Oaze is a foodhall in Palhoça, Brazil. The naming and visual identity of the business was handled by design studio Ajna:

Oaze was born as a new food hall concept: a sophisticated, diverse, and open-air food court located in the heart of a large entertainment hub. The challenge was to create a brand with a strong presence and memorable visuals, capable of communicating variety without losing unity.

Inspired by the concept of an “oasis,” we created a visual and verbal identity that reinforces Oaze Foodhall as a place of pleasure. Through the naming, we evoked the idea of ​​a refuge amidst urban chaos, conveying the proposal to offer a rich and diverse gastronomic experience, with different restaurants and establishments in one place. The vibrant color palette brings life, while the bold logo carries personality for a sophisticated and welcoming environment.

The identity pairs typefaces in contrasting weights and widths. Roc Grotesk from Kostic is used in condensed, regular and extended widths, and in lighter and heavier weights. Its Heavy style served as a basis for the logo. The sans serif is juxtaposed with a few weights of Right Didone from Pangram Pangram. The less showy Gilroy from Radomir Tinkov is used for small type.

Krasz and GT Walsheim are the typefaces used for the identity of fuxundkauz. From Büro Uebele:

I’m me and you’re you

fuxundkauz (the German name references two very different creatures, the fox and the owl) takes philosophical workshops or rather “thinkshops”, into schools. Given that we’re all different, there’s more than one way of looking at fundamental issues. Which provides plenty to talk about, also and especially with students.

The visual identity translates this approach into simple, clear imagery – two individuals meet and engage in dialogue, showing that peaceful coexistence is perfectly possible even when you’re not cut from the same cloth. you just have to talk to one another. Here we have a clear statement from our two clients and, incidentally, not only political education but aesthetic training as well: being quirky can be beautiful; you don’t have to fit in.

“歩む” (“Movin’ On”) is the third song by Indonesian J-Pop alternative rock music group Thousand Sunny, released on 14 November 2025 with video clip animation done by Pedro Musa (Senimator Studio). Japanese lyrics on this video clip use the Japanese rounded sans-serif (Gothic) typeface Kiwi Maru by Moji-Waku Research while Indonesian and Japanese (Romaji) lyrics are in Noto Sans.

Old Habits, New Beginnings (Alte Gewohnheiten – neue Anfänge / Stare Nawyki, Nowe Początki) is a solo publication by Anna Raczyńska – a 200+ page, dual-sided Polish–German catalog with two covers and a central English section – reflecting the transdisciplinary nature of the artist’s practice from the past ten years.

Featuring 178 photographs from projects across Europe, with essays by Michalina Sablik and Sophia Scherer, and graphic design by Karolina Pietrzyk and Tobias Wenig, the publication functions as both documentation and a point of departure for future work. The typeface used throughout the book is Elastik designed by Benoît Bodhuin.

First Taste is the twelfth studio album by American musician Ty Segall. It was released by Drag City on the 2nd of August 2019.

Art Nouveau Bistrot is the only typeface used on the cover of the album, in all capital letters, for the title and the artist's initials.

Both Dan Osborn (one of Drag City’s founders) and Tim Presley are credited with the artwork and layout.

[More info on Discogs]

Christina Torre’s typeface is also used for accompanying merch and the titles of the music video to “Taste”, the album’s opening track.

Published by Éditions de La Martinière, this book brings together a wide range of writings by women artists—letters, diaries, memoirs, interviews, manifestos, and theoretical essays. It features the voices of forty women active in a vibrant, cosmopolitan Paris from the Belle Époque to the eve of the Second World War, both famous and little-known, from Berthe Morisot and Camille Claudel to Sarah Bernhardt, Nina Hamnett, and Amrita Sher-Gil. Organized around the key stages of an artistic career—training, perseverance, self-organization, and self-assertion—the book sheds light on their individual paths, shaped by ambition, desire, struggle, hardship, and success.

The texts were compiled and introduced by Lucia Pesapane and Delphine Wanes. The publication was overseen by Camille Morineau, AWARE, and Mathilde de Croix.

The titles of this book, designed by the French graphic designer Lisa Sturacci, are set in Louize Display Cond (Matthieu Cortat, 205TF), while the body text is set in Martina Plantijn (Kris Sowersby, Klim Type Foundry).

