ABC Social​​​​​​ Condensed combined with NM WWC for The Sport of Tomorrow | Team WWC Capsule by BBUC Sports. Photographed by Lukas Gansterer in 2022.

Designed by curler Benoît Schwarz-van Berkel for the Swiss national team at the 2026 Winter Olympics, these uniforms merge athletic function with traditional Swiss heritage.

The visual identity relies on BS Staahl, a geometric sans serif initially designed by Arthur Schwarz and Enen Studio for signage systems. On the jerseys, the typeface is applied to the athletes’ surnames and the country identifier “SUISSE,” providing high-contrast clarity against a complex background.

The graphic pattern features motifs from the traditional Edelweisshemd, a historical rural uniform, alongside iconic Alpine imagery such as the Jungfrau mountain range.

An early use of Spring from July 1970, for the Fall/Winter 1970 edition of Spiegel’s mail order catalog. The claim reads “great things are happening at SPIEGEL”, in red letters, set right-aligned with one word per line.

Today’s Parks is a Canada-based company specialising in the design, construction, maintenance, and marketing of snow parks and action-sports events.

During the 2023/2024 winter season, the typeface Hofmann by Nguyen Gobber was used across several park builds. With its round-constructed letterforms, the typeface visually reflect the formal qualities of snow park design.

Polish furniture producer Górna Półka asked us strategic questions about its verbal and visual identity. We embarked on this journey developing its brand-new narrative and essential content architecture that will unfold over time. On top of that, we created a complex brand identity system deriving from the modularity of the furniture on offer and the crucial notion of an “upper shelf.” The brand can flexibly apply its variety of elements, and we look forward to seeing how this system develops.

Last Christmas, Studio Roses in collaboration with Isabel Rotger crafted a campaign for Casa Camper hotels in Barcelona and Berlin, celebrating the B-side of holidays. Adding a striking digital twist, Millionaire Script and Italic were reimagined with a pixelated rendering that contrasts beautifully with their warm, calligraphic heritage – resulting in a distinctive and unexpected visual language.

Copywriting by Pol Alert, photography by Mireia Farran and Marie Staggat.

TT Fors is used on the CRUSH Collection website. The logo is based on Friz Quadrata.

CRUSH Collection is an international knitted and crocheted clothing brand that has delighted customers with warm and sophisticated Old Money style clothing for many years.

Redcast Heritage Co. is a Madrid based menswear brand specializing Japanese influenced denim and vintage workwear.

Kerama Blue, their recent collaboration with Japanese denim label ONI, is a limited release of 158 pairs of selvedge jeans and 50 Type III jackets.

The artwork was designed by Canadian illustrator Jon Kutt (a.k.a. The High Road Design).

“Kerama Blue” is set in Dug by Central Type. Dug is also used for the secondary type “Intense Bio-Washed Natural Indigo Jeans”.

Principal Studio has redesigned the website and identity for L’ÉLOI, a production company in Montréal. L’ÉLOI describe themselves as “a production company representing some of the world’s most progressive image makers. Our curated teams (...) create high-impact visual content that resonates with audiences worldwide.”

They have used Review from Commercial Type and Store Norske Skandia from Skriftkompani.

Creative Direction: Bryan-K. Lamonde
Web Creative Direction: Bruno Cloutier
Design: Éloïse Carrier
Web Design: Éloïse Carrier, Nick Losacco
‍

License: All Rights Reserved.

If you watched the epic opening ceremony to the 2024 Paris Summer Olympics, you might have seen the typeface featured in this post. Just before hoisting the Olympic flag upside down, you could have spotted the inscriptions on Palais de Chaillot, made from golden letters displaying A.M. Cassandre’s famous typeface Peignot. The Palais was built for the 1937 World Exhibition and Peignot was introduced with much fanfare on that occasion.

