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Like a good ride, it’s all in the spacing: bronchify breathes easy, Kit sets easy.

The German company that’s concerned with “all things related to your horse’s respiratory health” recently rebranded. The newly introduced logo combines Kit Sans and Kit Rounded by Darden Studio. Being cut from the same cloth, the two typeface styles naturally go together well.

The Sans is more formal and ensures the reliability expected of a medical brand. The Rounded – which, quite unusually, came first in Kit’s design process – adds a good deal of approachability. The notch in the y works as extra eye-catcher. The last two letters are additionally highlighted through color. Consequently, they stand out from the wordmark, and can also be read as addressing the customer: “fy” as in “for you”.

Source: www.instagram.com bronchify. License: All Rights Reserved.

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The compact version of the logo as seen for the favicon retains the combination of Kit Sans and Kit Round.

Kit is also used for other touchpoints. Shown below are the “Bronchies”, a team of brand ambassadors in the form of cute characters related to horses and their lungs. Names in bold caps from Kit Rounded are supported by copy in Proxima Nova.

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Kit Sans is the typeface chosen for the redesigned identity of Bionox. The brand for dietary supplement products introduced the font family earlier this year, starting with the packaging design of their new flagship product, CardioGO.

The workhorse sans by Darden Studio is used throughout. All information on the labels is set in various styles from the Kit Sans family. The CardioGO name is presented in caps from the boldest weight, Kit Sans Black, with a custom heart-shaped counter in the letter O. The directions of use on the back are shown in the Regular, and the slogan “Everything You Need in 2 Scoops!” in the Bold Italic. As all fonts by Darden Studio, Kit Sans offer various sets of numerals. The label text features the oldstyle variety, with numerals that ascend and descend like alphabetic glyphs.

In the meantime, the use of Kit Sans has been expanded to the Bionox website as well as to other products such as the Chelanox Heavy Metal Detox and the Ultimate Nitric Oxide Capsules.

CardioGo was launched in three flavors, with packaging designs differentiated by color.

The Bionox website uses Kit Sans Regular for text, with ExtraBold for headings.

Free Radicals is a symposium that took place between 23 and 25 May 2025 in Prague, followed by additional events along the course of two years in other European cities. It is dedicated to exploring the state of play around thinking with plants in creative research and brought together artists, scientists, researchers, and creative practitioners.

Its communication was created by type and graphic designer Jolana Sýkorová. She used the free font NaN Holo Gigawide Ultra for all titles and NaN Holo’s Regular for all other texts. Sýkorová makes a liberal use of the blocky and black titling fonts for big headlines in all-caps with a tight linespacing and mid-word linebreaks to accommodate with the wideness of the font. The relative control of the layout is occasionally disturbed by mid-word change in the colour of the fonts and by a recurring pattern of colourful polka dots overlapping the words, like a kind of mold or lichen.

4N (pronounced “foreign”) is a biannual publication that champions and showcases emerging creative talent. Each issue, the magazine profiles between ten and fourteen creatives who have either brought their creative practices to the US or are in the process of doing so. The visual identity of this project takes inspiration from the typefaces and graphic treatment of existing official documents. The header logo is set in LHF Centennial Banker, and titles and body text throughout the publication are set in various weights of Editorial New.

Art direction and design by Panny Chayapumh, a creative based in New York who has designed printed material within the arts and has previously worked with leading arts institutions such as Creative Time, Times Square Arts, and the Queens Museum.

4N is a project by Special Special, a platform and studio founded by artist Wen-You Cai in 2016. Today, Special Special is a publishing house and gathering space of creative minds that intends to surprise, delight, and inspire through its unique perspective on everyday experiences.

Covers of the first three issues

Inspired by the space and featuring poignant leading questions and successful alumni, this limited edition book aimed to capture the crossover of entrepreneurial spirit and technological wonder on display at The Garage.

The prospectus featured four unique laser-cut outer layers, digitally printed in white and applied to the bound book body. These were produced onsite at The Garage and affixed during the print run at Graphic Arts Studio. Short sheets featuring photography of successful alumni were inserted throughout adding depth and dimension to the format and information.

Emerging from Minsk, Belarus, in 2017 and now calling Los Angeles home, Molchat Doma has captured the attention of global audiences with their hauntingly unique sound, creating music that is both melancholic and irresistibly danceable, infused with a dark, gothic aesthetic.

Molchat Doma’s official website, redesigned by the studio Deep Station, perfectly translates the band’s distinct blend of post-punk, new wave, and synth-pop into a visual and typographic experience.

The site features a striking combination of white text and yellow highlights set against a pitch-black background, providing an atmosphere that feels both doomer-esque and strangely inviting—much like the band’s music. Typography is central to the design, with Red October taking the spotlight for headlines, titles, and key information, including references to their viral track “Sudno”. It was created by Bulgarian type designer Ivan Filipov of Neogrey Creative in 2005, and is distributed via Dafont and FontSpace. Inspired by Soviet-era propaganda fonts, Red October’s geometric strength and boldness are a perfect fit for Molchat Doma’s aesthetic.

