Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Bunt (“Colorful”), the current participatory exhibition

We love seeing Kit Rounded used like this, unapologetically playful.
⁠
The Old Castle in Stuttgart revamped their children’s section. Junges Schloss (“Young Castle”) is voiced with Kit, softly welcoming yet structured enough to hold its own in a centuries-old space.⁠

Darden Studio’s Kit Rounded is used for everything from the website and the logo (with Atkinson Hyperlegible for “LandesMuseum Württemberg”) to posters and teasers for the museum’s hands-on exhibitions and events.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail with menu. Body copy is in Open Sans, with some bits in Arial Black.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Sommeroase, the holiday program for summer 2025

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

National Children’s Museum is a vibrant, interactive museum dedicated to inspiring curiosity and learning for children and families through playful STEAM (science, technology, engineering, arts, math) exhibits and programs. The brand identity, developed by Ogilvy, uses both Halyard Display and Halyard Text across all applications.

The Tinkering Corner is a hands-on activity space within the museum. To increase visibility and establish a clear point of entry, a series of glass wraps were created along the exterior walls. Typography is pushed into a more expressive mode through playful letter compositions, layered patterns, and high-contrast color. The overall design reflects the spirit of tinkering and discovery while serving as both a visual marker and a wayfinding element.

Team: Emilee Schroeder, Akanshya Upadhyay

The VIVE (Vittoriano e Palazzo Venezia) is a national museum institute in Rome, established in 2019 and active since 2020, under the Italian Ministry of Culture. It brings together two iconic landmarks in the heart of the city: the Vittoriano, also known as the Altare della Patria, and Palazzo Venezia, along with the Central Museum of the Risorgimento, the panoramic terrace, and the Library of Archaeology and Art History. Dedicated to preserving and showcasing architecture, artworks, and collections central to Italy’s history and identity, VIVE combines research, conservation, and public engagement through exhibitions and educational activities.

From its establishment, VIVE has adopted a clear visual identity developed by the Trieste-based studio TassinariVetta. The logo and overall visual language favor a minimalist approach that evokes modernity and a sort of architectural precision. These values are reflected in the consistent use of the Suisse font family, beginning with the logotype, which combines Suisse Int’l Bold and Suisse Neue Medium.

This typographic choice is extended across the monuments’ visual system. Suisse Int’l is used for signage, ephemera, and public-facing communication, both online and in the street. A notable example is the long-running lecture series “VIVE al Centro di Roma”, whose first posters and subway ads showcased the new identity throughout the city.

On the website, designed by the agency Vergani&Gasco, Suisse Int’l is paired with Suisse Works rather than Suisse Neue. While all three belong to the same family, the choice introduces a functional distinction: Suisse Neue remains tied to the identity mark, whereas Suisse Works serves as a dedicated text serif. The shift preserves typographic continuity while separating symbolic branding from editorial usability, allowing the digital content to prioritize clarity without altering the core visual language.

The visual identity is here seen applied to the monuments' entrance tickets. Same typesetting, five different color codes for each of the five museums making up VIVE.

The Haus der Musik is a landmark institution in Vienna, serving as an interactive museum, a concert stage, and a premier event venue. To unify these diverse facets, WEDEL Markenbau (Hubert Wedel) developed a new, homogeneous brand strategy designed to make the identity more tangible both internally and externally.

Working in collaboration with designers Flora Bacher and Stefan Müller, the team created a flexible brand system that acts as a “transporter” for the museum’s story across all channels from print and out-of-home advertising to digital platforms and environmental graphics within the Palais itself. The core of this system is Nexa by Fontfabric. The font’s geometric clarity provides a modern, “scientific” foundation that complements the museum’s focus on acoustics, while its rhythmic versatility allows it to adapt to the emotional world of classical and contemporary music. The result is a dynamic, high-contrast visual language that feels as vibrant as the sound museum it represents.

The museum's updated logo was inspired by their building's chiseled facade lettering and uses Terza Display by Commercial Type. The emblem, inspired by their folk art flower logo from the 1950s and 60s, was custom drawn by Alex Tomlinson.

The Everhart Museum is a non-profit museum founded in 1908 in Scranton, PA, which focuses on natural history, science, and art. It is one of the oldest public museums in Pennsylvania and was established by Dr. Isaiah F. Everhart (1840–1911), a Civil War medic, Scranton physician, and amateur ornithologist.

