During the Civil War there were many many patriotic covers (envelopes) printed, both by the North and the South. This unused one from the “Know Nothing Party” uses a patriotic flag typeface very similar to the one used in the 1870s by Robert Malcolm, as did a number of Northern envelopes. It might be a different size of Johnson’s National – or a close follower – and was printed in two runs. Note how the two colors don’t align perfectly.

National was patented in 1856, and the Know Nothing Party was dissolved in 1860. The envelope thus is probably from the second half of the 1850s.

Ulysses de Santi is a design dealer and curator renowned for his work in promoting mid-20th-century Brazilian modernist culture and design.

Inspired by the cultural richness of Brazilian modernist design, the new identity for Ulysses de Santi combines expressive typography and editorial-inspired layouts. Built around the contrast between geometric precision and warmth, the visual system explores rhythm, spacing, and tension to create a brand that feels both contemporary and deeply connected to Brazilian design heritage.

Editorial compositions, structured spacing and a precise grid carry the discipline of the visual identity into the digital experience. Motion creates continuity between states, supporting navigation without distraction. Projects are presented as narratives, allowing content to take centre stage while maintaining a strong, coherent identity.

The identity was conceived by Daniel Escudeiro, with digital design by Twoo and digital development by Jorge Toloza.

Albra Sans by Rellence is used for Fossula, a skincare brand from Korea that develops new ingredients and formulas based on extensive skincare experience. It was launched in September 2020.

The brand identity design and font selection were executed by Seoul-based design studio HuskyFox. Plus X were in charge of developing the website.

The supporting typeface for small English text is Benton Sans. The Fossula website (no longer online) additionally used Noto Sans KR, see Source Han Sans.

The project originates from a series of monotype experiments carried out on plastic surfaces sourced from everyday materials. By applying paint to plastic samples and then printing them onto paper, random and diffuse impressions emerged. The flexibility of the plastic favored the formation of folds and creases. These prints, somewhere between abstract landscapes and imaginary territories, quickly revealed their potential for a cartographic approach. Eight monotypes were digitized, modified, and vectorized to serve as modular templates. Variations in contours, colors, rotations, gradients, and line styles enabled the creation of a series of maps with multiple and evolving compositions.

To give these representations visual legitimacy, scientific imagery was employed. Titles, legends, scales, and grids were incorporated into the compositions, enriching interpretation while blurring the boundaries between science and fiction. These maps depart from the conventions of traditional cartography to offer a sensitive and poetic journey. Compiled as an edition, they form a fictional atlas: a guide to mysterious territories, at once foreign and familiar.

This atlas presents itself as a visual trace of an imaginary planet, a graphic testimony of life forms and spaces yet to be explored. By giving these fictional worlds a tangible dimension, it grants them artistic and cartographic recognition. Straddling abstraction and evocation, these representations offer an alternative perception of the world. They open up new perspectives, inviting contemplation, exploration, and immersion in a universe where reality intertwines intimately with the imagination.

Few Manhattan neighborhoods capture classic New York quite like Gramercy Park—a desirable enclave defined by its private garden, quiet tree-lined streets, and historic architecture. Bridging timeless elegance with modern livability, The Florian carries this legacy forward.

Watson shaped the brand from the ground up with a strategic naming approach: “The Florian” evokes warmth, greenery, and enduring character—positioning the residence as both refined and welcoming. The broader brand strategy centers on appealing to a new generation of first-time homebuyers putting down roots in New York City.

Drawing from Gramercy Park’s 19th-century ironwork, literary tradition and cultivated community, the visual identity system subtly balances history with forward momentum. A flexible logo suite spans from an expressive wordmark to a pared-back fleuron, enabling versatility across touchpoints while reinforcing a cohesive, place-based narrative. The typographic system reflects the neighborhood's effortless charm and ease while staying rooted it in its quiet sophistication. The neighborhood photography further grounds the brand in authenticity, emphasizing an emotional connection to this iconic New York location.

Both a tranquil retreat and a gateway into city living, The Florian is positioned as more than a residence—it’s a setting for new beginnings, designed for those ready to write their own New York story.

The logomark variations are set in MD Lórien with modifications to specific letterforms. Headlines are set in LL Catalogue and supporting copy is set in Founders Grotesk.