Supporting this is IBM Plex Sans, used for body text (in Medium Condensed and Medium Condensed Bold for highlights and small titles) and references (set in Italic). Designed by Mike Abbink, Paul van der Laan, and Pieter van Rosmalen in 2017, this modern sans serif is set in all caps to create a clean, structured look and also resemble letters used in the cyrillic alphabet. The smaller size of IBM Plex Sans contrasts beautifully with the larger Red October, creating a dynamic hierarchy while echoing the utilitarian style of Soviet slab buildings—a recurring visual motif in the band’s imagery.

The site’s design doesn’t stop at typography. Interactive details, like cursor changes, animated graphic elements, and buttons, enrich the desktop experience, guiding users through the site.

Meanwhile, the mobile version simplifies the interface, ensuring a seamless focus on its well-curated typography and layout.

Molchat Doma’s website stands as a testament to how typography can embody a brand’s identity. With its sharp contrasts, Soviet-inspired fonts, and clean but dynamic design, the site is a visual extension of the band’s nostalgic yet modern sound.

Medireflux, the flagship brand of the pharmaceutical company, has undergone a significant rebranding. Memesi managed the entire project, from neuromarketing analysis to market and competitor research, culminating in the development of a fresh visual identity. This was first applied to the product packaging, then rolled out across a variety of promotional tools, including a dedicated website, promotional kits for healthcare professionals, and informative videos. This project sets out to challenge the norms of the pharmaceutical industry and its traditional visual standards. The focus has shifted toward a color-driven approach, as demonstrated in the packaging, where the green background dominates 88% of the printable surface, with the product name boldly spanning across the box. The contrast with the previous product line is unmistakable, marking a clear shift. Superfluous elements, such as gradient fills and human figures, have been stripped away. The number of fonts and, most notably, colors, have been drastically reduced: all text is shown in several weights and widths of a single typeface family, JAF Bernino Sans. The result is a modern, streamlined, and impactful look. Neuromarketing analysis has already shown clear positive changes following these updates.

According to Wikipedia, Richard Matheson’s horror novel I Am Legend –

was influential in the modern development of zombie and vampire literature and in popularizing the concept of a worldwide apocalypse due to disease. The novel was a success and was adapted into the films The Last Man on Earth (1964), The Omega Man (1971), and I Am Legend (2007). It was also an inspiration for George A. Romero’s Night of the Living Dead (1968).

First published in 1954, this is the cover of Bantam’s paperback edition from a decade later. It has surprisingly upbeat typography in multicolored all-caps Egyptienne Bold Condensed, clashing with the cautionary wording. The darker illustration is by Sandy Kossin.

[More info on ISFDB]

Save the date announcement, referencing famous logotypes set in Futura

New Identities (or ⓝє? Ɨｄεη丅??ίẸ?) was the first encounter of the recurring festival on visual communication at Beckmans College of Design in Stockholm, Sweden, on October 14, 2023.

The festival ends a course on identity design with the third-year students at the program, led by senior lecturer Peter Ström, and exhibited work by all students at the department parallel to the main program: lectures by Other Means (US), Sangha Shin of Formless Twins (SK/NL), Göran Söderström & Stefania Malmsten (SE), as well as a panel on visual identity in Swedish music, with Victor Svedberg of Year0001, Anna Sagström of Country Music, Viktor Hammarberg, and moderator Lisa Ehlin.

The festival’s visual identity was designed by me, Peter Ström of Konst & Teknik, one of the initiators of the festival and part of the faculty at the school.

It takes its departure in the current visual identity of Beckmans, designed by Henrik Nygren in 2008 and especially its extensive use of the typeface Futura. The visual identity is often debated within the program as some frustration sometimes is voiced due to its modernistic and minimal black-and-white-lowercase-only use might communicate the opposite of the vibrant and visually exciting work that takes place on inside the school.

The solution is a more maximalist approach by using every other version of Futura but the one used by Beckmans available to me.

The result is a visual identity that is an expressive mashup of design history, referencing everything from local and international usages of that very typeface, via its designer Paul Renner’s early sketches from 1926 and digitized versions rooted in the 1960s to ultra modern reinterpretations.

The identity has been further developed into everything from T-shirts, laser engraved bricks (!), a signage system, and other things by the students over the weeks leading up to the festival.

Photo by Jonas Hemlin.

Poster and Instagram story-announcement

The announcement treatment was later turned into “logotypes” for each lecturer, with a hint of their geographical location: Other Means from the US referring to FedEx.

