds of type. There’s a custom typeface based on Lupi’s handwriting, made at Pentagram in 2019 and simply named Giorgia Lupi, keeping a handwritten aspect that contrasts with the usual clinical standards of census taking; the data portraits are also designed with a hand-drawn style, positioning them closer to craft than to the generated images they actually are. On the other hand, texts are set in Proto Grotesk from Production Type. Its straightened curves, inspired from an early German utilitarian sans, make it at the same time steady and unpolished: this singularity brought into a rather standard style echoes the will of Pentagram to bring emotion to data. The team of designers called this approach “data humanism”: an urge to consider people not only as statistics but also as individuals with desires and dreams.

The wordmark uses Omnes Medium in CamelCase.

Omnes is the branding typeface of ResDiary, a reservation and online order system for restaurants.

In addition to the logotype, the sans serif by Darden Studio is used for the mobile consumer apps, the web and tablet apps for restaurateurs, as well as for all text on the B2B website.

The mobile app helps users to find local restaurants and book a table.

Screen from the web app for restaurants. With its crisp shapes and unambiguous numerals, Omnes helps managers to stay on top of things.

ResDiary offers simple grid and table plan views. All UI typography is rendered in Omnes.

A clear typographic hierarchy featuring two weights from Omnes and a bright color palette at work in ResDiary’s waitlist app.

The multilingual website directed at restaurant managers exclusively uses fonts from the Omnes family, including several weights and italic styles.

Ad for the ResDiary Now App, featuring some of the heavier weights from Omnes.

For more than two years, [Use All Five] worked closely with Google Arts & Culture, ForYourArt, and curator Hans Ulrich Obrist to develop a platform that explores Obrist’s journey from contemporary art into an expanded field of various disciplines including architecture, literature, philosophy, and science. As the preeminent “curator of the information age, Obrist’s curatorial work has defined and redefined this increasingly ubiquitous buzzword. This project illuminates how Obrist — more than a historian, expert, or tastemaker — epitomizes the distinct functions of a curator. [project page]

The main typeface used by L.A. studio Use All Five is a light weight of SangBleu OG Serif (formerly SangBleu Serif). Alongside the pages of the website, it is paired with both Castledown and GT Sectra.

SangBleu OG Serif is part of the SangBleu OG typeface, available from Swiss Typefaces.

New York based-industrial designer McKay Nilson launched a new website, using and mixing Ogg by Sharp Type and Lausanne 300 by Nizar Kazan.

Mckay Nilson is an industrial designer intent on blurring the boundaries and filling the space between objects and human beings.

The typography references to blurring boundaries applying a blur effect to text links upon hovering.

Designer boutiques, award-winning eateries, bars, health, beauty and offices set within some of Auckland’s oldest buildings and newest architecture, Britomart is the place to be from the first meeting of the day to the last whiskey of the night. — Britomart Group

Britomart is a vibrant nine-block precinct at the centre of Waterfront Auckland. The new website represents a colourful evolution of the existing brand, with a focus on the Britomart community.

The slate-coloured website presents information with body copy in Untitled Sans, interspersed with big blocks that contain stylish images and short bits of text using GT Walsheim, set in a big point size and in various colours. The Britomart logo combines two styles of Knockout.

Britomart identity: Inhouse
Website: Inhouse and Grafik
Web development: Grafik

This GovLoop guide provides high-level information about how the U.S. DoD workforce is prepping for the future and the rationale behind the four main IT initiatives moving into 2020: Force of the Future, Joint Information Environment (JIE), Defense Innovation Unit Experimental (DIUx), and United States Cyber Command (CYBERCOM). The black and white design, using Geogrotesque and Geogrotesque Stencil throughout, is inspired by control centers equipped with cutting-edge technology.

Because all GovLoop guides other than the Pocket Guide series are full-page, using wire-o binding is not feasible for the cost. Therefore all GovLoop publications use ‘perfect binding’. For this guide, I convinced the design and finance teams to produce a limited edition of brochures with ring binding along with the regular printed edition and a pdf download.

Merriweather is mixed with Roboto in the Beta redesign for the website of the South China Morning Post, Hong Kong’s newspaper of record.

The branding of Polish furniture and interior design specialist Studio Forma 96 was designed by Uniforma, using SangBleu King and Suisse Int'l by Swiss Typefaces.

This publication, designed by Barcelona based studio DOMO–A, makes available to everyone the access and download of different lectures about Picasso. The international conferences are held annually by the Museu Picasso and carry the title “Master Conferences Jaume Sabartés”. It can be downloaded in pdf format for you to print and bind it, so you can create your own ‘book’. It’s also available in epub format for reading on your tablet or ebook.

It was a matter of making a simple binding, made with common materials for an attractive result. The most important thing about the binding was to group all the conferences and at the same time keep them separated from each other, hence we used pins.

