Telka by Rellence and Office Times Sharp by BoulevardLAB were used for the rebrand of Market Art Fair, the Nordic region’s leading contemporary art marketplace. The logo features Droulers Clarendon by Bureau Brut.

From 25AH:

Market Art Fair is the leading marketplace for contemporary art in the Nordic region. Founded in 2006, it brings together top galleries, collectors, institutions, and enthusiasts from across the Nordics and beyond.

The identity centers around an elegant wordmark in a bespoke serif typeface. A tilted, centered “R” introduces a touch of artistic imperfection — symbolizing creativity at the heart of the fair. A monochrome palette of black and white is refreshed annually with curated accent colors, keeping the identity dynamic and contemporary.

A graphic pattern was developed from close-up sections of the logo, symbolizing the endless perspectives viewers can have when experiencing different works of art. The broad typographic palette combines accessibility with a sense of exclusivity, allowing the visual language to adapt across different platforms and expressions.

Volksans is the primary typeface used for the identity of Mind Energy, previously known as Energi Danmark Group. From their About page:

A new brand and identity is one of many carefully considered steps in the transformation of Energi Danmark. We need to clearly communicate our market position, a compelling employer brand, and a strong cultural foundation that is aligned with who we are today, our leadership and our strategy. Our brand is all these things intertwined.

Volksans is supported by TT Rationalist.

Inventure is an investor commited “to early-stage founders with roots in the Nordics and Baltics”. From Bedow:

Brand strategy and design for Inventure – Ignite the Few, to Accelerate the Many.

Many talk boldly. But only a scarce bunch dare to walk the talk. Inventure is one of those rare firms that turn words into action. They back the few – and when they do, they go all in. Because true imagination doesn’t just build companies. It makes life better for all of us.

Ignition and acceleration became the cornerstones of the logotype. The first part sparks. The second races forward, tilting upward with momentum. But an identity is more than a logo. Headlines were designed as vessels of acceleration, pushing into a brighter future. Colours and gradients nod to the flame – the spark that sets everything in motion. The result: an identity that dares to win.

The typefaces used for the identity are Varp by Maksym Kobuzan, Marcin Antique by Feliciano Type and STK Bureau Serif by Smuss Type Kiosk.

The Nordic Review of Typography is a newly conceived journal dedicated to graphic design, typography, and the visual public. Inspired by the success of the Nordic Review of Architecture, this new publication aims to create a professional forum for design criticism and dialogue across the Nordic countries. The journal is envisioned as an annual or biannual release, fostering cross-border conversations and elevating the discourse around visual culture in the region.

To launch the initiative and shape its direction, an open editorial meeting was held at Norma T in Oslo on September 23, 2025. The event brought together designers, critics, and enthusiasts to discuss potential structures, themes, and ambitions for the journal. Guided by a trans-Nordic working group: Kasper Pyndt (Denmark), Birna Geirfinnsdóttir (Iceland), Jonas Williamsson (Sweden), and Tiril Haug Johne and Martin Asbjørnsen (Norway) and joined by special guest Anders Rubing, editor of Nordic Review of Architecture, the evening combined seminar discussions with a collaborative idea session.

The flyer for this inaugural meeting was designed by Tiril Haug Johne and Martin Asbjørnsen, using the newly released Store Norske Litteratur from Skriftkompani.

Having designed the first edition of the magazine, we were asked to create a special issue of PURO People closely linked to the newly opened hotel PURO Warszawa Stare Miasto. The overall feel is purely Scandinavian in line with the created material – we also designed new editorial spreads to match the needs of the content. As with the last time, we also supervised the production – always a truly fascinating process.

Playtype's Italian Plate No2 Expanded in use by Jens Kajus Studio for Six Nordics.

Six Nordics is a spirits brand, taking its inspiration from the Nordic heritage of making Akvavit spirits. Each of the six Nordic countries has its own heritage flavour made with local herbs but the production methods are the same.

Jens Kajus Studio has helped with product naming, visual identity and packaging design in close collaboration with the founder of Six Nordics, Frederick-Sebastian Krause.

Unfortunately the brand did not survive the Covid years as many others catering to the bar and restaurant business.

