Visual identity for the “E noi come vivremo?” (“How will we live?”) festival, marking the 30th anniversary of Vita magazine. On 25 and 26 October 2024 at the Fabbrica del Vapore in Milan, a two-day event was held dedicated to imagining feasible solutions for a sustainable and socially just future. Thematic sessions addressed key issues of everyday life with contributions from many leading figures of our time: from education to healthcare, from investment to critical thinking.

The visual identity was curated by Matteo Riva (the magazine’s art director) using the Dote typeface (designed by Fantasia Type and available on Future Fonts), Atlas Grotesk and Austin (both available from Commercial Type).

The choice of the Dote typeface was justified by the fact that it echoes the original masthead of Vita, designed in 1994 by the advertising designer Gavino Sanna and inspired by Lucian Bernhard’s Bernhard Antique.

Echoes of Tomorrow is a limited edition book, each copy hand-numbered, created as a special gift for DCarbon’s clients and collaborators. DCarbon is a sustainability consultancy guiding building projects toward environmentally and socially responsible outcomes.

Business Sustainability Toolbox. Innovative Wege zur Nachhaltigkeitsstrategie (“Innovative approaches to sustainability strategy”) is a 280-page reference book on the development of sustainability strategies for SMEs, corporations and start-ups. It was compiled and written by Julia Weber and Marcel Farkhondeh-Hoy and published by Vahlen (Munich) and Versus Verlag (Zurich).

Step-by-step instructions, templates and numerous illustrations are used to simplify the complex processes across four chapters, making it easier for readers to get started with the topic. Macan is used throughout.

Passenger Clothing is a UK-based sustainable outdoor apparel brand, founded in 2012 by Richard and Alexa Sutcliffe. Since 2023, Storica is used for the logo.

Under the name Festival hrane za možgane (“Food for the Brain Festival”), the University of Ljubljana organises cycle of events which, through workshops, exhibitions, and roundtable discussions, aims to open a dialogue on the biodiversity crisis and sustainable development. The festival brings together researchers, students, and the wider public, and highlights the importance of knowledge, collaboration, and concrete actions for nature conservation – including in urban environments. Shown here are the designs for the 2024 and 2025 editions.

In 2024, the festival menu has a strong sustainability focus and brings together researchers, UL alumni, and students at a shared table to address current societal issues and the challenges of establishing sustainable food systems.

The 2025 program focuses on the biodiversity crisis and responses to it with scientists. The festival menu is sustainability-oriented and brings researchers, students, and external participants together at a shared table to discuss current societal issues and reflect on the biodiversity crisis and our relationship to it.

Graphic design by Jernej Kejžar, using Univerza Sans designed by Alja Herlah and published by Type Salon.

In June 2025, MAN Energy Solutions – a titan of German engineering with roots dating back to 1758 – underwent a massive strategic and visual transformation, rebranding as Everllence. This shift marks the company’s evolution from a traditional manufacturer of large-scale diesel engines and turbomachinery into a frontrunner of industrial decarbonization. The name is a portmanteau of “Ever” (signifying historical continuity and pioneering “first-ever” innovations like the original diesel engine) and “Excellence”.

Developed by design agency Strichpunkt, the new visual identity is built around the motto “Moving Big Things to Zero”. It ditches the heavy, industrial legacy of the MAN logo in favor of a modular, future-proof design system intended to bridge the gap between heavy engineering and high-tech sustainability.

The choice of Nexa by Fontfabric as the primary typeface is central to this new aesthetic. Nexa’s geometric construction provides a clean, optimistic, and modern feel that aligns with the company’s focus on hydrogen technology, carbon capture, and large-scale heat pumps. At the same time, the font’s sturdy architecture and excellent legibility retain a sense of the ‘industrial muscle’ required for a company that powers nearly 50% of global trade via its maritime engines. The typeface is used across all digital touchpoints, corporate communications, and global signage, successfully humanizing a 250-year-old engineering giant for the net-zero era.