Sangah Shin / Formless Twins from South Korea and the Netherlands referencing the global brand Gillette

Stefania Malmstren & Göran Söderström from Sweden referring to local grocery store Ica Supermarket.

The panel on music and visual identity referenced Absolute Vodka and their use of a custom Futura (because you know... booze).

Social media announcement

Collage of units produced by Peter and the students: photoshopped Futura products for and on a T-shirt by Mauritz Larsson and Caroline Hallersjö, afterparty invite by Linnea Arminda Birkelund, signage system by Andreas Rehnberg

From Hardie Grant:

Tim Anderson shows you how you can build your own delicious bowl from scratch as well as how you can construct your very own bento (Japan's beloved and beautiful lunch boxes) from the comfort of your own home. Fun to make (and eat) JapanEasy: Bowls & Bento celebrates the versatility, simplicity and joy of Japanese food. This is everyday self-care and self-love, in bowl and bento form.

Alias Harbour and GT Maru Mega are used for headline type, with GT Maru for secondary type. Japanese text is set in Hiragino Kaku Gothic. See also JapanEasy and Vegan JapanEasy, from the same series.

Step out, Sink in. Perambulator is a walking art magazine that updates young people on the latest walking projects and immerses themselves in the immediate environment during walks. Projects and interviews from various contemporary walking artists and famous walking projects in the history are collected to provide readers with a timely and comprehensive view of walking as an art form.

Perambulator was made as a student project at the School of Visual Arts.

Source: archive.org Aeroméxico. License: All Rights Reserved.

An Aeroméxico DC-10-30 as shown on a postcard from 1975

Founded in 1934, Aerovías de México is the flag carrier of Mexico. In February 1972, the airline shortened its name to Aeroméxico and introduced a new color scheme – orange and black – as well as a new logo.

This logo is custom drawn, but clearly based on a typeface that originated as Davison Psyche. Drawn by Dave Davison for Photo-Lettering, it features blocky caps with punched-out oval counters and flat tops and bottoms. The bold wide letterforms are additionally warped to feature concave lefts and convex rights. Psyche was first shown in the Psychedelitypes booklet from 1968. Shortly after, Mecanorma produced a close copy for dry transfer lettering named Contest.

Composite: Florian Hardwig. License: All Rights Reserved.

The Aeroméxico logo (middle, from a 1975 print ad) compared to Davison Psyche (top, as shown in PLINC’s Psychedelitypes, 1968, scan courtesy of Alex Jay) and Mecanorma Contest (bottom, digital version by ITF)

The unknown logo designer modified all letterforms to various extents – for example, the bite out of the top of M isn’t as huge – but kept other characteristic details like the oblique counters. The O was made convex on both sides, which kind of works between R and M, but less so for the second one following C. The execution may leave something to be desired. Still, I find it rad that a national airline went with such a spacy lettering style. Only in the 1970s!

The wordmark is used together with the Eagle Knight emblem. Inspired by the ancient culture of Mexico, it is “a symbol of courage, leadership, and fearlessness”. [Aeroméxico] See more images on Vintage Airliners.

In 1981, the logo was replaced by a new one which, according to Sandy Campbell, was designed by Raúl Pérez-Duarte Viesca. LoGoLOOK has an overview of the evolution of the Aeroméxico logo.

Happy Cinco de Mayo to those who celebrate!

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Ticket wrapper

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Ticket wrapper. The subline “The Airline of Mexico” is in Eurostile Extended, the text at the top in Helvetica.

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Airsickness bag

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Boarding pass. The typeface used for the text is News Gothic.

Source: Aeromexico card game veromir_72. License: All Rights Reserved.

Aeromexico playing cards

Source: archive.org Aeroméxico. License: All Rights Reserved.

An Aeroméxico DC-9 as shown on a postcard from 1974

Source: archive.org Aeroméxico. License: All Rights Reserved.

An Aeroméxico DC-9 as shown on a 1970s postcard

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This is the 1972 paperback edition of André Breton's Manifestoes of Surrealism. I believe the interior to be the same as the hardcover, but I don't know for sure. (As with the hardcover, the book design is credited to Quentin Fiore.)

The cover uses skewed Helvetica Compressed [see comments] for the author's name, and Inserat-Grotesk for the book title. The decorative dingbat is picked up from the hardcover design, and skewed to match the new type. Also, like the hardcover, note the unusual solution for the accent on the E in André, this time using a line parallel to the top bar of the E.

The interior of the book is notable for its use of a different text face for each section.

The title page spread uses Sans Shaded for the title and Anzeigen Grotesk for the author's name. The translator credits are in Bodoni Italic, and the publisher names are in Helvetica Medium.

The copyright page is in Times New Roman Italic, and the table of contents is in Helvetica.

The section openers are set in Bodoni Bold.

The texts are set in a mix of Baskerville, Century Expanded, Helvetica, and Bodoni Bold.

