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.

Porto Rocha developed an evolution of the brand identity for Olympikus, introduced alongside the release of its CORRE 5 footwear line. Katalog Bold (Edito) is used throughout the system as the primary typeface, establishing a compact, assertive typographic voice.

The design studio describes the project as follows:

A new era of running begins for Olympikus. Alongside a bold brand identity evolution, Olympikus unveils its latest innovation: CORRE 5.

Proud to celebrate over six years of partnership and to witness Olympikus’ meteoric rise as Brazil’s leading and most beloved running brand.

For a decade, Hotel Tapa Tour has championed the tapa as an emblem of Spanish gastronomy, transforming hotels into epicenters of flavor, enjoyment, and innovation. ESIETE defined its identity system in the first edition, based on the iconic toothpicks that have shaped and communicated the brand ever since, strategically positioning the festival on the national culinary map.

The X of Flavor. The 10th-anniversary campaign, “Con la tapa por bandera” (“With the tapa as our flag”) blends tradition and minimalist avant-garde, raising flags as a metaphor for pride in our gastronomic and cultural heritage. A decade filled with successes proves that cutting-edge design and culinary tradition are a perfect match.

GenV (Generation Vegan) is a bold advocacy brand championing a plant-based future. F37 Incise is used in the logo, its sharp, chiselled forms echoing the energy of the lightning-bolt V.

CorContainer.nl is a Dutch container rental company operating in a sector where visual identities are often purely functional. The branding was designed to stand out – primarily through typography and color – while remaining appropriate to the construction environment.

The identity is built around GT Flexa, a typeface that balances strength and clarity with a friendly, distinctive character. Headlines are set in GT Flexa Black in uppercase, forming bold, compact typographic statements that function almost as graphic elements. For body copy and supporting text, GT Flexa Regular provides legibility and warmth, offering a subtle counterbalance to the heavy display style.

A vibrant purple – rare within the industry – reinforces recognition and sets the brand apart from the typical blues and reds associated with construction.

Application shifts depending on context. On containers, office units, and site cabins, the branding is deliberately understated, functioning more like a garment label: present but never intrusive. In contrast, promotional materials – posters, cycling jerseys, coffee cups, and other brand touchpoints – allow the typography and color to take center stage, building visibility and recognition.

The result is an identity that is both bold and considerate – distinctive when needed, restrained where appropriate.

Bruket Fjellhamar is a new real estate project just outside of Oslo, Norway. Designer Jessie Jones collaborated with Natural State to develop a complete visual identity, applied to practically every relevant surface and medium. The design references the industrial past of the area, which used to house a saw mill and paper plant among others, by sticking to a limited palette of colours and materials. The decision to use Tiny Grotesk was driven by its design range across three strongly distinguished widths. As Jessie says:

Moving through the research phase I knew that versatility in typographic widths was going to play a key role in how this identity would use type to reference Bruket Fjellhamar’s industrial history. While a fully variable typeface could work for such a purpose it was clear that I needed a font with different width options, but in way where each width was more thoughtfully considered, both to make the design more beautiful, but also to simplify the typographic system for anyone making communication for the brand. Additionally, the brand typeface needed a modern, usable, and recognizable quality to it.

Tiny Grotesk is used for everything in the Bruket Fjellhamar brand. From wordmarks and monogram, to web and social media, and even wayfinding and signage. The typeface offers the brand a certain workhorse-ability, but it also functions really well within the vintage inspired ecosystem of the identity, particularly in the way the wordmarks are treated.

The identity uses something from every width of the family and showcases its versatility in all sizes.

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.

Cavaca Records is an independent Brazilian record label that, after a decade of history, sought a visual identity capable of reflecting its maturity and the motto defined by its founders: “It sounds like Brasil.” The challenge was to translate this sentiment into a professional, timeless system that avoids tropical clichés while remaining deeply rooted in the country’s cultural essence.

The visual identity finds its core in Brazilian Modernism, using the geometric shapes of the national flag—circles, rhombuses, and rectangles—as the building blocks for a modular and dynamic system. These shapes are reconfigured into patterns that reference both textile prints and audio frequencies, bridging the gap between national identity and sound. The color palette reinforces this connection, balancing sober greens and blues with a dual use of yellow: a matte gold representing the artists as “local gold nuggets” and a vibrant neon for digital freshness. Neutral off-white and washed black tones act as a visual connector, allowing the diverse photographic styles of the label's artists to coexist harmoniously.

The concept of modularity and movement is central to the typography. The custom-drawn Cavaca logo was built manually from the flag’s geometry, featuring a modular architecture where the suffix “Records” can be substituted for future business units like “Festival” or “Store“. This structural solidity is contrasted by the refined, hand-adjusted ligatures of Instrument Serif, used for the logo’s subtitle and secondary communication to add elegance. To anchor the system, Elza—a Brazilian neo-grotesque—serves as the primary typeface, providing a modern and local character. Together with a circular animation behavior for the logo and icon that mimics a spinning record, the identity stands as a proprietary system designed for continuous growth.

