Design and identity by Yitong Ha for the exhibition Murse and Camera Obscura, using DaVinci Regular and Italic by Virgile Flores plus an unidentified typeface for Chinese text. The exhibition shown during the 11th Jimei × Arles International Photo Festival in Xiamen presented photographs by artist Xiang Sun (孙瑞祥) and was curated by Qilan Shen (沈奇岚).

A new sign for Le Bouchon Alsacien, the restaurant run by Jacky and Fred, new owners of the former Cazenove in Lyon’s 6th district.

The exterior now features a glass gilding panel combining engraving and gold leaf gilding (manufactured by Giusto Manetti Battiloro). The deep blue background highlights a swirl of shimmering letters, creating a classic and luminous result that pays tribute to Lyon’s and Alsace’s heritage.

Inside, a lime fresco bears the owners’ tribute phrase, “the cellar of my father, the dishes of my mother” alongside other hand-painted elements that extend the artisanal touch throughout the space.

The typefaces in use are Albuquerque by Ornamental & Title Type, LHF Thick and Thin Sans by Thomas Kennedy of Letterhead Fonts, Gandur New by Blackletra, and Drafter by Double Dagger.

Design and execution by C’est par là.

Cover of Volume 1 (of 2)

Parker’s description of all living organisms published in 1982 in a two-volume set by McGraw-Hill. The books cover the entire tree of life, with all organisms described in their taxonomic relation to each other and with (usually short) synopses. Lest you get too excited by the scope of this ambitious project (and it is in my opinion almost ludicrously ambitious) be forewarned that most taxa are described only down to the Family level, and of course, biology has moved on a lot since 1982. A modern equivalent is the Tree of Life web project.

The two volumes make a weighty addition to any biologist’s bookshelves.

The cover has the title foil stamped in VGC’s American Uncial Bold, and leads into a foil stamped rectangle around a depiction of a DNA molecule undergoing replication and a simplified tree of life. The volume number is from the original American Uncial.

No cover designer or typographer is mentioned specifically, but Edward J. Fox is credited as art design/production director.

Spines showing both volumes

Title page with frontispiece of Vol. 1. Names of editor and publisher are in Optima Bold. The locations use Baskerville.

Title page with frontispiece of Vol. 2. The illustrations are by Howard S. Friedman.

Covers of both volumes

Following a name change and return to their original crest, Seattle Reign FC partnered with Redscout to reimagine their identity through honoring the club's legacy and their renewed commitment to belonging and purpose-driven leadership. Building on the symbolic power of the Reign's Queen mascot, Redscout developed a sophisticated and expressive design system that reintroduces Seattle Reign FC to the world with elegance, pride, and conviction.

Typography played a vital role in creating distinction within the crowded sports landscape and redefining the club's new voice. Redscout selected Manner by Colophon Foundry for its unique blend of old-style elegance and contemporary edge, a perfect reflection of the Queen's heritage and forward-looking spirit.

Manner also brings versatility to the system, balancing functionality with expression. Its lighter weights communicate poise and refinement, while the bolder styles take on a commanding, majestic presence. The result is a typographic system that feels regal, grounded, and unmistakably Reign.

The secondary typeface is GT America by Grilli Type.

From the publisher’s website (translated from Spanish):

Third edition of Influjo Lunar, manual to the lunar cycles. It consists of the vision of eight women in relation to the phases of the moon and their influence on our rhythms and our bodies from different perspectives. The themes are: The Lunar Phases, Our Lunar Cycles, The Moon and Astrology, The Moon in Nutrition, The Moon and Plants, Astrobotany and Rituals, Pleasures to Inhabit and Menstrual Cycle.

Edited and designed by Camila Jouannet from the independent publishing workshop Ediciones Granizo. The typesetting features an unconventional combination, used in several editions of the publishing house, mixing two serif fonts: Adobe Garamond and Berenjena.

Table of Contents detail

Robert Montgomery’s Pousse Cafe in early use for a compilation album with eight rare recordings of jazz and swing music by Barney Bigard & Orchestra, Albert Nicholas, Bernard Addison & His Rhythm a.k.a. Freddie Jenkins & His Harlem Seven, and The Little Ramblers, released in 1969 by RCA Victor in their Vintage Series.