Cielo is a natural wine bar in Berlin’s Friedrichshain quarter. The friendly typographic approach and essential color palette convey its Mediterranean soul and Italian cuisine.

The concept is inspired by the sky, ever-changing like the menu and the selection of natural wines. The interior “Blu Corner,” illuminated by a neon cloud, is in dialogue with the brutalist exterior signage, blending tradition and contemporaneity. Dishes celebrate sharing in an open and inclusive space, far from conventions: “We all live under the same sky.”

Ivano Pirolo, a chef originally from Avellino, Campania, graduated from the hospitality institute in his hometown before continuing his training with a Master’s in contemporary cuisine in Girona. After various professional experiences across Italy, Spain, Switzerland, and Germany, he developed the desire to open his own restaurant.

In recent years, he refined his technique and culinary vision while working at the restaurant Les Solistes by Pierre Gagnaire in Berlin, and later continued his journey at Celler de Can Roca in Girona. Returning to his adopted city, Berlin, he joined the kitchens of Facil and subsequently Kink. It is here that the idea of opening his first restaurant, Cielo, took shape.

For this project, he turned to Attico36 with the aim of developing a minimal and contemporary visual identity, while still evoking the authentic flavors of Irpinia, combined with the creativity and elegance of Italian and Mediterranean gastronomic tradition.

Kaligari proved to be the ideal choice: the client wished for a reference to the scripts of old restaurant, winery, and delicatessen signs from Campania. Kaligari succeeds in reinterpreting that kind of imagery in a modern and contemporary way.

This is the 1977 logo and dust jacket for a book published by Dr. Rzepela. The name of the author is in ITC Korinna Bold.

Zip Diet was created by Dr. Stanley J. Rzepela, who opened the Zip Diet Center in Boston. The logo started with a font which I cannot remember and have been unable to track down now.

Above is one of a dozen or so small space ads, each having weight-related copy with a twist. The slab serif used here is ITC Lubalin Graph.

A poster that shows visually which foods are allowed in Phases 1, 2 and 3 of the diet. The numerals are from ITC Firenze.

Decorative repeat

Stationery, foil stamped on ribbed paper

Round Rivers is a Swiss brand founded in Zurich that collects plastic waste from the river Limmat and transforms it into textiles and garments. Since 2019, the project has developed a local production chain that converts recovered PET bottles into flakes, yarns, and finished products such as swimwear and winter jackets. All stages, from collection to manufacturing, are carried out within a limited regional radius, involving partners across Switzerland and Northern Italy.

The signet and visual identity were developed by the Zurich- and Vienna-based studio Offshore. The system is exclusively set in Swiss Typefaces’ Simplon Norm, used across labels, packaging, website, and communication materials. The font's constructed, even-weight strokes and slightly elongated proportions recall the visual language of European road signage, while its name also happens to echo one of Switzerland’s iconic valleys. This choice situates the identity in line with the project’s engagement with environmentalism and circular economy.

Karolina Stelmach is a real estate agent who knows how important a professional offline and online presence is. We’ve created a personal branding that communicates her personalized approach to clients, as well as reflects her nature and passions. The visual language oscillates between greens and a burgundy palette, and the offer is shown through artistic filters making it look like paintings. Choosing a property is like art, isn't it? We’ve also created a range of printed materials: from an unusual presentation deck, to business cards and stationery. We are delighted that Karolina will stand out in the vast pool of online creators.

Clean Plate Society is a club and catering venture that develops and serves seasonal menus. Its services include private dining events and catering. The identity was designed by James Mudd and is set in Romie Regular, designed by Margot Lévêque.

The script used for “inaugural” is yet unidentified. Young Gallant is similar.

Vesper Voyage is a capsule collection series by Vesper Milano that embarks on a journey beyond everyday perception. The project explores a philosophy of wanderlust, creating objects with variable uses that invite the audience to travel to another place or time. Produced in small provincial workshops, the artifacts enhance the beauty of blurred memories and are conceived as objects not meant to be forgotten.

