QuaJou (Quality in Journalism Association) has been championing high-quality journalism in Swiss media since 1999. They also organize JournalismusTag (“Journalism Day”), the biggest regular meetup for journalists in Switzerland.

In 2021, studio Hej gave QuaJou a fresh new look, redesigning their visual identity, creating a new logo, and rebuilding the website from scratch. The rich blue adds a bold new presence to Switzerland’s journalism quality advocates, while the brand typeface NN Nouvelle Grotesk nods to the long tradition of Swiss typography with a clean, timeless, and highly readable feel.

The French Federation of Mountaineering and Climbing (FFME) is the organization responsible for the development, supervision, and promotion of mountain and climbing disciplines in France, from leisure to high-level competition.

This communication was designed ahead of the 2024 Olympic Games in Paris to introduce sport climbing to the general public and to support its promotion in the Olympic context, during an event organized in France. Ginka (from lift type) is an important element of the project, used as the sole font for both title and secondary information, thanks to its versatility.

Designed by studiokwi, the joint identity system for Frauen helfen Frauen e.V. (“Women Helping Women Association”) and their projects Autonomes Frauenhaus Lübeck (“Autonomous Women’s Shelter Lübeck”) and Lübecker Stadtmütter (“Lübeck City Mothers”) is a thoughtful study of colour and accessibility.

The association aims to protect, advise, and support all individuals affected by patriarchal, domestic, or intimate partner violence (trans women, cis women, non-binary, or intersex individuals). Through professional help and counseling, victims of violence can discover their potential, protect themselves immediately from (acute) violence, and, in the medium term, learn about educational opportunities and explore employment prospects.

Studiokwi describes the project as follows (translated):

The goal was to develop three logos that function for the respective purposes of the three areas of the association while also harmonizing as a unified whole. The design system includes a comprehensive color palette as well as graphics, icons, and fonts.

The identity is set in Bastardo Grotesk and Bastardo Rounded

“Making new forms of aggregation and entertainment possible. Exploring new entertainment venues and concepts and offering them to the public. Free of charge.”

This is the mission of APE: a cultural association, a format, a constantly evolving project that starts in Milan and looks to the world.

The visual identity of this project is curate by Giovanni Bonassi and makes use of the typeface Baustraße – designed by Fantasia Type and available on Future Fonts – for the development of the logo and headline texts, plus Radio Grotesk by Pangram Pangram and Suisse Int’l Mono by Swiss Typefaces.

Logo and brand development for Schöne Felder e.V., an association for urban and contemporary art.

On 2,000 square meters, their Haus Schöne Felder in the center of Augsburg, Germany, houses open studios, ateliers, workshops and a shop, providing space for over 35 creative professionals.

The identity was designed by Mara Weyel of MMW Studios – who’s a tenant herself – using Honza Zamojski’s Rubin Sans (Threedotstype) as the main typeface. It’s supported by Matteo Maggi’s Halibut (Collletttivo) and another, yet unidentified serif.

Switch is the annual conference run by the NSW Public Libraries Association. Each year the conference is held at a different location and brings together the New South Wales public libraries workforce, industry and key speakers to learn, network and celebrate the achievements of it’s members. After working with the NSWPLA on updating their brand identity I was brought on to update the way the Switch conference presents itself to the world. The result was an updated brand identity as well as design applications across print, screen and motion.

Upon talking to the leadership of the NSWPLA it became clear that the conference was a well-loved event for all involved. The three-day event includes educational talks from library leaders and industry, awards for library staff as well as networking opportunities. It was clear that people who attended left feeling elated, this concept was captured with the simple logo mark, the takes a rectangle and switches it up as it moves to the right to form a stylised S. This concept was re-enforced by using a set of thin horizontal lines across the design application which also add structure to the layouts. Working with the colours from the NSWPLA brand identity, the event colours change each year, as does the year in the logo.

Atlas Grotesk was chosen for the branding as it ties in with the updated NSWPLA branding and is a workhorse font that brings a refined character to the designs. The black weight was used for the logo whilst light and regular was used elsewhere. The logo uses an apostrophe from Söhne Black.

Visual identity for the Sapristi !! association, active since 1994 in the development of contemporary music in the Ardennes. It organizes concerts and plays an essential role in supporting the local scene. The association provides rehearsal and recording studios, organizes creative residencies, and supports regional artists in their projects. It also pays particular attention to arts education and cultural mediation for young audiences.

