Estúdio Gole designed the brand identity and packaging for Zentra, a US nano CBN sleep gummy brand, using a pastel purple palette and custom 3D gummy renders.

The system is grounded in a pastel purple palette, lifted by a deep night-blue that anchors the packaging and provides contrast across applications. Kalice (designed by Margot Lévêque available on Claude Type) handles the expressive, editorial display type while LL Circular (designed by Laurenz Brunner and available from Lineto) holds the functional copy. The logo appears to be based on Commercial Type’s Feature. The set of custom 3D gummy renders is designed to feel tactile and slightly surreal.⁠

Brand & Board works with executive directors, CEOs, and board members of non-profits to strengthen board engagement and brand effectiveness. The typography-driven identity features Sprig Sans, a geometric grotesk whose friendly tone balances clarity with approachability.

Frizbee by Typeverything is used across the branding of Bahrain-based brunch and breakfast spot Popina. Their visual identity was designed in 2024 by Zeal Studio, combining approachable typography with a playful, fresh and contemporary look and feel. The restaurant closed doors in autumn 2025. Frizbee is complemented by Cabinet Grotesk and a yet unidentified typeface used for Arabic.

“Garnier – Everyday Touch” is a student rebrand identity project made as part of the Packaging Design 2 class taught by Ania Borysiewicz. It reimagines the brand through the lens of ritual, sensuality, and evolving heritage.

Hair is a ritual, evolving with every new chapter and reflecting our heritage. Infused with nourishing botanical ingredients, each formula transforms the everyday into an intimate act of care. More than maintenance, this is a return—to touch, to tradition, to the quiet sensuality woven into daily life.

The identity uses Univers as the primary typeface for its clean, modern precision and structural clarity across the system. IvyPresto is used exclusively for the logotype, its expressive serif forms introducing elegance and softness that echo the brand’s botanical heritage and refined sensuality.

Letterpress printed Souvenir Ticket for the 2026 Bay Area Printers’ Fair & Wayzgoose. Printed in 2025 from vintage handset metal type, in order from top:

Caslon Bold Extended (1911)
Futura schmalhalbfett (1936)
Lilith (1930)
Figaro (1940)
Hellenic Wide (c.1954*)
Festival Titling (1952)
Gill Sans Cameo Ruled (1935)
Antique Condensed (pinmark from MacKellar, Smiths & Jordan, 19th century)
Ad Lib (1961)
Antique Shaded (1913)
Mistral (1953)
Plymouth (1900)

All borders are cast by Stephenson Blake, printed from new-in-box old stock fonts.

*) Note that Hellenic Wide is a 1950s adaptation of the same letter style as the 19th century Antique Extended.

This project involves a complete redesign of Gemeinschaft Immanuel e.V. – a Catholic community in Germany. The logo is based on the letters “iMM” and the idea that, if we focus on the things that unify rather than divide us, we move closer together. From this concept and the values of the community, the overall design language was developed.

Rather than relying solely on photography, typography plays a vital role in the design language. Aeonik is used as the default font, combined with the condensed and soft Instrument Serif. It is complemented by the monospaced JetBrains Mono on informational details, an intentional touch that simplifies the modification of dates and times.

More Water Than the Eye Could See is a photographic project that sits between documentary practice and a sensitive exploration of place, developed around Lake Lanier, located in the southern United States (Georgia). By closely observing this artificial lake created in 1957 and walking along its shoreline, French-American photographer Tempé Storm Cole searches for traces of the painful history it submerged. The landscape resists, revealing little.

The publication by Bluff Books comes with a copy of map of the dam as published by the U.S. Army in 1970. For a closer look at the map, see a 1975 edition using the same design (also using Balloon Extra Bold as the main font).

Chingonas Collective is a community built for Latina entrepreneurs in California’s Bay Area who lead with ambition, culture, and heart. It is a space where members lift each other up, share stories and connections, and come together to celebrate every win.

The identity centers on collective power, capturing the spiciness and empowering energy each member brings while balancing bold expression with warmth and inclusivity. The color palette reflects passion, while the sharpness of the typeface conveys ambition and confidence.

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.

