FAT International returned to endurance racing in 2024, revived by Ferdi Porsche celebrating the 30th anniversary of its 1994 Le Mans victory. In partnership with Proton Competition, the team campaigned the Porsche 963 in an all-white livery with neon green accents referencing 962 prototypes and FATurbo Express liveries.

For the 2025 season, the FAT International identity was updated with a redesigned logo featuring FAT Camera–a modified version of ABC Camera Plain–alongside a custom bitmap version of FAT Gravity Express used for the FATurbo Express wordmark. NM Beyond appeared across livery details and the team's capsule collection, with custom numerals for the car’s race number 99.

Images taken across the FIA World Endurance Championship 2025 in Imola, Le Mans, and at Fuji Speedway, photographed by Lukas Gansterer.

Bicester Motion is a large mobility innovation campus and business community focused on automotive and aviation technology, bringing together companies working on the past, present and future of transportation. It’s not a traditional single-product company – instead, it’s a centre of excellence and collaborative hub for brands, innovators, engineers, developers, events, and experiences in mobility. Conran Design Group decided on RT Rondelle for the entire company's identity from the website, posters and other ephemera to campus signage and more.

“More TR7”

1977 ads for the Triumph TR7, a sports car that was manufactured by British Leyland in Speke, Liverpool. The headlines are set in tight-not-touching caps from Harry.

“TR7. The shape of things to come at a price you can afford today”

Double Clutch is a “content platform for the classic car connoisseur. (...) From road-testing rare treasures to revisiting timeless icons, we deliver a feed that takes pride in savouring the epitome of automotive culture and sophisticated style.”

Their visual identity by Unlearn Studio draws inspiration from the retro automotive world. Typography, color, and layout work together to evoke a sense of vintage elegance and sophistication, capturing both the heritage and enduring beauty of classic automotive design.

The combination of Millionaire Script (whose lowercase letters match the uppercase ones of Millionaire Italic) with OC Highway enhances the nostalgic dimension of the typographic language. OC Highway is a digital version of the historic alphabet used for road signs in the United States. The wordmark is set in Gatwick.

M1 Momentum is a bi-annual publication for auto enthusiasts, celebrating the very best of M1 Concourse in Detroit, Michigan. Shown here is issue 3 from fall 2023.

Peter Allen used F37 Judge to create impactful typographic spreads. Clean layouts paired with high-fidelity imagery of sports cars are complimented by headlines set in all caps.

Extra-large Bernhard Gothic Extra Heavy for a 1984 ad for the Renault Fuego. The smaller copy is set in the Light weight of Lucian Bernhard’s eponymous sans from the late 1920s/early 1930s. “Renault Fuego” uses the car brand’s custom Renault.

From the collection of autohistorian Alden Jewell.

As part of a project to entirely reimagine the print magazine for the iconic hyper-luxury British sports car manufacturer, we created and designed
 content that runs across print, digital and social.

Aston Martin Magazine is a mix of automobile and luxury lifestyle stories. The design aesthetic uses carefully selected and commissioned images sparingly but powerfully – set against white space to allow them to breathe. Bold use typography leads to create a modern visual edge.

Currently four issues have been designed: V53, V54, V55, and V56.

Released on ABC-Paramount in 1964, Keep On Pushing is the biggest hit album by The Impressions, which at that point time consisted of Sam Gooden, Curtis Mayfield, and Fred Cash.

The album opens with the first of Mayfield’s Black pride anthem compositions, the titular “Keep on Pushing”, which became a top 10 hit on both the Billboard Pop and R&B chart. The cover interprets the title in the stupidest way: Don Bronstein’s photograph shows the group pushing Mayfield’s Jaguar E-Type. As if the song was about moving a broken-down luxury car, and not about the civil rights movement.

Now maybe some day / I’ll reach that higher goal
I know I can make it / With just a little bit of soul
’Cause I’ve got my strength
[…]
A great big stone wall / Stands there ahead of me
But I’ve got my pride / And I’ll move on aside
And keep on pushing

Forty years later, the song was used as the theme to the Democratic National Convention keynote address by then-Illinois State Senator Barack Obama.

[More info on Discogs]

Front cover of the UK release on Kent Records

Back cover of the UK release on Kent Records

Cover of a UK brochure for the 1980/81 Ford Fiesta Supersport, featuring type set in Full Strokes and Rockwell.