The visual identity of the association Sapristi !! revolves around a distinctive element of its name: the two exclamation marks – powerful and universal symbols that embody the joy, energy, and rhythm of live music. Incorporated as recurring graphic elements, they become visual markers that enliven the communication materials.

The wordmark is composed in Funksjon (from Store Norske Skriftkompani) and is accompanied by Ginka (from lift type) for all other text compositions.

Serbia Games Association (SGA) is a non-profit organization that supports the growth and international visibility of the Serbian video game industry. Founded in 2018, SGA connects game developers, artists, publishers, and educators, fostering collaboration and knowledge sharing. Through mentorship programs, workshops, and global partnerships, the association plays a key role in positioning Serbia as a rising hub for creative and technical talent in game development.

We designed and published SGA’s digital annual report for 2024 to spotlight key trends in Serbia’s gaming industry. The aim was to present complex data visually, highlight over 150 studios and 10 expert voices, and support SGA’s mission to boost industry visibility—all while aligning with modern digital standards.

Each year, we explore a fresh, creative approach. This time, we leveraged a new 3D design tool to generate all visuals, bringing a unique and contemporary aesthetic to the report.

The final report is clear, engaging, and accessible, blending humor with bold design to position Serbia’s gaming scene on the global map.

Since its inception in 1992, the Freundeskreis Haus Coburg e.V. and its members have supported the Städtische Galerie in Delmenhorst in real­ising a lively exhibition program of modern and contemporary art. They enrich the museum’s program with advice and assistance, offer financial support for art purchases and provide creative culinary delights.

An article on the Haus Coburg website quotes Annett Reckert, former director of the Städtische Galerie Delmenhorst, on the productive collaboration with the Freundeskreis: “One of the real specialties of the Freundeskreis Haus Coburg over the past decade has been the liaison between art and cuisine”.

For their 30th anniversary, a party was held under the motto “zusammen” (German for “together”). With the Empty style of HAL Vincent, we found the perfect match for the title design. The accompanying booklet is set in Space Grotesk and FK Grotesk Neue.

Serbia Games Association (SGA) is a non-profit organization that supports the growth and international visibility of the Serbian video game industry. Founded in 2018, SGA connects game developers, artists, publishers, and educators, fostering collaboration and knowledge sharing. Through mentorship programs, workshops, and global partnerships, the association plays a key role in positioning Serbia as a rising hub for creative and technical talent in game development.

We designed and published SGA’s digital annual report for 2022, highlighting key trends and statistics in Serbia’s gaming industry. The aim was to present complex data clearly and visually, promote over 150 local studios and 10 expert voices, and support SGA’s mission to boost industry visibility, all while aligning with modern digital standards.

We ended up with a top-notch digital report that aligns with industry standards. It features clear, engaging statistics presented in a light, humorous tone – eyecatching and easy to read. We successfully showcased over 150 studios and included around 10 expert articles, all delivered in a digestible and approachable format.

Serbia Games Association (SGA) is a non-profit organization that supports the growth and international visibility of the Serbian video game industry. Founded in 2018, SGA connects game developers, artists, publishers, and educators, fostering collaboration and knowledge sharing. Through mentorship programs, workshops, and global partnerships, the association plays a key role in positioning Serbia as a rising hub for creative and technical talent in game development.

We developed SGA’s digital annual report for 2023 to highlight key trends in Serbia’s gaming industry. The focus was on clear, visual storytelling – featuring 150+ local studios and ten expert voices – while reinforcing SGA’s mission and aligning with modern digital standards.

Each year, we take a fresh creative direction. For this edition, we embraced a bold visual style using AI-generated graphics, reflecting one of the year's most relevant industry themes. The final report is visually striking, easy to navigate, and highly informative, effectively positioning Serbia’s gaming ecosystem on the global stage.

The main typefaces in use are Poppins and NeueBit.

The condensed sans used for “150M€” is GT America Compressed Bold.

Founded in 1851, the Oberösterreichischer Kunstverein (“Upper Austrian Art Association”) is Austria’s second-oldest art association. While rooted in history, its mission today is to promote and expand contemporary art. As a gallery and exhibition space, the OÖKV creates visibility and opportunities for artistic expression.

The rebranding captures both the historical and contemporary essence of the association, bridging past and future. These contrasts – heritage versus progression, tradition versus innovation – create a dynamic tension that tells the story of what defines the OÖKV and reveals its core identity.