The typeface’s “plywood” layers inspired the uncredited designer to apply a similar effect to the silhouettes of the two titular clarinetists.

[More info on Discogs]

Found and suggested by Javi Gonzalez.

The logo uses Swordfish with its alternate script capitals.

Aaltoo Festival is a three-day international event about graphic design, illustration, comics, photography, and self-publishing. The festival is organized by Aaltoo ASP in Cupramontana (AN), Italy. It takes place in the local theater – recently renovated – and offers a wide range of activities like workshops, talks, concerts, exhibitions, wall painting performances, and a market area.

For the visual identity of the third edition, I (Marco Goran Romano) worked as an art director and event curator, and decided to work almost exclusively with typography, thus creating a versatile identity system capable of adapting to multiple applications. To achieve this, I combined two fonts that seem difficult to pair: Swordfish and Sempione Grotesk, both from Cast Type Foundry.

Swordfish is an all-caps geometric sans inspired by the 1920s and 30s avant-garde typefaces and jazz record covers of the 1940–50s; Sempione, instead, is a spanking sans serif family suitable for publishing and advertising that looks great in small and large sizes. Together, they create an interesting contrast that fits perfectly with Aaltoo Festival’s core values of inclusivity and open-mindedness.

O sussurro das estrelas (“The Whisper of Stars”) is a compilation of eighteen previously unknown short stories by Egyptian Nobel laureate in literature Naguib Mahfouz (Mahfuz in the transliteration to Portuguese). What all these stories have in common is their placement in the Egyptian “hara”, a typical alley or quarter that the author was not only very familiar with, but also frequently cited in his fiction.

The cover art for this edition was inspired by geometric patterns found in Al-Nasir Muhammad mosque in Cairo. Throughout the book, other patterns found in mosques around the world serve as small windows that give the reader a peak into Cairo daily life in the early twentieth century, particularly the comings and goings of its inhabitants and the bustling life of the “hara”. As a translator and scholar of Arabic literature, Roger Allen writes in the introduction:

The hara is the location of all the differently titled segments, but, as is the case with the other works […], that location also assumes a broader and more symbolic function as the site of a sample of human society, with all its foibles, conflicts, relationships, triumphs and defeats.

This edition is hardbound in gold-printed laminated paper with pattern embossing and painted edges in indigo blue. The typeface Grifito, set in lowercase, was chosen for the cover art for its angular serifs and terminals. The f in “mahfuz” was altered and given a slight descender to balance out the top portion of the cover design.

Visual identity for the iTAK festival by Le Manège Maubeuge. Design by Hugues François using Good Girl by Marion Bisserier for logo and titles and Everett by Type.Weltkern for body text.

See more images from the 2022 and 2023 editions.

Visual identity of Broken Blue, the first LP of French producer Sandór Waïss.

The typeface used for album cover, digisleeve, vinyl disc, and video lyrics is Räder by Pangram Pangram.

Floressence is a Tuscan dry gin with unmistakable aromatic notes inspired by Caterina De’ Medici, imagined in Florence. Every drop of Floressence comes from a delicate sensory balance, studied and created by an expert mixologist and perfumer. Oscar Quagliarini, Bartender Perfumer – a royal signature in the world of spirits – has studied and created the perfect synthesis of balance between balance, floral scents and eccentricity. It is inspired by the olfactory pyramid of the Queen's perfume – Caterina, ça va sans dire – created for her by René Le Florentin.

The logo is set in the Regular weight of Norman, with a golden foil. Norman is also used for the communication on social networks, paired with lettering. The accompanying serif is Feijoa.

Black bottle front packshot

The distinctive design of OVØ suggests that we are in front of an exclusive limited edition of outstanding natural wines. The bottle conveys the key elements that make OVØ a remarkable range of wines: biodynamic and artisanal production with fermentation in egg-shaped tanks, astral constellations and lunar phases, and millenary Greco-Roman heritage.