With this rebrand, I sought to create a visual identity that pulled directly from the museum's collection and building itself. The floral silhouettes are directly taken from Dr. Everhart's pressed flower collection from his world travels and are used throughout the visual identity as patterns and motifs.

These two digital ads were created for the NEPA Philharmonic and WVIA, featuring historic imagery from the collection.

Poster for an upcoming event at the museum, with imagery taken from the museum's collection regarding folk art, floral paintings, and valentines.

National Children’s Museum is a vibrant, interactive museum dedicated to inspiring curiosity and learning for children and families through playful STEAM (science, technology, engineering, arts, math) exhibits and programs. The brand identity, developed by Ogilvy, uses both Halyard Display and Halyard Text across all applications.

The museum’s annual spring campaign led by our in-house creative team launches during peak cherry blossom season in Washington, DC, aligning with a period of heightened tourism and local interest in the city. Aimed at families and children on spring break, and visiting tourists, the creative paired recognizable local landmarks with floral imagery to emphasize the seasonal appeal of a visit.

Out-of-home campaign displayed in WMATA Metro station booth in Washington, DC

The sign featuring Agincourt, spotted in 2012

Der Weiße Schwan (“The White Swan”) is a pub and also a beer museum located in the old city of Heidelberg, Germany.

In 2012, their hanging sign with a painting of the eponymous water bird featured the name in Agincourt. The display blackletter was designed by David Quay and named after the England’s victorious battle in the Hundred Years’ War. Letraset released it in 1983. The sign thus can’t be any older than that (but probably was made later).

Sometime between 2018 and 2020, the sign was renovated, with a new swan and also a new typeface. Or rather, an old one: Weiß-Gotisch was first cast by Bauer in 1936 and is named after its designer, Emil Rudolf Weiß.

The new sign as documented in 2025, with Weiß-Gotisch. The article “zum” is now capitalized.

The sign on the façade uses custom-made letterforms. They are still based on a typeface, though, albeit loosely: it’s a bolder rendition of another design by Emil Rudolf Weiß, namely Weiß-Rundgotisch. See its glyph set for comparison.

“Weisser” is here spelled with a double s instead of an eszett (ß). This isn’t quite according to the rules, but perfectly readable. Blackletter aficionados will notice another, more serious error. Can you spot it? (And no, I’m not talking about the use of all caps for “BIERMUSEUM”).

Logo

In 2024, the Museum of the San Ramon Valley in Danville, California, became MuseumSRV. The rebrand used type as a bridge between the Valley’s past and its present younger, diverse community. We chose OH no Type Co.’s Fatface and Compadre for their mix of historical flair and modern charisma. We wanted something expressive enough to engage kids and families, yet refined enough for longtime supporters. Their bold curves and contrast brings warmth and friendliness to everything from exhibit titles to donor materials. Paired with a bright, Valley-inspired palette, the typefaces helped transform the museum’s voice into something fresh, welcoming, and alive. See more on the Small Forest website.

Stationery

Swag for students in educational programs run by the museum

Home page header

Social posts

Premium membership status for extra generous donors

Printed quarterly newsletter

Annual craft beer stroll to support the local business community

Timeline feature from the website. Smaller text is set in Georgia and Fira Sans Condensed.

The logo

As part of its rebranding to Corinth Folklore and History Museum (Greek: Ιστορικό Λαογραφικό Μουσείο Κορίνθου), the old Folklore Museum of Corinth (Kórinthos) needed a new logo. In discussions with the people of the museum it was clear that there was a need for a logo that could function in digital media as well as in print and in the building signage. There was a need to incorporate the new historical element but also keep the folklore side which has been the museum's main theme until now.

The museum suggested a collection of images of objects and fabrics that could be used a starting point of the design. Although there were many intriguing objects among the images, what struck me as the best starting point were the patterns of the fabrics. After some initial attempts at creating a geometric logo from these patterns I focused on the rhombus shape that appeared in most of the patterns.

The need to marry foklore and history lead to a more “typographic” solution. The logo was made using 19th-century-style typefaces that relate to the early Greek state established in that period, a significant historical moment for the city.. The final shape came from combining the initials of the museum’s name ΙΛΜΚ to create the rhombus shape.

Examples of logo application

Logo variations

The visual identity of the Paço do Frevo museum was revamped in February 2025.