The Dutch tile manufacturer Mosa uses TheSans, designed by LucasFonts, for its brand identity since 2011. The typeface is used consistently throughout all media, including printed materials such as catalogues, books and flyers, as well as signage, banners and letters on buildings and showrooms. It is also used for digital media such as websites and apps.

Outside of the factory building, Maastricht

Mosa stand at a trade fair

The Mosa website also features articles that use TheSerif.

Mosa Design Store

Carnival flag in front of the factory, Maastricht

Canadian Charter of Rights and Freedoms, 1982

The Canadian Charter of Rights and Freedoms (“the Charter”) is a bill of rights that was entrenched in the Constitution of Canada in 1982. The text on the original poster is set in Carl Dair’s Cartier, which was commissioned for the Centennial in 1967. Issued by Mono Lino in Toronto, its use was an expression of Canadian nationalism for many years afterwards.

The poster version that’s available from the Government of Canada’s website at the time of writing is a later emulation and uses Raleigh, a similar design made by David Anderson and Robert Norton for Typsettra around 1977. Since Raleigh is roman only, the italic parts were set in ITC Garamond.

Charte canadienne des droits et libertés, 1982

Canadian Charter of Rights and Freedoms, later edition

Charte canadienne des droits et libertés, later edition

Branding agency Societas worked with football club VfB Stuttgart 1893 on updating the club’s brand identity. From their case study:

At the heart of the project was the ambition to reconnect the club’s DNA – Verein für Bewegungsspiele (Association for Movement Games in English) – with a contemporary visual system that reflects both tradition and progress. Together with VfB, we worked on the brand strategy, design principles, and a refreshed visual language that gives movement a clear direction, while leaving core elements like the crest, club colors, and red hoop untouched.

‍The new identity introduces a custom typeface (“TWK Concordia”), a new wordmark “VfB 1893,” and a refined use of the horse, Stuttgart’s heraldic symbol. These elements are rooted in the club’s history and values while creating a system that strengthens clarity, cultural relevance, and adaptability across platforms — from the stadium to the city and beyond.

The VfB’s new brand identity was designed by Societas with the help of Friends & Foxes for the social media part, and Frederik Mair for the type animations. The brand typeface TWK Concordia is a customised version of TWK Ghost, designed by Nolan Paparelli and Nina Faulhaber. It is an all-caps font with alternates featuring cut serifs and a few additional ligatures. The wordmarks features the VfB ligature with oldstyle figures, set on a steeper italic angle.

VfB Stuttgart 1893 will receive a SunExpress aircraft with special livery in the club’s design.

Ghosts are everywhere – in popular culture, from Hollywood blockbusters like Ghostbusters (1984) to indie films such as All of Us Strangers (2023). They haunt screens, stages, and pages, inhabiting literature, folklore, and myth as restless spirits that refuse to leave us alone. Throughout history, they have also haunted art. As beings of the in-between, ghosts bridge worlds – life and death, horror and humor, good and evil, the visible and the invisible – making every attempt to represent, record, or communicate with them both a cognitive challenge and an emotional experience.

From September 20, 2025, to March 8, 2026, the Kunstmuseum Basel dedicates a major temporary exhibition to these mysterious entities. Featuring over 160 works and objects created over the past 250 years, Ghosts: Tracing the Supernatural explores the rich visual culture that has grown around ghosts in the Western world since the 19th century, fueled by the convergence of science, spiritualism, and popular media.

The exhibition’s identity was designed by Basel-based Studio Moono, using the Leopardo (Alexandre Bassi, 205TF) and Ghost (Nolan Paparelli, Weltkern) typefaces.

The date is added in TWK Continental.

The magazine-like exhibition catalog was published by Christoph Merian Verlag.

Formula E is a single-seater motorsport championship for electric cars, the electric pendant to Formula 1. This championships focuses on sustainability and innovation in electric vehicles by reducing the footprint of the races through diverse means and compensating the remaining emissions (though I still wonder how the cars, racers and staff are traveling around the world).

For their rebranding with the launch of their ninth season in 2023, Formula E commissioned a script font, FE Torque, made by lettering artist Rachel Joy Price based on the new logo she designes. It’s used for main titles and to accentuate some words. A custom cut of NaN Jaune was also developed. Named FE Sans, it’s used for all other typographic materials.

The custom cut puts aside the signature touching/closed apertures of Jaune and brings calmer and more traditional structures to some characters such as a monocular a and g, an e with an horizontal bar, etc. The resulting font family is used for all the branding and communication of the FE brand, from the subtitle of their logo, their website, the on-site communication and signage during the races, social media, infographics, etc.

FE Sans also comes with dedicated titling alternates which bring notches – drawn almost like ink traps – to the stems of the capital letters.