Because many references to pictures of Picasso were made, it was necessary that as you read the text you could have the visual reference as close as possible. Since the works are great protagonists we decided to give them their own section in which we can see them on bigger size with data as the title, the year, the technique…

Fusion Arena is the largest virtual reality game arena of Europe, launched in 2018 in Zürich.
Studio Updott was responsible for defining its positioning, visual identity, parametric F logo (play with it on their website), brand and design systems, website and app with all the digital experience (UX and UI). They paired Silva Display with Poppins in the brand design.

In times of big brands requesting very similar looking custom typefaces (with far-fetched references) for their corporate identities, this may be a fresh take on how to stand out from your competitors with a set of shapes, colours and fonts that are easily accessible to anyone.

Following a repositioning of airline Transavia, Mirabeau and Studio Dumbar rolled out a complete overhaul of the Transavia identity & strategy: from name (used to be Transavia.com) and colour palette (used to be a patrol station-like green and yellow) to onboarding, conversion, livery, website, uniforms, the whole package.

In the new look everything seems lightweight, friendly, easy and screen-oriented. Even the planes look like they are web-only or mobile-first, with big clickable-button-like icons.

Together with the simple and strong palette of colours and shapes, Nexa is one of the rugs that ties the room together in every Transavia product. The wordmark is set in what looks like modified Nexa Bold, one of the free weights of a type family that started out as a freebie. Since its introduction in 2012, the family was fleshed out to include script and 'rust' styles. In the Transavia identity, the type palette is kept as simple as possible: only a few upright (roman) weights.

CNET homepage with Jubilat Medium, reversed on images

Founded in 1994 and currently a brand of CBS Interactive, CNET is the highest-read technology news source on the Web. The website publishes news, reviews, articles, and videos on technology and consumer electronics, and maintains a download section with popular software.

Since the major overhaul introduced in August 2014, the French edition CNET France makes good use of webfonts. The design combines the contemporary slab serif Jubilat by Darden Studio with Proxima Nova. Jubilat Medium adds authority to the headlines, while Jubilat Extra Light graces the article intros. The fonts are served via Typekit.

Article teasers

Headlines are set in the Medium weight. The deck is in Jubilat Extra Light. The Jubilat family spans 11 weights, with 4 weights being even lighter than Extra Light (Thin, Extra Thin, Super Thin, Hairline).

Jubilat is distinguished by efficient spacing in both dimensions. Its large x-height makes it suitable for headlines and decks alike.

Pop-up menu with a list of recent articles.

The iPad edition of for AOK Bayern’s magazine bleib gesund is published by wdv. Frontend Development and UX design by TBO Interactive. See also the print edition.

Aol, the American corporation, is using Adelle Sans on its homepage, the new mobile and tablet app, as well as its launching website.

The new app enables access to the Aol user’s e-mail account, contacts, news, videos and other services. It is available for iPad, iPhone, and Android based phones and tablets

The print edition is far more dynamic than yesterday's, powered by an energetic new type and color palette. This is a newspaper that is "doing print happily," using the broadsheet canvas to display large headlines and photos.

Postmedia’s Canadian metro newspapers are launching distinct tablet, mobile, responsive web and print editions, with a unified look and feel across them all. Mario R. García and Reed Reibstein of García Media collaborated with Postmedia to conceive the new products, which have first launched with the Ottawa Citizen.

Working with Postmedia Design Director Gayle Grin, García Media recommended two main type families to lead the Postmedia visual identity for print and digital products:

Titling Gothic FB from Font Bureau, an impactful sans-serif with many weights and widths to cover dramatic headlines and clear subheads alike; and Shift from MCKL, a warm slab-serif that acts as an approachable counterpoint to Titling Gothic.

Benton Sans, Chronicle Text, and Georgia are used for captions and body text across different platforms.

Read the full case study on García Media's website.

For iOS and Android mobile phones, the focus is fast and local, with short and snappy updates created by a dedicated editorial team.

ottawacitizen.com is now responsive, working on every device from smartphone to desktop.

The Citizen's print edition on launch day, via @STUMILLSCBC

The full product suite for the Ottawa Citizen: iPhone/Android app with local news updates, evening tablet edition, broadsheet print edition, and responsive website.

The Citizen's new iPad app is wholly different from the website and print edition. At 6 p.m. each day, a dedicated team will release an edition edited and designed from the ground up to take advantage of the tablet. It will have interactive "pop-up" moments galore, along with video, photos, audio, and of course text.

Helsingborgs Dagblad (HD) is the prominent newspaper of Sweden’s fourth largest city. Founded in 1847, in 1892 it took the step to become one of the first daily papers in Sweden. Fast-forward to 2013, wherein HD took the step from using Arial to Siri for the digital edition. The brand new responsive HD.se works on your desktop, phone and tablet.