Payless is a service that automatically adjusts users’ basic insurance based on their preferences. According to Payless, clients no longer need to spend time comparing different insurance offers, and can save money by being automatically switched to the best available option.

NN Pivot Grotesk is the primary typeface used across all branding materials.

HOMI (Christian Hofer & Lea Nathalie Michel) used James Stencil to design the visual identity for the Gib Stoff! exhibition, including poster, flyers and booklet. Gib Stoff! showcases recent textile works by Swiss designers Stéphanie Baechler, Christoph Hefti and Sonnhild Kestler. The exhibition is on view at the Gewerbemuseum Winterthur. The accompanying sans is the museum’s standard typeface, Messina Sans.

A project designed and developed by la-di-da for the Royal Academy of Arts (KABK) in The Hague, in collaboration with KABK workshop instructors, students, alumni and staff.

KABK’s monumental foyer dates back to 1937 when it was an integral part of the modernist building designed by architects J.H. Plantenga, J.W.E Buijs and J.B. Lürsen. For many years, however, the service desk has been cramped into a far corner and the entrance area underused; an echo chamber for footsteps and whispers.

By identifying and activating materials and making skills throughout the KABK, the architectural practice la-di-da has developed an ecologically responsible, yet experimental mode of practice where waste products of the academy’s creative endeavours are gathered and repurposed and new construction techniques tested and shared. Shredded 3D print filament, unused aluminium pipes, Japanese knotweed, and human hair, for example, find new application in compressed biolaminate surfaces, cast lamps, and acoustic textile paneling. KABK workshop instructors, students, staff and alumni with skills in weaving, metalwork, carpentry, and hospitality have formed an ad-hoc collective to facilitate the construction of a vibrant and welcoming space for all.

An entrance space by the academy–for the academy.

All Sizes contributed the graphic design and used Segmentor for the typography. Photography by Temet Studio.

Grazegrind is a restaurant and caterer located in Brisbane, Australia. Their identity was designed by Studio Gangplank, and is set entirely in Type Dynamic’s Larsseit Medium. The typeface’s iconic double-storey g has been entirely replaced by the alternate single story g, which means the single-letter logo is one that features only alternate glyphs. The logo and rest of the identity feature punctuation set in pink to contrast the rest of the text set in a dark teal colour.

Larsseit and other “quirky geometrics” seem to have fallen out of favour a bit since their popularity spike in the early to mid-2010s, so I am interested to see if the genre ever makes a comeback, or gets some sort of reboot in a few decades. For now, I still enjoy seeing Larsseit.

A new publication about the Dortmund artist Barbara Koch was published on the occasion of the awarding of the CityARTists Prize 2024. The publication will be accompanied by selected works from the Kunst Aus(leihe) Dortmund collection. The focus is on Koch's experimental material paintings – between painting and object art. Her works address the tension between vitality, transience and artificial aesthetics.

The fonts in use are Manrope and R41 Magister.

Event poster for the Bassiani 10 Years Showcase at Zhao Dai Club in Beijing. The poster was designed by Pan Haojun’s design studio Bad Preacher:

For the past two years, we‘ve compiled a hefty collection of electronic archives for Zhao Dai Club, as always, keeping the creativity flowing has been an absolute joy and we’re excited to share this happiness with you all, and of course, it goes with our poster picks from picks.

The poster is set in partly distorted Cortese by Mark van Leeuwen.

Fruit Riot, a sour candy brand under Beyond Better Foods, sports a punchy wordmark set in Ohno Softie by OH no Type Co. – a fitting choice for a name that practically demands a squishy, and energetic treatment. With its bulbous forms, exaggerated curves, and lively rhythm, Ohno Softie captures the sensory overload of a sour candy experience.

The packaging and website include Alyc from Ultra Kuhl for supportive squishiness, and FontPanda’s Think Thick for bringing the irreverent and informal vibe even further.

This was an April Fool’s joke, there is no sour broccoli candy available!

Merch!

Sweet Frog (stylized as sweetFrog) is a chain of frozen yogurt retail restaurants, founded by Derek Cha and Annah Kim in Richmond, Virginia, in 2009. By 2018 – when it was acquired by MTY Food Group – the sweetFrog chain had grown to 332 locations in the United States and abroad, most of which are franchised. The brand typeface is Hobo.