Branding agency Societas worked with football club VfB Stuttgart 1893 on updating the club’s brand identity. From their case study:

At the heart of the project was the ambition to reconnect the club’s DNA – Verein für Bewegungsspiele (Association for Movement Games in English) – with a contemporary visual system that reflects both tradition and progress. Together with VfB, we worked on the brand strategy, design principles, and a refreshed visual language that gives movement a clear direction, while leaving core elements like the crest, club colors, and red hoop untouched.

‍The new identity introduces a custom typeface (“TWK Concordia”), a new wordmark “VfB 1893,” and a refined use of the horse, Stuttgart’s heraldic symbol. These elements are rooted in the club’s history and values while creating a system that strengthens clarity, cultural relevance, and adaptability across platforms — from the stadium to the city and beyond.

The VfB’s new brand identity was designed by Societas with the help of Friends & Foxes for the social media part, and Frederik Mair for the type animations. The brand typeface TWK Concordia is a customised version of TWK Ghost, designed by Nolan Paparelli and Nina Faulhaber. It is an all-caps font with alternates featuring cut serifs and a few additional ligatures. The wordmarks features the VfB ligature with oldstyle figures, set on a steeper italic angle.

VfB Stuttgart 1893 will receive a SunExpress aircraft with special livery in the club’s design.

Roc Mitchell’s Dimensia (Alphabet Innovations, 1970), slanted and with a modified s that closes the gap caused by the r, for a live album with folk and gospel music from 1971.

From Jack Ahern’s liner notes:

[More info on Discogs]

The posters for the exhibition Every Time I Conjure a Stone I Throw It at Sol Koffler Gallery were designed using the typeface Roumald and were designed by Andrea Mato.

From curator Marley Trigg Stewart:

To look through a lens is to break something open. For the 2025 iteration of RISD’s Photography Graduate Biennial, Every Time I Conjure a Stone, I Throw It, MFA candidates turn photography from a means of observation into an instrument of transformation. The title, drawn from Alice Walker’s The Color Purple, evokes the power of intentional release and return—a dual act that reverberates through the artists’ practices.

Across the exhibition, image making becomes a means to fracture, reassemble, and reimagine inherited worlds. These artists work through and against material memory, which include the textures of time, familial history, faith, and the shifting landscapes where these moments take place. Ultimately, we are asked to reconcile how photography continually remains contradictory—how do we point to a moment that has already left us? Whether through intimate gestures or expansive terrains, the works gathered here suggest the notion of seeing goes beyond the surface area of an image. These artists are conjuring new futures—breaking them open and beginning again.

Featuring photographers: Alexa Nikkol Curran, Elliott Golden, Elysia Perkins, Jake Benzinger, Jessica Chappe, Kyle Dong, Lola Owett, Nji Tuma, Renee Cornue, Tomorrow Chapman, Victoria Pépin, Virginia Hanusik, Wen Zhang, and Wenhan Hu

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.

Ceelike is an oral care brand that develops safe and effective products for young consumers while promoting a modern, health-conscious lifestyle. The brand uses Good Sans to establish a clean, confident, and approachable visual personality.

Альфа Центавра. Документальная поэма о космонавтах, которые не были в космосе (“Alpha Centauri: A Documentary Poem about Cosmonauts Who Never Went to Space”) is
a collection of real stories of Soviet cosmonauts, men and women, who for various reasons – dramatic or even tragic – never made it to space. From these, the author, Alexander Plotnikov, builds a saga of failure, defeat, and missed success. He talks about history written by the victors, weaving in 20th-century philosophy, the context of war, and the personal reflections of an émigré. The image of flight through emptiness emerges as a metaphor for human life and humanity itself.

The text is based on a monodrama, which the author (a theater director and playwright) performs in bookstores, bars, and small theatres while in exile during the war.

The typography on the book’s cover is executed through Roslindale Text by David Jonathan Ross, while additional typography (page numbers, chapter titles) is set in Elma Trio by Philipp Neumeyer. On Instagram, the book’s designer, Maxim Balabin, writes:

I thought that the cover needs to be about something that didn’t happen, and it shouldn’t use Soviet heroic space-conquest symbolism, because the book is about the opposite.