Alfieri magazine cover year 1

Alfieri magazine, an independent publication for and by Maserati enthusiasts, is tapping into the next generations of Maserati owners, whether they like classic cars or favour current models.

Presented as a limited edition collector's item, Alfieri dives into the glorious past and discovers the exciting future of Maserati, with a strong emphasis on photography, design, lifestyle and architecture. The magazine draws inspiration from interactions with the Maserati community and international clubs.

The younger generations have a well-defined view of why and how they experience their cars. How they spend their free time brings new momentum to the realm of Maserati. Alfieri delivers unique and relevant content in a contemporary way, focusing on photography, graphics, design, architecture and lifestyle.

Three editions are created annually with a distribution of 4,000 copies per edition to individual subscribers, clubs and dealerships on all five continents. The global audience is characterized as knowledgeable individualists with a passion for design, travel, food and all things Italian.

Maserati has a vast history, obviously in design too, and today with the recent launches of new models, the brand is back on track. Audacity and Modern Luxury are the new keywords.

The typography and page layout of the magazine refers to sales brochures of Italian car brands from the 50s, 60s and 70s and is topped with a layer of contemporary design. This is expressed through the use of two typefaces of strong character.

For the headlines and quotes, we chose a relatively old typeface that has only recently been digitized. Eksell Display has a strong face of its own and looks very contemporary. According to Letters from Sweden, it “is a unique typeface from 1962, designed by the legendary Swedish designer Olle Eksell (1918–2007). Olle was a prolific artist who couldn't resist sketching out whatever ideas came to mind.” This is something that many well-known car designers still do to this day. “His work covered a broad range, but Eksell was his only complete typeface. The letters were drawn in Olle's five-square meter studio in Stockholm, six years after he designed the classic Mazetti eyes.” Carefully digitized and developed by Göran Söderström, it is available by Letters from Sweden.

The body copy is set in Inter, a typeface by Rasmus Andersson, “carefully crafted and designed for computer screens”. Inter features a tall x-height to enhance the readability of mixed-case and lowercase text and has the same qualities in print.

An open page layout with plenty of white space combined with large headlines defines the look of Alfieri. This leaves maximum room for the images of both historical photographs and illustrations and modern photography to speak.

Alfieri magazine 4 cover

Alfieri magazine 4 spread

Alfieri magazine 4 spread

Alfieri magazine 3 cover

Alfieri magazine 1 cover

Ryszard Kiwerski (1930–2015) was a Polish painter and poster artist. In the late 1960s, he was active as illustrator and designer in Warsaw, where he worked for the press and television, and also created several posters for foreign films. During this period, Kiwerski employed the photomontage technique a lot. His poster design for Buntownik bez powodu shows his mastery in this field. Originally released in the U.S. in 1955 as Rebel Without a Cause, the film starring James Dean and Natalie Wood came to Poland in 1970. In stark contrast to the American poster, Kiwerski doesn’t rely on the iconic imagery of the protagonist in his red jacket. He rather shows parts of a sports car that have been transformed into a kinetic sculpture – apparently the result of a violent crash – hinting at the actor’s premature death – with Dean’s stern face subtly integrated between the symmetrically arranged tires.

The typeface is Hermes-Grotesk, which appears in many of Kiwerski’s poster designs, and was a frequent choice by other Polish poster artists, too, including Bronisław Zelek. Kiwerski used it in all-lowercase letters. Everything but the title is shown in letterforms that are silhouetted against the dark background by a negative outline and shadow. Through this manually added effect, the words reinforce the dynamics of the image: They resemble flying debris. Or stars in the night sky.

In the 1970s, Kiwerski left Poland and settled in Paris. See more of his works on the official website as well as on Polish Poster Gallery.

Form follows performance: FF Zwo is the corporate typeface of Bugatti and can be seen on the rear spoiler of the Chiron Pur Sport. The website uses FF Zwo mainly in its Semibold weight.

From McLellans Automotive:

2 page color sheet, 9×11. Front of sheet is photograph showing three-quarter frontal view of yellow Pontiac Sunfire Concept Coupe, with black top, driving through desert, with three photographs showing steering wheel pod, CD player remote control and rear seat superimposed at bottom of sheet. Reverse side has list of features.