Another occasion for much fanfare were the XVI. Olympic Winter Games in 1992 that were hosted by Albertville, a town of just under 20,000 inhabitants in the French alpine region of Savoie. The visual identity for those games combined an Olympic flame in the heraldic colors of Savoie, French stripes bleu-blanc-rouge, the Olympic rings, and the name of Albertville set in a wordmark based on Peignot.

The flame logo was initially invented by Bruno Quentin, member of the Agence technique of the Savoie department. Later Paris-based design agency Desgrippes Beauchant Gobé Cato was commissioned with developing the overall identity. There, the pictorial logo was carefully redrawn under the art direction of Alain Doré, while Pierre Katz was responsible for drawing the Albertville wordmark based on Peignot. In comparison to the original version from 1937, Katz cut off the horizontal strokes diagonally and sliced open the counters of A and B – which makes them behave more like the R. Katz’s drawing of the figure 9 appears more stabilized than the original. The design guide for the Olympic games of Albertville is a treasure trove for everyone interested in the history of graphic design. And we sure all would want these sweaters and jackets today.

In 2023, Production Type from Paris acquired the rights to freshly digitize, extend and distribute all typefaces of the estate of A.M. Cassandre. This includes Peignot that is already available in Production Type’s Beta Program but still awaits release in the general catalog.

Comparison: Production Type. License: All Rights Reserved.

The Albertville 92 wordmark (bottom) as shown in the style guide, compared to the original Peignot demi as shown in a 1937 specimen by Deberny & Peignot. The overall weight was increased a little. Apexes in A and V were made blunt, like in Peignot gras. The counters in A and B were opened up, probably to echo the R. All horizontals were cut off diagonally. The numeral 9 got a more balanced bowl, and the 2 was made narrower.

Source: collectionolympique.org Collection Olympique. License: All Rights Reserved.

Just a small sample from the huge assortment of pins by Collection Olympique – including versions of the logo in monochrome red and with a golden contour

License: All Rights Reserved.

The commemorative coins (engraving: Ponce-Buquoy) depict the logo alongside text in Peignot …

Source: mintedmarket.ca License: All Rights Reserved.

… and Pierre de Coubertin (1863–1937), father of the modern Olympic Games.

Source: www.flickr.com Photo by Jean-François Lipka, via Eric Bannwarth. License: All Rights Reserved.

A Mirage 2000B fighter jet by the Armée de l’Air (French Air Force) with the Albertville 92 logo

License: All Rights Reserved.

It was the 1990s! An Albertville 92 jacket with Coca-Cola ad.

Source: www.ebay.at tippitoerz. License: All Rights Reserved.

Albertville 92 sweater

License: All Rights Reserved.

Embroidered version of the Albertville 92 emblem

Source: www.francetvinfo.fr Gabriel Bouys / AFP. License: All Rights Reserved.

French biathletes Anne Briand, Veronique Claudel and Corinne Niogret won in the women’s 3×7.5 km team relay on 14 February 1992 in Les Saisies and proudly display their gold medals – with text in Peignot. The medals were designed under the direction of Marie-Claude Lalique.

There are times where you want to describe the mix of typefaces found in a project – just to find that the appropriate adjective is used by the brand to characterize itself: “the opposite thing”. That’s how Miista calls their “About us” section. It’s also what’s going on between Signal and Theinhardt Extended as used on Miista’s website.

Miista is a fashion brand based in London. It was founded by Galician-born designer Laura Villasenin in 2010 after completing her studies in London and gaining first professional experience in the industry. The name of the brand is derived from “blend, mixture” and points to the artistic influences from various fields that inspire the designer when working on a new collection. Miista started with shoes and bags made from leather, handcrafted by artisans in Spain. Meanwhile it extended the scope to all sorts of accessories and also clothing. The philosophy behind all products is craftsmanship, high quality, and sustainability: the label even offers a repair service. And that’s quite “the opposite thing“ of what happens elsewhere in the fashion industry. Besides the webshop, the site also has a blog called “Miista Internet”. In this editorial section, Miista features stories about and interviews with artists that inspire them.