While the typography, set in Cyrièle by Stéphanie Brussick, evokes the archaic Greek stone engraving, the seamless circular vortex layout recalls the captivating pattern decoration of the ancient amphoras. Star constellations and the Moon’s phases inspire the midnight blue and gold colour palette. The silkscreen label design blends with the bottle's ovoidal body. The design was screen printed by Winglob.

The company behind OVØ is Vitbot, the manufacturer of the bottles, who commissioned the Collblanc – Mas El Ferrer winery to elaborate these two limited editions of 100 units each, which were a huge success.

These wines are from 2020. Unfortunately, the Covid-19 pandemic came right after the OVØ launch; it impacted Vitbot’s business to such an extent that they have had to put all commercial activities on standby until they find new partners.

OVØ elaboration diagram

OVØ concept inspiration: biodynamic and artisanal production with fermentation in egg-shaped tanks, astral constellations and lunar phases, and millenary Greco-Roman heritage

Black bottle front close up

Gold wax seal close up

Black bottle, front group shot

Transparent bottle group shot

Hero image. Transparent bottle close up

Blue wax seal close up

Transparent bottle, light composition close up

Initiated by Fruiting Body (Lucie Pinier & Matthieu Levet) during the Homografía | Homography (H.H.) queer video and performance festival in Brussels, Eastern Voices collects the words of artists and activists from Eastern Europe and Russia: Anatoly Belov (Ukraine), Zofia Nierodzińska (Poland), and from Russia Sasha Zubritskaya and Krasnye Zori (Helga Zinzyver, Anna Tereshkina, Yuliya Kozhemyako, Anastasia Kriazhevskaia).

Coming from countries where the mere fact of being LGBT, woman or artist can put you at risk of being imprisoned or targeted, their practice cannot be separated from their commitment.

The object, very condensed, printed on thin paper, makes us think of a suffocating newspaper. The density of the texts comes to crush a gigantic pagination, which occupies all the little space left for it. The graphic design of the object conceived by Hélène Marian, is a reflection of the interviews that it gives to read: speeches all the more powerful that one tries to stifle them. It is laid out with her many-faces PVC type family for the titles (the super dense PVC Promo and the spiky PVC Dynasty and in the narrow Cardinal Fruit for the body copy. All three typefaces are available from Production Type.

Risograph printed on sealed leaflets waiting to be released, the contrast between the dull blue of the text, the grey of the paper and the blinding brilliance of the gold of the titles reminds us of the brightness of these lives of courage.

In view of the situation in Ukraine, all profits from sales of the remaining copies of Eastern Voices are going to associations helping Ukrainian refugees.

—

Editorial concept by Fruiting Body: Lucie Pinier and Matthieu Levet
Graphic design: Hélène Marian-Srodogora
Printed in Brussels in September 2021 on Habitant.e.s des images ASBL’s risograph printer.
Proofreaders: David Jarrin, Laura Lot, Fanny Quément
Published by La Garconniere Prod & Homografía | Homography Festival

Identity for the Franconia Baptist Church by German graphic designer Peter Voth.

The letter F used in many of the materials is an edited form from Misfits Blackletter by Andrei Robu. All other type uses the newly released Schmaltzy by Matthijs Herzberg.
The detailed ornament and classy color scheme are historically inspired, but all type is set in all-caps, which is traditionally quite uncommon for blackletter.

About the project, Voth says: “The Franconia Baptist Church was established in 1870 and exists to this day. To design a logo that represents the historical heritage as well as the future in a worthy way is always a sweet spot of my work.”

Eighth Day is a skin care brand launched in 2009. Founded by Dr. Antony Nakhla, Eighth Day finds its roots in the doctor's research in dermatology and how the human skin can heal and regenerate itself – following a study on post-surgery skin cancer patients, burn victims, and patients with chronic wounds. Based on the the healing properties of amniotic and placental tissues, the only two products of the brand aim most of all at having a healthy skin, rather than making all its so called imperfections disappear.

The designers from Underline Studio were commissioned to work on the rebrand of Eighth Day in 2021. Not only did they change the visual identity, they also moved the brand's position from a classical, cosmetics oriented speech, to a more scientific and health-focused discourse. In a time where society advocates for a more inclusive representation of beauty standards, this strategical shift permits to stay on the market and broaden the brand’s target. The design of the packaging and bottles reflects this change of position: the sober black flasks imprinted in gold still have a luxurious aspect (which is justified regarding the price of the products, around 200$ for 15 ml), but the sobriety of the typographic uses remind us more of medicine than beauty products.