Molberger has crafted a new brand identity for Baylon, an emerging line of high-quality clothing for adults launched by the team behind Lillelam. Continuing the commitment to ethical and conscious production, Baylon’s identity builds on trusted values while establishing a distinctive and contemporary presence for the brand.

The updated visual language, tone of voice, and communication strategy reflect Baylon’s focus on quality, responsibility, and modern style. The use of Store Norske Geita and Store Norske Leif from Skriftkompani shapes the brand’s character: Geita brings a dependable, structured foundation to key messaging, while Leif adds warmth and approachability, ensuring the identity feels both refined and inviting. Photographs by Johanne Nyborg.

The Future Simulator is an immersive installation allowing visitors to make decisions on climate-related topics and experience the consequences for humanity.

It is part of the permanent exhibition Klima. Wissen. Handeln! (“Climate. Knowledge. Action!”) at Vienna Museum of Science and Technology, which explores the consequences of climate change as well as our collective capacity to act.

Designed by Stefan Kainbacher and his team together with Studio Freude, the installation combines interactive storytelling, motion tracking and sound to visualize possible futures. The motion design is by Tobias Müller of MDMR.

Scope is used throughout the installation in animated and interactive ways, while the title/logo features a modified version of the typeface.

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

Branding and Illustration for Clay & Bean, a coffee shop in Woodford Bridge, London. More than coffee—it’s a space built by the REFAB Team with hand-crafted clay plaster walls, natural materials, and earthy tones. A hub for community, creativity, and sustainability, where high-quality origin coffee meets design rooted in nature. Every detail, from the benches to the counter, was made on-site. The name unites its essence: clay from clay plaster and craft, bean for coffee. The branding reflects these core values—authenticity, sustainability, and inspiration.

Kolemhlíny is an interdisciplinary creative platform focused on the use of clay materials in architecture with an emphasis on sustainability and regenerative design.

Designing the identity for kolemhlíny required capturing the tactile essence of clay while ensuring clarity across digital and print applications. Our challenge was to translate the granular, layered quality of rammed earth into a coherent visual system. It needed to feel raw yet intentional—expressing materiality, craft, and the interdisciplinary, experimental nature of the platform without appearing chaotic or overly decorative.

The final logotype is set to evoke the density and texture of clay particles. Its modular, grain-like rhythm mirrors the layered process of rammed earth construction, creating a strong link to the project’s material focus. A bold orange palette and dynamic composition amplify this connection, while a supporting typographic system ensures versatility, giving kolemhlíny a distinctive identity rooted in craft and contemporary design.

The project consists of a Brazilian sectoral initiative developed to promote national cocoa in strategic markets such as Europe and the USA, in addition to bringing together public and private efforts to expand recognition of Brazilian cocoa in order to strengthen the production chain in a sustainable way.

The visual identity, developed by Estúdio Arado, features significant elements of cocoa cultivation and reveals some nuances of our production process in Brazil. A strong, distinctive typographic logo was chosen, capable of adapting well to the English language version. The palette reflects a certain tropical vibrancy and the inherent diversity of this crop, which is often carried out in agroforestry systems.

Cacau Brasileiro (Brazilian Cocoa) is the result of a collective effort between Instituto Arapyaú, AIPC, CIC, FAEB, the Sectoral Chamber of the Cocoa Production Chain and Agroforestry Systems, and Cocoa Action Brasil | World Cocoa Foundation.

Trilogy was founded by two sisters from New Zealand who discovered the amazing skin loving benefits of rosehip oil, and took it to the world. Besides the signature rosehip oil, the brand now features a wide range of skincare products that all follow the same conscious approach, to minimize the impact on earth. Trilogy is Toitū carbon neutral certified, NATRUE and BioGro certified natural and organic. They do not test on animals and use PEFC certified cartons and recyclable or PCR materials wherever possible.

The logotype uses Grand Slang (Nikolas Type). In 2022, Trilogy commissioned Nikolas Type to create a custom version of Grand Slang’s lowercase g which is in use since then.

The branding is completed by Attila Sans (Kometa) Ogg Text (Sharp Type) and National 2 Compressed (Klim Type Foundry).