The fonts used on the website are both sans serifs, but each with distinct features that contrast nicely. Designed by Emmanuel Besse and inspired by French road signage from the middle of the 20th century, Production Type’s Signal is quite condensed by default. It is used here exclusively in the Light style. Its counterpart is Theinhardt Extended in its Heavy and Heavy Italic variant. It was designed by François Rappo and can be found in the catalog of Optimo. The graphic design of the website not only opposes them in their respective styles but also through the sizes applied, ranging from tiny to x-large.

Hörspielsommer is a festival that takes place in Leipzig, Germany, each summer. The festival was established in 2003 and has continued since. It offers free radio play programs for both children and adults, has competitions, workshops and performances. The festival recognises established and aspiring artists.

For the 2023 festival a range of promotion material and merchandise was created by HawaiiF3. Utilising bright colours, a mix of type and illustration giving the work a playful, youthful and vibrant look

The fonts in use are Inky by Bonez Designz and MVB Grenadine by MVB Fonts.

SantosDilone and Hyphenated developed a new identity for Nike Diamond, the baseball and softball subbrand of sportswear company Nike. The new identity is centred around the slogan “Doin Damage”, symbolizing the impact of youth in revitalizing the iconic sport. In doing so, they aim to attract and inspire a diverse, younger generation, infusing the game with a fresh attitude.

The primary typeface of “Doin Damage” is Farmacia by Nguyen Gobber. It’s a bold condensed typeface combining geometry and sharp angular shapes found in old baseball stadium signage, street posters and classic Nike fonts. Farmacia is used for headlines and big, bold typographic treatments, while Neue Helvetica from Linotype is used for all further typography. The typographic treatments serve complementary expressions to highlight athletes’ initials and numbers, extending the visual language of “Doin Damage”.

The new visual identity for Nike Diamond utilizes a flexible, modular grid system inspired by the diamond-shaped baseball field. This adaptable framework allows for dynamic and energetic layouts, enabling flexibility with typographic sizes, styles, and proportions. Its modularity ensures consistency across various touchpoints, reinforcing the ‘Doin Damage’ identity.

The motion language is inspired by the action inside and around the diamond. It’s decisive and snappy edge to edge. Every movement has a clear intention by a specific direction and speed, indicating no hesitation in the athletes’ actions. Short holds and fast speeds define the rhythm of the sequence. The motion design was created in collaboration with Thru Motion.

Martin Major Office created a limited edition, customized Carhartt Detroit jacket for Otto Resource (c/o Adam Barnard) as part of The Product is Noise exhibition. The garment features embroidered type set in HAL Matex, published by HAL Typefaces.

Deus ex Machina is a lifestyle brand rooted in Sydney, Australia. It was founded by Dare Jennings in 2006 and, at first, revolved around motorcycling, surfing, music and fashion. The mothership in Sydney, baptized with a wink “temple of boyish enthusiasm” still exists and plays a major role, but since the majority of the business went to a group of mainly Italian investors in 2017, the company meanwhile took its official seat in Milan. The shift behind the scenes had to do with the will to expand the business globally. Apart from uncountable points of sale, Deus ex Machina, in 2024, runs thirteen flagship stores called temples, either directly or under license, from Tokyo to Cape Town and Los Angeles. Far from being standardized, these stores each offer their own mix of products, services, food and community events.

The item featured in this post is a functional jacket named “Plenty“ from the Deus Customs series. Black and of a no-nonsense straight cut, it was designed at the Deus House of Simple Pleasures in Camperdown, Sydney. Its highlights are purely typographic and feature Brush Script (“Plenty Good”), an American classic from the 1940s, and Enfantine (“Deus Customs”), a script typeface designed by Jean-Baptiste Levée from Production Type. While the calligraphic idea behind the first is that of a pointed brush used in sign painting, Enfantine distinguishes itself by monolinear strokes, a wide rhythm with open counters, and by standing upright, a feature seldomly found in script typefaces.