The collection’s first project, Noctambulist, sits between day and night, exploring the threshold between the conscious and the unconscious. It features a loose-fit, unisex pyjama and a handmade toothbrush, both made in Italy, alongside a soap with real green frankincense from Oman. The limited bundle includes a poem card tucked inside, guiding its recipient along a path of dreams.

The logotype and all printed assets are set in all-caps Modern Gothic. The signet is a bespoke reinterpretation of the lowercase v from Magnificat, originally sourced from a Letraset sheet, intended to function as the brand’s double-v initials. It is deployed consistently across the identity: embossed on envelopes and cards, and integrated into the labeling system.

Creative direction by Vesper Milano. Design by BIFFIPOL with type design assistance from Michelangelo Nigra.

Semper Astra is a Paris-based jewelry brand. Founded by Audrey Jean-Baptiste, they specialize in bracelets, rings, earrings, and other bespoke jewelry handcrafted in Paris, Portugal, and Italy.

For much of their print ephemera and website design, creative director Joanna Spadiliero turned to Carta Nueva by My-Lan Thuong and Sharp Serif Text by Connor Davenport, My-Lan Thuong and Léna Le Pommelet, available from Sharp Type. From calligraphic subheadings to general information about their products, their design choices echo sentiments of respecting traditional crafts with a modern twist.

The logo is custom lettering by Spadiliero.

mona is a student rebrand project created at ArtCenter College of Design as part of the Communication Design 4 class taught by Wendy Thai. This fictional project reimagines the Museum of Neon Art through a renewed visual system, positioning it not just as a museum, but as an experiential portal.

The Museum of Neon Art is no longer just a museum—it’s a charged space where science, art, and motion converge in an electrified dance of discovery. Visitors are invited to step into neon’s full spectrum: immersive, transformative, and alive. Through art, storytelling, and sensory experience, the identity celebrates neon’s curious spirit and ethereal presence, awakening awe while honoring its vibrational energy. This is neon reborn, where energy becomes art.

The identity uses Lexend as the primary typeface for its clarity and contemporary warmth, supporting accessibility and readability across the system. MuseoModerno is reserved exclusively for the logomark, its fluid, futuristic curves embodying neon’s movement and luminosity.

Les Perséides / Le Papier du Mois is a collaboration between Fedrigoni, Spaciofino and L’imprimeur Simon. Every month, Fedrigoni organises a collaboration between a design studio and a printer to showcase their range of papers. Responsible for the August 2025 edition, Spaciofino took inspiration from the Perseids, a meteor shower that occurs every summer. The result is a leporello – measuring 560×205 mm and printed on Cocktail Blue Moon 120 g/m² paper, contained in a pocket revealing a poem by Pierre Reverdy, “Étoile filante” (“shooting star”). On the back, the studio has drawn a star collection reminiscent of a naturalist’s board.

The typography uses Neue Haas Unica by Monotype. Fedrigoni’s branding on the other hand (as seen on the envelope) is set in Forma DJR by David Jonathan Ross.

ArdorU offers a service for sending greeting cards with “your words, handwritten and mailed in minutes.” The brand is defined by poised, elegant serifs, refined ligatures, and a tactile signet, paired with a precise and unforgettable orange. The bright envelope ensures instant brand recognition the moment it arrives.

The visual identity designed by Vienna-based studio SR translates this sensibility through soft ligatures, graceful serifs, and an embossed signet that echoes the craftsmanship of handwritten correspondence. The logo is set in Romie Regular by Margot Lévêque. The typefaces used on the website are ABC Arizona Sans by Elias Hanzer for text and Rauschen B by Philipp Herrmann for headings.

The Feminine Monarchie, or the History of Bees, a 1609 book by Charles Butler, is not only the first book on the science of beekeeping but also brought to public awareness that the bee colony is ruled by a queen rather than a king.

Made as a student project at RISD, this series of ten plates creates a taxonomy that compares the parts of the beehive to societal structures and an anthropology to how communities of bees and people behave. Each plate shows an illustration as a visual representation of the idea, as well as a quote from the book that discusses that specific plates themes.

Size (per plate): 6″×8″

Designed by studiokwi, the Moms@Science project, based at the Freiburg University of Education, focuses on innovative scientists with children. It helps to make the stories, challenges, work, and achievements of successful and innovative mothers in science visible and accessible to a broad (specialist) audience.