A sweetFrog in Altamonte Springs, Florida, 2012

Le Sens du Vivant is a program focusing on practice and experiential experience in the somatic field, based in Lyon, France. The logo, identity and printed booklet were created by Atelier Claire Rolland, with help from Paul Andali. Together with photographer and visual artist Blandine Soulage, they created a photographic series of colorful “body landscapes”.

Most text is set in Blackletra’s Gal Gothic, paired with Plain Form’s flowing Nostra Stream, used as initials, or alternates in the middle of titles.

The exhibition Holy Garden took place as part of the Bavarian State Garden Show in Kirchheim and continued the theme of their 2023 Holy Place exhibition. The project logo was based on the floor plan of a Roman basilica. The font Tiny as well as the outline of the floor plan is visualized using interconnected dots, creating the appearance of floral forms. Additionally, the theme of the garden show, “Growing Together”, is conveyed through the merging dots. Impact was used for texts and smaller pieces of information.

The 2024 graduation catalogue for the Design Academy Eindhoven was created by Pedro Lobo, graphic designer, visual artist, artistic researcher and alumnus of the school. The book was typeset in HAL Timezone with Mono, published by HAL Typefaces. Ronald Smits is responsible for the bookshots.

The DAE website offers a digital archive of their graduation catalogues, dating back to 1966, with scans of many of the older publications available as PDFs.

From the Academy’s Instagram post:

This year’s catalogue, designed by Pedro Lobo, is based on the concept of a Rhizomatic Archive, inspired by the philosophy of Deleuze and Guattari. It serves not only as an archive documenting the range of projects from this year’s graduates but also embraces a non-hierarchical, interconnected structure—inviting readers to explore project connections in any direction.

With 476 pages, the catalogue breaks away from a linear structure. Instead, it offers multiple entry points, uncovering connections between projects through a system based on keywords provided by the students, allowing readers to curate their own experience of the book.

Printed by robstolk® amsterdam on Fedrigoni Paper, the catalogue features an open spine for ease of navigation and includes a two-sided poster as a dust jacket. One side offers an overview of the projects, while the other showcases textures and close-ups inspired by the graduates’ work.

Ohne Titel (“Untitled”) was an exhibition showing paintings by young artists from southern Germany and German-speaking Switzerland. It was co-curated by Julian Denzler, Museum zu Allerheiligen Schaffhausen, and Christoph Bauer, Kunstmuseum Singen. The catalog was published by Modo Verlag in Freiburg.

See more images on the website of Studio Marlon Ilg.

The publication Geopolitics is part of an exhibition identity for a series curated by Chun-chi Wang (Idolon Studio). It explores artworks related to geopolitical borders.

This bilingual publication features texts in Arabic and English, printed on one type of paper with distinct color schemes for each language. A magenta elastic band allows the book to be read from both sides, with two covers reflecting its dual-language format. The green silkscreen-printed cover is produced in our workshop, referencing the interior artwork.

The first exhibition was held at Al Madina Theater, Beirut, Lebanon, from November 29 to December 19, 2021, as part of the larger series Contemporary Art from Taiwan—Exhibitions, Screenings, Publications, featuring artists Chen Shiau-Peng, Ting Chaong-Wen, and Liu Ho-Jang. The artworks address themes of geopolitics and broader questions of aesthetics and politics.

Karolina Pietrzyk has designed the catalog for One / Them, a double exhibition with works by Iza Tarasewicz and Zuza Golińska, curated by Stanisław Małecki. The catalog received a distinction at the Most Beautiful Polish Books of 2023 in the category Art Catalogs. Typefaces used are KTF Ekran from Kyiv Type Foundry and Store Norske Jazz from Skriftkompani.

The exhibition took place in the fall of 2023 at the Center of Polish Sculpture in Orońsko, who also published the catalog.
With texts from: Stanisław Małecki, Natalisa Sielewicz, Stach Szabłowski
Photos by: Jan Gaworski, Iza Tarasewicz, Zuza Golińska, Błażej Pindor
Photo editing: Justyna Fedec
Papers: Magno Volume, Gobi Grey, Munken Polar