See the full case study on the website of lead designer Tom Myers.

Heimann + Schwantes:

100 years ago, political pressure forced the Bauhaus school to relocate from Weimar to Dessau. Dessau became a place where the Bauhaus could flourish and put its vision of a better life for all into practice.

From September 2025 onwards, the Bauhaus Dessau Foundation will celebrate this anniversary with a year-long festival programme entitled ‘An die Substanz’ (To the Core). The focus will be on the material, economic and technological foundations of the Bauhaus, from the extraction of raw materials to production processes, trade routes and the social and ecological consequences.

To mark the anniversary, we have developed a corporate design that restores colour and diversity of form to the Bauhaus Dessau identity. The design aims to breathe life into both the historical dimension of the Bauhaus and the discourse on contemporary design requirements.

Hoopbus is a 501(c)(3) nonprofit rooted in the belief that basketball has the power to transform lives, build bridges, and uplift communities. Founded in Los Angeles in 2019, Hoopbus travels from local blocks to global cities, using the game to connect people through the universal language of basketball.

Ben Loiz Studio partnered with Hoopbus to create an identity system that reflects their mission and energy, translating seamlessly across their global fleet. From logo and color palette to social media and full-scale bus designs, the identity captures the heart of Hoopbus: love, peace, and basketball.

The Hoopbus identity is built around a simple yet powerful symbol – a heart, a peace sign, and a basketball – representing compassion, unity, and sport. Inspired by the classic American school bus, the bold black logotype nods to childhood nostalgia and lettering seen on buses that bring people together.

The color palette expands on this concept, featuring the vibrant yellow-orange of a school bus balanced with expressive supporting colors: pink, orange, blue, and teal. These hues give the identity flexibility while maintaining a strong, cohesive presence across print, digital, and environmental design.

To unify all elements, we introduced a set of brand icons and patterns that give the identity rhythm, dimension, and consistency without losing its expressive edge.

The two primary typefaces are Standard CT Medium Extra Condensed and Cina GEO. We use the former in our logotype – a bold, utilitarian typeface that evokes a collective nostalgia for childhood and learning, echoing the distinctive lettering found on American school buses. Cina GEO, designed by Michael Cina of Public Type, is a geo-sans typeface with a sturdy structure that balances clarity with subtle sophistication. Its clean simplicity brings to mind the handwriting practice sheets found in early classrooms – straightforward, structured, and easy to read.

Along with the two primary fonts, we selected the secondary typefaces – Industry, a typeface that effortlessly transitions from a refined vintage aesthetic to the robust, industrial vibe of a school bus, Tuck Shop a hand-drawn display font that captures the playful feel of chalkboard markings, and Grand Slam is a retro-style font that captures the essence of classic athletic designs.

See the full case study.

Since the founding of the Illustrations Biennale (BIB) Bratislava, designaustria has served as the national nominating body. In this year’s 30th Biennale of Illustrations Bratislava – running from 3 October 2025 to 6 January 2026 at the Austrian Cultural Forum Bratislava – ten Austrian children’s and youth book illustrators are represented.

The works featured in exhibition reflect a wide diversity of styles and approaches, and offer insights into various working methods in the fields of artwork, storyboard, technique, advertising, children’s books, scientific and editorial illustration.

The exhibition poster was designed by Irene Persché, using an illustration by Frau Isa; the typeface is Spektra Tekst, published by Dotless Type.

How does the visual world of global economic research look like?

The global economy is a highly complex, abstract system for which a grid system creates a distinctive visual metaphor. It conveys both excellence and evidence-based work while illustrating the interconnectedness of subject areas and global dialogue.

The result is a variable identity that makes the Kiel Institute’s outstanding position clear and distinctive within the national and international research landscape.

The wordmark is reflecting clarity, globality and excellence – a nod to the precision that Swiss typography and economic research have in common.

24 Flags / 24 Flaggen is a project of the Kunstmeile Hamburg, shown from June to October 2025. The flyer was designed by NODE Berlin Oslo using Mimesis Regular by Laucke Siebein/Type.

On the 24 flagpoles along the Kunstmeile, artists Than Hussein Clark, Özgür Kar and Ketuta Alexi-Meskhishvili will show works developed especially for this space. With 24 Flags, the Kunstmeile Hamburg is sending a visible signal for cultural presence and artistic participation in public spaces.

Happening each year in Saint-Briac-sur-Mer (France, Brittany) the Rendez-vous à Saint-Briac is a fair showcasing contemporary works of art and artists' publications, mainly from Brittany-based galleries and institutions. For this edition, Paul Dagorne and Lucas Le Bihan worked on a reset of the fair’s identity. We used the symbol of the city (the bridge between Saint-Briac and Lancieux) as the main visual along with three illustrations of clichéd Saint-Briac’s landscapes and a single typeface – Scenery – throughout the whole communication.

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.