Walmart’s Scoop Fall 2023 campaign was designed by SYLVAIN, using Romie by Margot Lévêque for the typography:

Scoop, an iconic and influential fashion institution born in NYC, is now in its revival era under the creative direction of fashion designer Brandon Maxwell. As a Walmart brand, Scoop can now truly embody the idea of making high fashion accessible.

Founded in January 2023, the Australian environmental company Powerhouse Renewables Group works closely with the continent’s indigenous people. Rather than focusing solely on decarbonization and electrification, Powerhouse strives for “true sustainability” based on nurturing and revitalizing natural systems.

“Because Aboriginal people have a keen awareness of these systems, their perspectives, cultural knowledge, and collaboration are critical to designing successful projects” emphasizes Powerhouse’s founder Brigette McDowell in her Capability Statement. This guiding principle forms the basis for all decisions made by the consulting firm in its projects and initiatives.

Creative agency Side By Side Studio from Melbourne is responsible for the visual identity of Powerhouse. The logo is set in Marguerite Grotesk, which was designed in 2017 by the Berlin artist and type designer Charlotte Rohde. The distinctive trunk of the R gives the otherwise neutral logotype a strong personality, even a certain exclusivity, because in the latest version of Marguerite Grotesk this shape of the letter is only available as a stylistic alternative hidden in the character set.

The house font is Pangea, an obvious choice because its designer, Christoph Koeberlin, invests 25 percent of his royalties for this font in reforestation projects. Jack O’Sullivan, the founder and art director of Side By Side, describes his design strategy as follows: “Ethical and thoughtful design decisions are important in all projects, and we felt this particularly when working with Powerhouse because the company is committed to environmental solutions and social problems in Australia. Pangea is a beautiful font with clarity and character, but its added environmental benefits made the choice an easy one for the studio and the client.”

Draft for the Powerhouse Sustainability Report Q3/2023, designed by Side By Side Studio using the Pangea font family.

The typography of Powerhouse Instagram posts designed by Side By Side Studio using Pangea

Pigalle is a Parisian clothing brand created by Stéphane Ashpool. The brand is close to a number of athletes, in particular international basketball players, with whom it organizes sporting events. For one of them, a tournament École Duperré, Gaya was used for the event poster and a special jacket.

Pigalle presents itself as follows:

We are a small brand from Paris who has been doing a lot of different things for the past 12 years: designing clothes, setting up fashion shows, entertaining our Parisian district, building up colorful basketball playgrounds around the globe and above all bringing people together.

Studio Size designed a brand identity for Ars Futura, a design and development agency focused on the gaming industry.

The company’s new visual identity captures the bold vision and culture set forth by its founders. Drawing inspiration from the optimistic futurism of the last century, the art direction breaks the mold for its industry. We aimed to steer clear of a trendy or predictable look, instead opting for an imaginative, open, and fun appearance.

The motto “Future starts today” embodies the brand’s optimistic outlook and the belief that sincere, correct actions today will create a proud legacy for the future.

The logo is based on ITC Avant Garde Gothic, with some small changes. The brand typefaces are Noël Leu’s GT Ultra Median and GT America (Grilli Type) and Pangram Pangram’s Editorial New.

With the new fall and winter season Goodbois introduces their latest collection, titled “The Dreampack – Igniting dreams with futuristic minimal design”.

At the core of this collection lies the Serous typeface by Mark Gowing, thoughtfully chosen to establish a bridge between dreams and the future. Its bold, distinctive LCD style, particularly in the “Good” part, reflects an affiliation with goodness.

In addition, we’ve incorporated Dyade, a typeface by Stefanie Vogl, to infuse an ethereal allure into our designs. Paired with our iconic basketball globe logo, it creates an intriguing fusion, akin to a delightful distortion, now playfully referred to as “infected”.

Photographer: Max Blaumeiser
Models: Jonathan Tolno & Marco Damato