A colorful and playful project design forms the basis for everything the project will develop in the coming years. 👀

The font in use is ALT Picaro by Ellen Jonsson at Alt Type.

Source: piafleischmann.com License: All Rights Reserved.

What served as workwear for postal employees for over 20 years is now getting a new life. Together with the committed and open-minded team at Swiss Post, I had the pleasure of designing the special stamp “Upcycling – from Postal Uniform to Postage Stamp.”

Typography plays an essential role as well. The stamp features MZ OTR Grotesk by Marc Zenhäusern – a contemporary workhorse typeface rooted in Swiss design, combining legibility, precision, and character. A perfect complement to the theme.

At the heart of the project was the idea of creating a tribute to the recognizable look and strong sense of belonging among employees. The fabric of the familiar light-yellow shirt is now setting off on another journey – this time as a postage stamp. The design incorporates characteristic elements of the postal uniform: the print recalls the anthracite-colored blazers that were once part of the outfit and celebrates the diversity of the people who wore them with pride every day.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

In 1881, brothers Hermann, Gustav, and Wilhelm Schurath opened a paper shop with a bag-making workshop in Leipzig. They added a paper mill in their home town of Brandis, Saxony, in 1883. Fifty-five years later, in 1938, Wilhelm Schurath G.m.b.H. issued this invoice for 2,260 glassine window envelopes with gummed flaps, plus another fifty of second quality.

The design of the invoice features four different styles from a large sans-serif family that went under various names. The company name and location are shown in the bold extended Edel-Grotesk fett a.k.a. Aurora V. All other preprinted text (disregarding the typewritten additions) is set in three weights from the regular-wide Neue moderne Grotesk a.k.a. Aurora I–IV.

Another invoice in SLUB’s Saxonia collection shows that the same basic design was used already in 1936. On that version, parts of the header are set in two weights of Futura, though, resulting in a less harmonious pairing.

According to Frank Schimpke, the company continued to operate as Wilhelm Schurath KG until 1970, when it was nationalized and renamed VEB Verpackungsmittelwerk Brandis.

Hugup is innovative supportwear designed to keep expecting mothers comfortable, confident, and moving freely throughout their pregnancy. Founded by a mother who experienced health difficulties during her own pregnancy, Hugup was born from firsthand understanding of the challenges women face during this transformative time. As a women-led company dedicated to women's health, Hugup is committed to developing solutions that truly serve the needs of expecting mothers.

Hugup successfully created an identity that transforms pregnancy branding by embedding the experience itself into the visual language. The dynamic logotype, set in Moulin, serves as the conceptual foundation, where five letters orbit in circular motion to mirror the cyclical nature of pregnancy and fetal development. This movement directly references birth calendars, with expanding letter spacing that visualizes gestational progression – creating an immediate emotional connection between the brand mark using and the user's lived experience. Most text is set in all-caps Founders Grotesk Condensed.

The logo’s dual nature addresses both the emotional and practical aspects of pregnancy support. In motion, it represents growth and transformation; at rest, the half-circle formation suggests the protective embrace of a womb while simultaneously referencing the Hugup device itself. This visual metaphor extends the brand's core promise of support into every touchpoint, creating consistency between product function and brand expression.

The identity system breaks conventional pregnancy aesthetics through playful verbal patterns that inject rebellion and empowerment into a category often dominated by overly precious or clinical approaches. These fluid yet simple patterns maintain scalability across digital and physical applications, ensuring the brand can adapt to various contexts without losing impact or becoming overly complex in execution.

The circular motif becomes a unifying element that “wraps” content throughout the identity system, reinforcing the supportive gesture concept. This creates a cohesive brand world where every element, from packaging that literally hugs products to digital interfaces, communicates care and protection through visual form rather than just messaging.

The result positions Hugup as both empathetic and fashion-forward, striking a balance between emotional resonance and contemporary design sensibility. The identity successfully communicates the brand's core promise through elegant visual metaphors that make abstract concepts like support and empowerment tangible and immediately recognizable. The adaptable system ensures consistent brand expression whether animated or static, creating a vibrant yet practical brand ecosystem that scales across all customer touchpoints.