Brûlant is a new Parisian brasserie occupying a converted fire station in the 10th arrondissement. The design leans into the venue's history with an immersive monochromatic red scheme that creates dramatic impact through layered tones. A custom wordmark made by Arthur Alazard [based on Cortese Black, see the comments] features knife-sharp serifs and a refined circumflex accent, paired with Writer's lighter weights for the menu typography, with support from Switzer. The result is a cohesive system that balances raw intensity with sophisticated restraint, perfectly capturing the experience of dining in this transformed industrial space.

Karen LaMonte is an American artist and sculptor whose 30-year career has spanned an astounding range of mediums, from paper to glass, porcelain, marble, and bronze.

The Munson Museum of Art organized a retrospective of her work, which featured pieces from her personal studio, many of which were on view for the first time.

Order created a visual identity for the exhibition, which premiered in the summer of 2025. Etude, designed in 2022 by Emily Atwood for Order Type Foundry, was selected as the primary typeface for the exhibition. Its stenciled design echoes carved material, capturing the ever-present relationship between positive and negative forms in LaMonte’s work.

Munson’s house typeface, Munson Grotesque, is used for supporting copy. A light weight was selected for its similarities to Etude. Both typefaces were designed by Emily Atwood.

Transforming words into actions

The State of Illinois Department of Human Rights (IDHR) and the Commission on Discrimination and Hate Crimes (CDHC) launched a statewide service to support people targeted by hate. It had a phone number. What it lacked was the public’s awareness and trust. My team at Span was brought in to change that.

Working alongside UIC’s Institute for Healthcare Delivery Design (IHDD), we renamed, rebranded, and reintroduced the service to the public. The result was Help Stop Hate – a trauma-informed, multilingual, statewide service and campaign that reframed reporting not as retaliation, but as care in action.

Initially piloted as Illinois v. Hate, the helpline's name implied conflict and positioned the state as the protagonist. Moving away from tension to solidarity, the renamed service Help Stop Hate is a three-word promise. Help centers care. Stop signals urgency. Hate names the problem—without euphemism.

Three cuts of Grilli Type’s GT Planar were used, allowing ‘Help’ to lean forward into action, ‘Stop’ to lean back in urgency, and ‘Hate’ to sit still—unignorable. The visual language draws on civic forms: rigid diagonals, grounded color, modular composition. Designed to function everywhere from Chicago CTA ads to community newspapers and rural county billboards.

To reach survivors—not just residents—we kept the value proposition simple and kind. “Report hate, get support” is about access and letting people know: they are not alone.
This is where the secondary type Grenette come in with a quiet strength. Its rounded serifs and open forms contrast the sharpness of GT Planar, with enough tension to hold your attention. It reads almost tender, full of warmth and charm with a subtle nuance that feels hand-touched.

The Not in Our State campaign launched in the seven most spoken languages in Illinois: English, Spanish, Arabic, Polish, Hindi, Tagalog, and Mandarin. To complement the primary sans and serif styles of the identity, each language pairing used two typefaces. For Arabic, we selected Noto Sans Arabic and Noto Naskh Arabic. Hindi used Noto Sans Devanagari alongside Noto Serif Devanagari. Mandarin was set in Noto Sans SC (see Source Han Sans) and Noto Serif SC (see Source Han Serif).

Datura is a micro-roastery offering an exclusive selection of high-end coffees, with a particular focus on pure, aromatic profiles that highlight the nuances of different varieties and terroirs.

Brand Brothers crafted an original typogram for Datura: a tailor-made wordmark paired with a distinctive typeface by Threedotstype: Tor grotesk. It was implemented throughout the branding, adding coherence and contemporary character to the visual identity. In addition to Tor Grotesk, the website uses Arimo for running text, information and navigation.

Mécénat.Studioo was commissioned to develop a complete new visual platform for the Mamzells brand—one that’s younger, even more colorful, and highlights the many uses of the product. A graphic platform directly inspired by the diverse ways potatoes are enjoyed, creating a bold and impactful identity.

The little pink bag of potatoes, now even pinker! With a tone-on-tone design that doesn’t go unnoticed and a new, even more vibrant accent color, Mamzells fully embraces its mission to spark a fresh wave in the potato category.