Moslavina is a microregion that people have somewhat forgotten about. Placed in continental Croatia, the region is broken into three administrative counties, which has weakened Moslavina’s identity and sense of familiarity with tourists. Studio Size designed a new destination branding and strategy to rejuvenate their community and attract prospective visitors.

The new visual identity had to be authentic and reawaken a sense of belongingness and pride in the local people. So we created a coat of arms, a flag, an anthem, and a slogan that determines Moslavina as a “land” that might have been hidden but never forgotten.

The Andalusian capital Granada struggles with the same waste problems as many other European cities: abandoned furniture and household goods, lack of use of trash cans, inadequate waste separation and dog excrement. Against this background, the city council together with the environmental service provider PreZero, the local cleaning service Inagra and the creative agency Viernes developed a motivational campaign to keep the city clean.

The campaign “Granada limpia que te quiero limpia” (English: “Clean Granada, I love you clean”) aims to ensure that every individual can make a modest contribution to keeping the city clean. Lyrical, consensual messages that a large majority can agree with play the main role. For example, “If you call us, thanks to your help we will clean the corner you love so much.” Or: “Let’s celebrate Granada without leaving bottles and trash on the squares.” And, “My heart beats faster for Granada because the recycling bin is not confused with the trash can.”

“For the campaign, we held a competition asking residents to write a compliment for their city related to Granada’s clean, bright nature”, explains Pedro Vázquez Viernes of the agency of the same name. Visually, the compliments were paired with colorful illustrations by Barcelona-based cartoonist and comic book writer Genie Espinosa. Viernes chose Nikolai Condensed Regular, designed by Franziska Weitgruber from Italy, as the campaign font.

“We chose this typeface because of its classic, elegant style, in keeping with the culture and aesthetics of Granada: it’s not old-fashioned, but contemporary and playful.”

The space-saving, high-contrast condensed typeface proves to be extremely helpful because it keeps the wordy messages together in an easy-to-read manner. The dots of the i and full stops were replaced with glittery stars “to emphasize the cleanliness of the city,” says Pedro Vázquez Viernes. The campaign logo is set in the Catalan Art Deco font Mirtha Display by Guillermo Lizarzuay, while the sans serif Solanel, designed by Nico Inosanto from Switzerland, rounds off the campaign.

Ferraria D'Alge is a Medronho brandy produced in Foz de Alge, a village in the parish of Arega, Figueiró dos Vinhos municipality, Leiria district, Portugal.

The logo was designed using the Flecha L typeface, while the rest of the label's information is set in Gineto, Gineto Fit, and Staff XX Condensed fonts.

Śląska Rzecz (“Silesian Thing”) is the only regional design competition in Poland, organized by Zamek Cieszyn, appreciating high design quality as well as functional and innovative design solutions. There are four categories: product, applied graphics, service and exhibition.

Muflon Studio designed the 20222 visual identity that would communicate a more bold and fresh image of the competition. The typeface they selected is from Poland, too: it’s Halisa, designed by Jan Estrada-Osmycki.

Côte du Midi is the new brand of the tourist destination of the Grand Narbonne region. Their new logo – based on Epura – embodies the sweet life on the coast, with its coastline, its historic heritage, its various activities and its lands and vines.

Montserrat is the main typeface for all communication, supported by BistroScript.

The Be Berlin campaign was introduced with several events across the city, e.g. at the Brandenburg Gate

At the height of the Be Berlin image campaign—which was launched in 2008—the Berlin Senate decided in 2012 to introduce a new corporate design across their administrative offices. The old logo was replaced by the Be Berlin logo in TheMix by LucasFonts, and the red speech bubble also made its way into the corporate identity toolbox. The aim of the new design was to create a uniform appearance for all Berlin administrations and their subordinate authorities in order to improve recognition and strengthen their external image.

The Berlin campaign got its unmistakable profile from the typeface Change, which was developed in 2008 and designed by Alessio Leonardi. The eye-catching slab serif carried the advertising messages in the first phase of the campaign and became a set piece for all Berliners, who wrote three-line declarations of love for their city in the Be Berlin bubble.

The Governing Mayor Klaus Wowereit wanted to use the campaign typography across the city’s communication and this led to the development of the more neutral Change Sans subfamily. The original typewriter-style typeface was given the name Change Letter. Change Sans was optimized for longer texts and small print, with proportional widths, simpler letters, narrow running and a slightly lighter base cut to enhance the contrast between Regular and Bold.

In 2022, Fontwerk cooperated with Alessio Leonardi to completely revise and extend Change, resulting in the brand new Change (Sans) subfamily. The number of weights has increased from five to eleven and it is now available as a variable font; hundreds of weights can now be set between the extremes of Hairline and ExtraBlack.

Futhermore, the character set has also been expanded to meet current standards. Glyphs for Cyrillic, Greek, as well as Vietnamese have been revised, quality-checked and tested by experienced experts. Finally, small caps have been added to all weights to expand Change’s typographic diversity.

Billboard campaign on Leipziger Straße

Information banner bicycle street, Pankow Ossietzkystraße

Facing hoarding Rotes Rathaus

On the building of the Berliner Landeszentrale für politische Bildung (Center for Political Education)

Information board forest playground Blankenfelde

Ad campaign on a streetcar

Cover of an information brochure about a public building development

Logo berlin unterwegs campaign

Information brochure on corona programs in Berlin schools and kindergardens

Probably around 2010, the Bretagne region of France got a new identity – Brand New wrote about it all the way back on January 31, 2011. That redesign is from Communiquez in Lyon, and the typeface it employs is TheMix, from Luc(as) de Groot.