IFM Investors is a global investment manager, owned by Australian pension funds, that focuses on long-term infrastructure, debt, listed equities, and private equity investments. NN Nouvelle Grotesk and NN Colroy are in use throughout the entire corporate design.

Omnes is the font chosen for the identity of Nagas, a manufacturer of air handling units and integrator of reverse-flow energy recovery systems.

The logo is based on Darden Studio’s Omnes, using lowercase letters from its SemiBold weight. Omnes comes with two alternate glyphs for g; a variant with a shorter ear and a single-story one. The form featured in the logo is not included in the font: it’s a modification in which the loop was opened up.

In addition to the logo, Omnes is used for all text on the Nagas website as well, in five of its nine weights – here with its default form for g.

Llibre Verd València is the commemorative publication of Valencia European Green Capital 2024, a reference for citizens, professionals, and public authorities that sets out the city’s urban strategy for the coming decades in terms of sustainability and climate action.

This book needed to be functional and embody sustainability, while also serving as a limited-edition gift. The aim was to create a singular object that connects with both the theme and the territory through an organic material made from orange peels that embraces the publication. A unique material that reflects the creative potential of biomaterials and the transformation of waste. Resource efficiency defines the design of the content as well as the choice of format, paper, and inks.

Typography is one of the defining elements of the publication. Since this is a trilingual book and the goal was to minimize the total number of pages, a different typeface was chosen for each language: Guyot (serif) for Catalan/Valencian; Acumin (sans) for Spanish; and Ionic Modern (which, although not strictly a slab serif, is close enough) for English. In addition to providing the necessary differentiation without having to specify the language of each text, this approach also helped balance the overall text lengths. To complete this typographic set, Forma DJR Mono (monospaced) was selected for navigation and other common elements.

Second cover page of the 2023 Sustainability Report from MSC Cruises

The cruise company MSC Cruises was founded in Naples in 1988 following the merger of the Mediterranean Shipping Company (MSC) with the shipping company Lauro Lines. Starting out as a family business, it developed into a leading provider of cruises over the following decades. Today, the Geneva-based MSC Cruises is the third largest cruise brand in the world and is known for its luxurious ships, Mediterranean hospitality and exclusive travel experiences.

The brand agency Magic Pencil, commissioned to completely revamp the MSC Cruises brand, takes a modern design approach: “With our unique Brand User Experience strategy, we seamlessly combine the customer experience with sustainability goals. In this way, we ensure that a brand continues to develop in a targeted manner and remains at the forefront in an ever-changing world.”

The team led by Blaise Jeanneret, Vincent Gosset and Patrick Graf were responsible for the digital brand design–from brand colors to text styles. “A crucial aspect of our design approach is the careful selection of the font,” emphasizes Patrick Graf. The choice fell on the Pangea family: Light, Regular and SemiBold for the global website and Pangea Light, Regular, SemiBold, SemiBold Italic and Bold for the printed matter.

Advertising brochure MSC World Cruise January/May 2025, pages 2–3

Excerpts from MSC Cruises’ 34-page sustainability report, set in various weights from the Pangea family

Pangea is also used in MSC Cruises apps. (Advertising brochure MSC World America 2025/2026, page 34)

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

Imagine—Embracing Chaos and Possibility in a Planetary Emergency is not a non-fiction book or practical guide, but rather an interdisciplinary collection of conversations, reflections and contributions that explore life in times of global crisis—what some call a “planetary emergency.” The editors shed light on the ecological, social and cultural challenges of our time from various perspectives and aim to create up space for further reflection and solutions.

The book was edited by Laura François and Natalie Seisser. Viola Dessin provided the design, with art direction from Lars Harmsen. It was printed by Stober Medien and published in September 2025 by Slanted Publishers, with the kind support of Awe Exchange.

The hardcover publication has 160 pages and measures 12×19 cm. It comes with a headband, hot-foil embossing, thread-stitching, full color offset printing, changing papers.

ISBN: 978-3-948440-89-3