F37 Bergman by F37 Foundry is used in Studio LZ’s editorial design for Nordic Style by Braun Publishing.

Nordic Style publication presents an impressive wealth of Scandinavian interiors, showcasing the connection between nature and design, both locally inspired and internationally. Relying on the tradition of using local materials and natural shapes which they apply in a successful mix, often with current building technologies, to develop design concepts that make the Nordic style so popular and unique.

F37 Bergman is paired with Aperçu, available from Colophon.

The 16-foot-tall entrance sign was designed by Mithun Architects and Evermark Signs in collaboration with Turnstyle. Its built-in LEDs can be controlled to create different color effects.

LL Circular in use for the new identity of the Nordic Museum in Seattle, as designed by Turnstyle. The logo uses a similar, but different sans serif. It is probably custom drawn. Occasionally, Circular is paired with Noe Display for headlines.

Dedicated to collecting, preserving, and educating since its founding in 1980, the Nordic Museum is the largest museum in the United States to honor the legacy of immigrants from the five Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. The permanent collection of more than 78,000 items represents the material culture brought or produced by Nordic immigrants from 1840 to the present, and it also includes contemporary objects from descendants of these immigrants. — Nordic Museum

In 2018, the Museum relocated from its original, modest building to a brand new, 58,000 SF facility on the shores of the ship canal in Seattle's historically Nordic-centric Ballard neighborhood. Turnstyle was tasked with updating the museum's logo and graphic identity system to commemorate this momentous change. The biggest challenge for the rebrand was a perception issue—we needed to shift people’s expectations of the museum from its humble roots to its ambitious new mandate. — Turnstyle

Flyer for the Viking Days event.

Detail from a news mailing featuring Noe Display.

From Gestalten:

The Nordic Art of Life has become a role model for meaningful creative life around the globe. Scandinavian design and creativity are synonymous with cozy homes and architecture that combine style with tradition, indoors with outdoors, natural materials with rich colors, and playfulness with clarity. The Nordic countries are famous for their designers and entrepreneurs, who combine diligent preparation with bold execution in all fields of contemporary creativity, like design, architecture, fashion, and food.
Northern Comfort – The Nordic Art of Creative Living brings together the people, endeavors, and ideas that best embody this way of life, focusing on interior design while also venturing into the outdoors, the kitchen, and the atelier. It presents a kaleidoscope of northern talent that is both admirable and inspiring. Get comfortable and follow us on this journey up north.

For the series about domestic saltwater fish species, stamp designer Gustav Mårtensson again picked a typeface based on a local vernacular source (see also the Per Anders Fogelström stamps). This time it’s Ferry (2014), the second release in Letters from Sweden’s “Fabrik Suite”.

The debut typeface of Erik Moberg is based on the anonymous lettering that adorns the vintage ferries crossing Stockholms ström, see Nos 1, 2, and 3. According to the information on the website of Rederi Stockholms Ström, the boats got their current names rather recently, but the lettering style with a bold wide sans serif is older, see this postcard from 1948.

Almost 200 species of fish have been identified living in salt or brackish water along the coast of Sweden. Some of them are uncommon while others are abundant. Fish come in a wide variety of shapes and colors and have widely varying lifestyles. What all the species in this series, and many other marine fish, have in common is that they all look after their eggs in some way and it is the male that guards the eggs. The coil stamp shows the relatively common Three-spined stickleback. The coil is part of the joint Nordic series where all eight Nordic postal agencies are issuing a stamp on the same theme. The booklet features Cuckoo wrasse, Lumpfish, Two-spotted goby, Rocket gunnel and Short-spired sea scorpion. — PostNord

The drawings for the stamps were made by Lars Sjööblom, based on photography by Anders Salesjö. I doubt that all the depicted fish species live underneath the ferries in the Strömmen, but Ferry’s certainly a nicely topical choice. Furthermore, it’s a good example that type on stamps doesn’t have to be small and shy. Well done, Gustav Mårtensson!

The coil stamp features the Three-spined stickleback. Gotham is used for the species’ name.

The First Day Cover (förstadagsbrev in Swedish) shows Ferry with alternating glyph colors.