The brand’s logotype is set in Dr from Production Type, which is already a way to anchor the brand in the scientific field: the design of Dr was initially made for a lab specialized in prosthetics, and that’s why you’ll find some parts of the letters that appear to be placed on the letter’s body in an artificial way. Dr is paired with La Nord by Raoul Gottschling for all other communications supports: its similarity to Dr when set in caps makes it a natural declination of the logotype, and at the same time, the specificity of its loose lowercase makes it very identifiable in itself. In the end, type and photography are the two main factors of the success of this contemporary rebrand.

Narcos & Homes is a photobook showing a project by photographer Yamile Calderón named “Domestic at large”. From Yamile Calderón’s website:

This project is very connected to Calderon’s life experience of growing up in Colombia during the blossom years of narcotraffic dealing, with the imaginary and aesthetics values that came with it in Colombian society. This was her starting point to work with the project “Domestic at Large”, in which she approaches the drug trafficking problem from a domestic perspective. She took pictures of the properties of mafia bosses in Colombia that have been confiscated by the government. These images reveal ambivalence between the decadent, luxuriance in contrast with the emptiness of the houses. At the same time there is a confrontation between the way media presents this phenomena and how these photographs approach the everyday life of these people with their families, telling stories through the traces of people.

New brand identity for Swiss Grand Resort Bad Ragaz: Jung von Matt Zurich restructured the visual identity of a leading wellbeing and medical health resort in Europe.

Logo, magazine and website – or, in short, the complete visual identity – of Grand Resort Bad Ragaz is designed in an elegant layout with lots of white space and based on a single typeface family: geometric Cera with fits the golden and royal blue colour scheme and luxurious and upscale brand atmosphere.

O Auto da Compadecida, literally "The Compassionate Woman's Play", (the woman being the Virgin Mary) is a is a Brazilian television miniseries in 4 episodes, aired from January 5 to January 8, 1999. In 2000 the miniseries was released in film format, and was a critical and commercial success in Brazil and throughout South America. To celebrate its twenty year anniversary the series was rescreened in January 2020, with a new title sequence and updated special effects.

The beautifully illustrated, fresco-style opening sequence was designed and illustrated by Koi Factory and Caramurú Baumgartner.

Alias Harbour is used for title sequences.

Reininger Winery, located in the heart of the Walla Walla Valley, Eastern Washington, specializes in crafting elegant and finely structured red wines from hand-harvested, ultra premium grapes. From the first release in 1997, Reiniger wines have possessed a unique quality derived from the winemaker's awareness of and passion for the natural elements that make great wines. For its branding, IvyJournal has been chosen for headlines and is combined nicely with Freight Neo for text.

Titled The 4th Estate, this pamphlet (published in 2,000 copies) is the result of a collaboration between the team of Utca&Karrier magazine and the 16th Verzió International Human Rights Documentary Film Festival:

(...) In such a twisted media landscape questions on the state of independent media – the situation of non-profit news sites, the meaning of journalism in our age, where anyone can be a journalist, and how we determine what’s real or what’s fake – have become rather important form the perspective of society. This publication, and the ‘Media of the Fourth Estate’ section of the festival aim to provide a deeper look into these topics.

Several texts are included in this eight-page pamphlet, covering the topics in Hungarian and English. Pieces are written by different authors from the magazine staff as well as guest writers. It includes titles like “Detectives of Post Truth” and “Corruption Kills”. It also showcases the 11 organized sections with a detailed list of the selected films the festival will screen.

For the typography, designer Aron Lodi used solely Ambiant Sans in different sizes and colours. For running text, the font is left untouched, but for titles, it is heavily manipulated by showing only the outlines. As a result, the design looks harsh but interesting, while simultaneously challenging the build of the typeface.

Texts by Hanna Eichner, Dóra Bartal, Etelka Tamás-Balha, Endre Cserna, Márk Tremmel.