Created by visual artist Joana Lira, together with the studios Alles Blau and Ligatura, the colors, shapes and representations that will accompany us from today on are “an alphabet of free bodies articulated in motion, mixed by graphs representing the sound frequencies of the frevo”.

The project includes print, merchandising, interior and exterior signage, using Maroni as the main display typeface.

On social media graphics, Maroni is supported by Silvana Text. The typeface by Brazilian designer Daniel Sabino is used in roman and italic styles.

Located in Recife, Brazil, Paço do Frevo is a Reference Center for the Safeguarding of Frevo, dedicated to the dissemination, research, leisure, and training in the areas of frevo dance and music. Its objective is to protect, promote, and propagate the practice for future generations and to be a space for the promotion and celebration of carnival culture and frevo throughout the year. Since 2014, Paço has developed exhibitions, activities, research, and events for the dissemination and protection of this Intangible Cultural Heritage of Humanity, which should be revered every day.

The Frevo Vivo (“Living Frevo”) exhibition on the 3rd floor of the museum can now be explored in a 360° virtual tour.

Design between yesterday and tomorrow – branding for the Museum Bezau.

A new chapter for an old building: the former Bezau Local History Museum has been completely redesigned, both architecturally and in terms of content. Past and present now meet in the historic Bregenzerwald farmhouse dating from 1555. A modern extension, designed by Innauer Matt Architects, complements the listed building with great sensitivity. A bridge to the present day has also been built in terms of communication.

Super BfG worked closely with the Bezau Museum Association to develop the new name, image and all communication materials for the museum. The new look is not a loud break with the past, but a quiet opening – respectful of history, but with a clear view to the future. The design picks up on the architectural language: sections, corners and curves of the new wooden façade become a graphic principle. The lettering remains functional and calm – carried by two typographic voices that combine history and modernity. GT Alpina adds narrative depth, while the neutral NN Nouvelle Grotesk lends clarity and simplicity to the overall picture.

A special shade of yellow is at the heart of the colour scheme – symbolising the dawn of a new era. Combined with natural tones such as wood, milk and honey, it creates a visual connection between built space and creative expression. The striking recess in the letter M becomes a recurring element: as a support, frame and point of orientation.

The branding has been consistently applied to a wide variety of media – from folders, postcards and envelopes to exhibition sliders, stickers and tea packaging. The new website rounds off the project digitally: it not only makes the stories of the Bregenzerwald visible, but also brings them to life.

The Lange Nacht der Museen (“Long Night of the Museums”) in Stuttgart took place on the night of Saturday, March 22, 2025, from 6 pm to 1 am. Over 60 of Stuttgart’s museums, galleries, historic buildings, and cultural sites opened their doors late into the night, offering a diverse range of exhibitions, guided tours, live music, performances and interactive programs.

The event’s graphic design was entrusted to Studio Kronschnabl, who used Tifo Venezia, designed by Romain Tronchin and distributed by 205TF, as the title typeface. The secondary typeface used for the text is Agrandir, designed by Alex Slobzheninov and distributed by Pangram Pangram.

Strauhof is a literature museum located in Zürich, exploring the intersection of literature and spatial experience. Its exhibitions engage with the dualities inherent in literature, such as analogue vs. digital or displaying vs. hiding. The proposed visual identity embraces these dualities, translating them into a system that reflects both the conceptual and physical dimensions of the museum.

At the core of the proposed identity is a custom monospace typeface, originally named Literature, designed by Outline Online (at the time: Samira Schneuwly and Laura Csocsán) specifically for this project. The typeface has since been released on the Outline Online platform under the name OO Arketa. In the proposal, it is used across the museum’s communication materials, including posters, flyers, and brochures.

For display sizes, OO Arketa is used with a stylistic set developed exclusively for this context. The custom display style references the interface aesthetics of digital writing tools, subtly alluding to the environments where much of today’s literature is both written and read.

The identity further incorporates handwritten texts from authors and literary figures, closely tied to the respective exhibitions. These handwritten elements repurpose the printed materials into previews, providing a direct link to the literary content and personalizing each exhibition's visual language.

This identity proposal was developed as a school project at ECAL, exploring the relationship between literature, typefaces and visual identity.