The region’s logotype – featuring vertical-stemless E’s – was designed at Communiquez by Xavier Mercier. The vertical stripes in the logo call the region’s flag to mind. Rather uniquely, Bretagne (Brittany in English) has a flag design that is just black and white.

The current website promoting the Marque Bretagne is much newer: 2019. Agence LunaWeb in Rennes developed it. All of the text is in webfont versions of TheMix.

The magazine Willkommen in der Großregion, unsere Gemeinsamkeiten und der Reichtum unserer Unterschiede (“Welcome to the Greater Region, our commonalities and the richness of our differences”) for the EVTZ – Secretariat of the Summit of the Greater Region, fully illustrated, presents many events and activities to do in the Greater Region – which includes the Saarland and Rhineland-Palatinate (Germany), Wallonia (Belgium), Lorraine (France) and Luxembourg.

This project has been realized in close collaboration by agency Human Made (Luxembourg) who produced text and illustrations, and Céline Kriebs who was in charge of the editorial design and the typographic choices. This 84 pages magazine is printed on Cocoon offset and Cocoon gloss. In order to create a maximum of possibilities in the editorial concept, three typefaces were used: Noe Display by Schick Toikka, Karla by Jonathan Pinhorn and Roboto Mono by Christian Robertson.

Set of decorative plates and postcards from the Ukrainian city Lutsk, sold as souvenirs. Lutsk High Castle, also known as Lubart’s Castle, is the city’s most prominent landmark and a favorite tourist destination.

More info on Behance.

Sticker issued by the regional tourism comittee of the French region of Auvergne, featuring caps from Churchward Design 70 gras, probably from the late 1970s or 1980s.

The current visual identity for the Italian region of Sardegna (English: Sardinia, Sardinian: Sardìgna) was developed in 2006 by Pentagram Berlin. The logotype is based on Eurostile Bold.

The colours in the letters are those used in the richly embroidered Sardinian costumes. The modern shapes of the letters combined with the patchwork of warm colours reflect the two sides of Sardinia: History and tradition on one hand, and modernity and openness on the other. Pentagram Partner Justus Oehler: “We wanted to create a symbol which would not depict sun and sea – like most of the other Mediterranean countries’ identities do, but which would look grown-up and confident, yet at the same time playful and warm. […] We have the green and red, the national colors of Italy, in every letter. Blue and yellow, the colors of the sea and the sun, alternate.” — Pentagram, Logolounge

Read more about the progress in Logolounge Vol. 4 and see preliminary steps including a unicase version in Eurostile Bold Extended, and all-caps and mixed case versions in Futura Bold.

In his thesis Da luogo a logo. Trasformazioni dell’identità visiva in Sardegna (Università di Cagliari, 2013/14), Stefano Asili shows some of the precursors of the identity, and criticizes the current logo:

[…] it can not be read in alphabets other than Latin, lacking an iconic part, and is thus penalized in international recognition […] Eurostile by Aldo Novarese evokes an olivettiane atmosphere and alludes to the industrial design of the 1960s which has nothing in common with Sardinia; it is interesting when used in color, but the black and white version is absolutely anodyne. In short, […] it is a very poor result from one of the greatest firms in worldwide branding. Today, the brand is “polluted” by declines that are far from in line with the original design that, though disappointing, still had the merit of great and obvious professionalism.

Detail from the identity manual (2007) showing greyscale and monochrome logo versions

The secondary faces used for the logo declinations are Bauer Bodoni and Frutiger Light.

This governmental report was one of the first applications of the new identity. The four alternating colors of the logo are also applied to the title set in Frutiger. This feels a little overwhelming — the variegation here is not as refined. It also weakens the logo.

Leaflet for the presentation of the 9 finalists projects of the international architectural design competition for the establishment of the Mediterranean Museum Of Nuragical Art and Contemporary Art Cagliari, 2006. The names of the participants are set in caps from Bauer Bodoni, again echoing the four colors of the logo.

Bodoni here is paired with Futura, which is arguably a better counterpart than Frutiger. The long lines in all caps would have benefitted from some tracking, though.

Invititation leaflet to a conference about the Sardinian language, 2007.

The website of SardegnaTurismo (2017) pairs the logo with Montserrat Bold and various styles of Work Sans.

Sheffield Telegraph

In 2012 the well known studio Cases i Associats worked on the redesign of more than 150 titles of Johnston Press, an Edinburgh-based company with most titles in the UK and third in terms of circulation (local and regional newspapers). In some of the newspapers, such as The Northampton Chronicle, Wigan Evening Post or the Yorkshire Post, the Spanish studio Cases i Associats selected a combination of TypeTogether’s fonts Abril and Tablet Gothic. The results were “clear and authoritative headlines”, in words of the company design director, Tim Robinson.

Whitby Gazette

Yorkshire Post

Blackpool Gazette

Pontefract & Castleford Express

Wigan Evening Post

Great use of Garage Gothic for the official Nevada travel site.

The logo for the Swiss region of Graubünden uses a Swiss typeface: Syntax Black, in all lowercase. The umlaut is replaced with a stylized ibex head.

A self initiated project by toormix for the promotion of the Catalan wines.

Branding, graphic and communication code for a catalan wines promotion project for the domestic and international audience. A project that aims to improve the consumption and the presence of the local wines at catalan cellars and restaurants. The brand with 12 different variations (as many as wine designations of origin in Catalonia) and the synthetic graphical combine land, terrain and climate of the different D.O. through a graphical code different from the typical wine code. Within the project we worked on the brand extension for communication to the point of sale (restaurants and wineries), magazines with opinion leaders quotes about catalan wines and the different support and merchandising materials.