This transformation is visually expressed through a bold typographic approach. Typography plays a pivotal role in shaping the association’s new identity, where its name is stylized as OÖKunstverein. The combination of the serif typeface Cirka and the sans-serif Monument Grotesk embodies another essential contrast: past and present.

Cirka, with its elegant serifs, references the association’s historical depth, while Monument Grotesk, with its strong, contemporary character, anchors it in the present. The interplay of serif and sans-serif typography visually narrates the OÖKV’s journey from its origins to today. This typographic tension creates a dialogue between tradition and modernity. In application, the design balances confident individuality with subtle lightness, ensuring both flexibility and a strong, recognizable identity.

The contemporary branding reflects the association’s mission of being an open space for art, providing a framework that structures, challenges, and opens new possibilities.

Das Bedürfnis e.V. is a non-profit organization dedicated to the arts and culture. Its goal is to adapt underutilized urban space for cultural uses. The first task was to turn the former Bedürfnisanstalt in Halle’s southern city center into a venue for events and exhibitions. As a venue for public dialogue and projects, the group strives to promote participation and remove barriers for the urban society.

The association required a visual image in order to establish itself in the fast evolving urban fabric with a strong recognition value. The mission of Bedürfnis e.V. was to share the program, the cultural self-image, and all contents with a large audience as clearly, easily, and without barriers as feasible.

We designed a booklet for the Norske Arkitekters Landsforbund and BufDir (The Norwegian Directorate for Children, Youth and Family Affairs), exploring accessibility and universal design principles in children's schools. Photos by Studio Abrakadabra, typeset in STK Bureau Sans by Smuss Type Kiosk.

Graphic identity by Nora Freynet using Gaya for the art association Non-étoile and its exhibition space No No No.

Non-étoile introduces itself as follows (translated by the contributor):

Non-étoile is a self-managed collective made up of around a hundred artists, designers, writers, curators and musicians from a wide range of backgrounds, all working together to share workspaces and production resources.

Non-étoile is behind a number of events and exhibitions. The association also runs the nonono space, a place dedicated to exhibitions and experimentation, and hosts the web radio stations Radion and Lyl radio.

Lobby für Kinder e.V. (“Lobby for kids”) is a non-profit organization committed to sustainable education and nature-based leisure activities for children and young people.

After their visual identity was redesigned last year, their new website was launched now. It features Fictional for headlines and Poppins for body copy and buttons.

The site was designed by Arne Zoudlik/a90 and developed by Malte Zoudlik.

The new visual identity for Oslo Kunstforening is developed by ANTI. The identity adapts to each exhibition and puts the art in focus. The typefaces used are Monokrom Skriftforlag’s proportional typewriter face Dewey Decimal in large sizes, with Rasmus Andersson’s Inter handling the smaller text. The logo uses Agrandir Narrow by Alex Slobzheninov.

Oslo Kunstforening is a non-commercial exhibition space and member organisation with a focus on contemporary art. Founded in 1836, it is the oldest art institution in Norway.

Naoto is a voluntary association created with the aim of supporting the Regina Margherita children’s hospital in Turin, Italy. Raised funds are donated to the Pediatric Orthopedics and Traumatology Department.

The founders’ desire has always been to present a playful and funny image, which could attract donors, but above all make the hospital patients feel at ease. For this reason the name takes inspiration from Naoto Date (伊達 直人), the original name of Tiger Mask, the manga hero who won wrestling matches to donate the proceeds to children. And let’s face it, children love tigers!

The brand identity designed by Kalla is bold and playful thanks to the F37 Kookie Black font by F37. The Japanese glyphs are custom. Some small text (such as the email on the business card) uses Poppins.

Type is alternated with instinctive and raw traits like those that children draw on paper. Just like the illustrations created by Kalla, they are nothing more than recolorings of the little patients’ drawings.

Geogrotesque is the typeface used by the World Surf League. From boardriding.com:

The World Surf League organizes the annual tour of professional surf competitions and broadcasts each event live at WorldSurfLeague.com where you can experience the athleticism, drama and adventure of competitive surfing anywhere and anytime it's on. The WSL exists to celebrate and grow the history, elite athletes, diverse fans and dedicated partners that together embody professional surfing today.

SGD is the professional association and network of Swiss Graphic Designers. It’s the largest professional association of graphic designers in Switzerland. Founded in 1972, the trade union represents the interests of graphic designers and provides various professional member support. SGD also recommends curricula standards for vocational training to educate qualified visual communication professionals.

Axia, a sans serif uniwidth typeface composed of concise letterforms, is used throughout, together with Rekja.