Teylers Museum in Haarlem is the oldest museum in the Netherlands, founded in 1784 based on the legacy of Pieter Teyler van der Hulst, a banker and philanthropist with Enlightenment ideals. In his will, Teyler left provisions for the establishment of an institution to house scientific instruments, natural history collections, and art, with the goal of promoting knowledge and learning for the public good.

The museum's Oval Room, originally the primary exhibition space, was designed to reflect the intellectual values of the time. With its elliptical shape and high dome, it provided a setting for the display of objects and scholarly study. Today, it continues to house scientific instruments and geological specimens. As the museum expanded, additional galleries were built to accommodate its growing collection, but the Oval Room remains a central and historically significant feature.

For several decades, Teylers Museum has used DTL Documenta and DTL Haarlemmer for its signage and publications, including captions in the glass cases and information typeset on the walls during exhibitions. However, it is unfortunately unclear who first introduced these typefaces or how their use at the museum began.

Over the years, several studios including Bregt Balk, Gracia Lebbink and Studio Wesseling have worked on (parts of) the museum’s identity. It’s not clear which of the shown items was created by whom, except the image showing the ‘chiseled’ T, which is part of Studio Wesseling’s previous visual identity for the museum (they are also responsible for the current branding).

Västerbottens museum in Umeå, Sweden is a county museum with responsibility for the cultural history of Västerbotten County.

The museum redesigned its visual identity in 2023, embracing a new logo and typography to reflect the cultural heritage and natural environment of Västerbotten.

Museum Plantin-Moretus in Antwerp has been using DTL VandenKeere for approximately 25 years in its exterior and interior signage, as well as in its publications. This typeface is prominently featured throughout the museum. Its return to the museum was significant, as Hendrik van den Keere (ca. 1540–1580) originally cut the Parangonne Romaine (known as Reale Romaine by Christophe Plantin), which served as the model for the digital variant, in 1575. Plantin first employed this type in 1576. The italic of DTL VandenKeere, on the other hand, is based on a model by the French punchcutter François Guyot (ca. 1505–1570).

This Bachelor’s thesis made at FH Potsdam examined how museums can use digital technologies to create interactive and accessible experiences. Based on insights from two expert interviews and the analysis of two museum case studies, the project identified key strengths and weaknesses in current digital practices. These findings formed guidelines, which were then applied in the development of a concept to enhance the visitor experience at the Egyptian Museum in Berlin through the use of new media.

The book was written and designed by Dilara Fiedler using the typeface ABC Favorit (plus Mono and Lining variants) by Dinamo.

The Museen der Stadt Dresden utilize the TT Firs Neue typeface as a key component of their visual identity.

The Museen der Stadt Dresden is a municipal museum association established in 2005, comprising ten institutions dedicated to preserving and presenting Dresden’s rich cultural heritage. These museums cover a diverse range of topics, including history, art, technology, and literature. Notable members include the Dresden City Museum, the City Art Gallery, the Technical Collections, and the Carl Maria von Weber Museum.​

The association operates under the City of Dresden's Department of Culture and Tourism, aiming to showcase diversity and provide educational experiences. Its mission focuses on engaging the public with Dresden's multifaceted history and culture.

Titled «Традиционный» музей и современные архитектурные практики (“‘Traditional’ Museum and Contemporary Architectural Practices”), this visual research by me, Veronika Pozdeeva, is part of a thesis project made at HSE Art and Design School. It explores the expansion of traditional museums and their impact on identity and the urban context. The study examines 43 unique cases of museum renovations, analyzing how these transformations shape cultural narratives and influence their surrounding environments.

The typography is serviced by Gerbera, designed by Brownfox, a neo-grotesque typeface that reinterprets archaic forms. This choice establishes a conceptual link to the subject matter, reflecting the interplay between historical museum architecture and contemporary extensions.

By investigating these museum expansions, the project aims to provide insights into how modern interventions reinterpret and redefine cultural heritage within evolving urban landscapes.

You can flip through the catalog on Calaméo.

The Tlatelolco Ciudad Museo (“Tlatelolco Museum City”) project by Erik López (editor) is an exhaustive review of the cultural and artistic layers in Tlatelolco, Mexico City. Placing special emphasis on a contemporary approach to the site, Erik analyzes the current artistic possibilities of this urban laboratory.

The typesetting features contemporary typefaces that reflect the present-day urban space. Additionally, font choices were made with the particular Risograph printing technique in mind, ensuring that all text remains legible and visually appealing.