Within the first manifesto is “Poem,” randomly assembled from headlines and scraps of headlines, reset in many typefaces, including Cheltenham, Baskerville, Vulcan Bold Italic (see Greco, Latin Bold and Latin Wide, Windsor Bold, Beton Bold, and Clarendon.

I’ve Known Rivers is a one-song-book. The text lines are flooded with graphics. The title and the quoted text are by Gary Bartz (1940). “I’ve Known Rivers” is the title track of his live album recorded in 1973.

The booklet was published as part of the MIni Felder series from Felder Books, Berlin.
See a flip-through video on Instagram.

The elusive Moulin Rouge, drawn by Dave Davison for Photo-Lettering sometime before 1971, spotted on the dust jacket of Music and Your Mind. Listening with a New Consciousness. Authored by Helen L. Bonny and Louis M. Savary, this book was published by Harper & Row in 1973.

The typeface is also used for the spine lettering.

Five years after the rest of the world, the US got their version of Don’t Bore Us. It was released on an independent label called Edel America Records, after Roxette left EMI USA a few years earlier. The relaunch failed miserably unfortunately. EMI released the album in the rest of the world later.

As you may see, the photos used are from the Have a Nice Day sessions, shot by Robert Nettarp. The whole album is set in Helvetica, the Roxette logo and the album title in very bold styles.

[More info on Discogs]

Rear sleeve

From the booklet

To celebrate the centenary of the poet Walter Galli (1921–2002), the City of Cesena has planned three days of readings and an exhibition in the streets of the city centre with some of the most significant poems by the author. The graphic design, with its playful and clean tone, aims to bring the figure of Galli as close as possible to a diverse public, highlighting the exclusive use of the Romagnolo language as a living and authentic expression of a poetic style strongly linked to its territory. The drop glyph taken from Sole Serif is a recurring illustrative element used throughout the media.

The project was carried out in collaboration with Cesena Comics and Stories and Associazione Culturale Barbablù; the coordination and selection of texts is by Elisa Rocchi.

Leaflet views.

Leaflet cover.

The title of the event in a flag.

Flag detail.

Installation view in the porches of Cesena.

Installation view in the porches of Cesena.

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Yagi Link Double is the typeface chosen for the logo of AM America. From Wikipedia:

AM America was a morning news program produced by ABC in an attempt to compete with the highly rated Today on NBC. Premiering on January 6, 1975, the show never found an audience against Today or the CBS combo of the CBS Morning News and Captain Kangaroo. Lasting just under ten months, its final installment aired on October 31.

A promo clip featured an animated version of the logo, with the interlinked letterforms from the neon-like typeface gradually building up from three starting points. The A is a custom barless version (like an upside-down V) that flows into the typeface’s alternate M. “ERICA” likewise is made of glyphs that allow for linked pairs. Once the two parts in blue and in red are complete and the former is scaled down to match the size of the latter, the wordmark is perfected by a red star inside the A. Yagi Link Double was also used for the studio graphics, including the date display.

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Source: www.youtube.com The Museum of Classic Chicago Television. License: All Rights Reserved.

AM America closed circuit test, 1974.

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AM America on Friday, April 25, 1975, with Monthy Python as guests in the studio.

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Ad in the Minneapolis-St. Paul edition of TV Guide, January 1975, using ITC Souvenir.

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Cover of the TV Prevue by the Chicago Sun-Times for February 23 to March 1, 1975. “TV prevue” is in Eurostile Bold Extended.

Typographia·1, created, designed, and letterpress printed by Leonard F. Bahr in 1976 at the Adagio Press, Harper Woods, Michigan, using handset metal type, notably Pascal, Palatino, and Jaguar, as shown here. Published as a sewn booklet of 28 text pages plus cover. There was a follow-up publication, Typographia·2. The private press work of Leonard F. Bahr was commemorated in an exhibition at the University of Michigan Library in 1993, together with the publication of Adagio: A Checklist, edited by Wesley B. Tanner and Erik C. Alstrom, with a preface by Paul Hayden Duensing.

The colophon is set in Century Catalogue Italic and Century Oldstyle.

Square was conceived by Finnish (?) designers Erkki Pennanen and Kari Lilja. They submitted the aptly named biform typeface to the permanent contest organized by Mecanorma, the French manufacturer of dry transfer lettering sheets. Square was selected as a contest winner, and issued around 1972 in solid and outline styles.

About a decade later Barbara Holdridge picked it for her book design for Peruvian Textile Designs. For some reason, she didn’t use it directly, but rather drew Square’s letterforms by hand. Maybe this was done so that the lettering better matches the imagery of the Peruvian indigenous folk art, which is also squarish and geometric to some extent, but not drawn with perfectly straight lines either.

The lettering on the title page is less casual than on the cover, but also handdrawn, with small deviations from the original.