Aneta Moczkowska explains what change is and teaches how to manage it. She supports brands, institutions, initiatives, and individuals.

She runs workshops and consultations with a tailored approach, helping uncover a brand’s full business potential and guiding it through the process of change.

The Boston Book Festival rebrand in 2016 was designed by Elizabeth Carter at Corey McPherson Nash, using Mallory by Frere-Jones Type.

The annual festival is a day-long celebration of literature and arts centered in Copley Square, Boston. Founded in 2009, the festival features authors from around the world and has an approximate attendance of 30,000 each year.

From Elizabeth Carter’s portfolio website:

The festival rebranding included design concepts for a new identity with a flexible and adaptable logo. The visual approach to the logo took inspiration from the recognizable previous identity system, from book design, and from typography found in Boston. The full project included the design and production of promotional materials for the festival, responsive website, merchandise, venue signage and materials, a program guide and a promotional social media campaign.

The founder of Third Rail Advisors approached me to create a simple but bold logo for his new business. The name “Third Rail” was inspired by the electrified rail on a subway track: they aim to empower and embolden their clients’ business strategies. Their new logo needed to work for more serious business documents, while also being contemporary and dynamic.

I looked to NYC’s iconic subway identity for inspiration. Three vertical lines form a subtle abstract graphic representing the subway tracks. The stripes can live alongside the logomark, on their own as an icon, or can be extended to form a super graphic. The logomark uses the typeface Inter, similar to the MTA’s Helvetica, with added legibility for digital use. The letterforms’ verticality complements the rail graphic. The chosen shade of blue is vibrant, high contrast, and bold while still functioning well in a professional context.

Hålogaland Revisjon is a long-standing audit firm in Northern Norway with an updated visual identity and website designed by Riktig Spor. The redesign centres on a simple equals sign as the main symbol, used as a mark of balance and as a visual shorthand for “two lines under the answer”.

The identity extends into a communication concept built around small “equations”, and it is applied across a compact one-page website and a separate recruitment page.

The typeface used is Store Norske Ja from Skriftkompani.

OFF GRID was founded with the mission to share the wines that excite: wines that come with a story and leave with a lasting impression.

What started as a series of tastings in the Fels Klasar design studio slowly became a hub for experienced winelovers and first-time natural wine drinkers alike to try, talk and buy wine in Stuttgart, Germany.

Illustrations by Good Food Crap Drawing.

For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.

Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.

At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.

Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.

The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.

The new identity has already been rolled out to the company’s Instagram and Facebook profiles.

The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.

Krasz and GT Walsheim are the typefaces used for the identity of fuxundkauz. From Büro Uebele:

I’m me and you’re you

fuxundkauz (the German name references two very different creatures, the fox and the owl) takes philosophical workshops or rather “thinkshops”, into schools. Given that we’re all different, there’s more than one way of looking at fundamental issues. Which provides plenty to talk about, also and especially with students.

The visual identity translates this approach into simple, clear imagery – two individuals meet and engage in dialogue, showing that peaceful coexistence is perfectly possible even when you’re not cut from the same cloth. you just have to talk to one another. Here we have a clear statement from our two clients and, incidentally, not only political education but aesthetic training as well: being quirky can be beautiful; you don’t have to fit in.

Vom Fels zum Meer (“From rock to sea”) is an “illustrated journal for the German house” edited by Wilhelm Spemann (1844–1910) and published from 1881 to 1917. Between 1890 and 1897, Spemann’s publishing house was merged into Union Deutsche Verlagsgesellschaft, a company he had founded together with Adolf Kröner (1836–1911).

The shown letter was sent in January 1894 to one of the family journal’s advertisers, the “Duc” Cycle Co. in Herzogenbusch, that is ’s-Hertogenbosch in the Netherlands. “Duc” was a brand by B.A. Jansen who imported bicycles manufactured by the Quinton Cycle Co. in Coventry, England. Pasted in the bottom left corner is a sample of the ad that was to be included in Vom Fels zum Meer.

The text block at the top right features five different blackletter typefaces. The title is set in Renaissance-Fraktur, with the subtitle added in a version of Original-Gotisch. “Monats-Ausgabe” uses a German adaptation of Tudor Black, possibly Psalter-Gotisch by Krebs. Last but not least, we get to see Flinsch’s Halbfette Schwabacher and Albert Anklam’s Neue Schwabacher.

Detail

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.

Protest Grotesk is the typeface used by Neues Amt Altona.

From Stan Hema:

Neues Amt Altona eG is ready for the groundbreaking ceremony. The cooperative construction project, which will start in 2025, combines sustainable timber architecture with a concept that focuses on community and creativity. Co-working spaces, art studios and local meeting places – locations that connect people and enable inspiring interaction – are being developed around the popular creative site of the old tax office in the Hamburg district of Altona.

To mark the start of construction of the ambitious project, the NAA has a new visual and verbal brand identity, developed by Stan Hema. The revised identity combines a clear brand language, cross-media recognisability and the diverse voices of the more than 250 committed members. With heart, soul and conviction, they are designing a neighbourhood that is entirely geared towards people and community.

To accompany the creation of the Établissement public national du Mont-Saint-Michel, Graphéine designed a visual identity intended to give a clear and lasting form to a previously fragmented governance. The challenge was to move beyond the saturated “postcard” imagery of the Mont while preserving immediate legibility for a site welcoming over 2.5 million visitors each year. Rather than adding another figurative symbol, the project is built around a typographic logotype conceived as an image in itself, where the name becomes the place. This choice places typography at the very heart of the identity, not as a simple graphic layer but as a true narrative foundation.

Within this framework, Blaze Type was commissioned to develop an original typeface based on the drawing of the logotype. Its references draw on the medieval scripts found at the Mont – Carolingian and Gothic – reinterpreted through a resolutely contemporary language. The verticality of the letters echoes the upward thrust of the abbey, while certain forms subtly recall ancient manuscripts without ever slipping into decorative quotation. Blaze Type’s work thus seeks a balance between historical heritage and modern efficiency, resulting in a typeface that is expressive, readable, and capable of structuring the entire identity.

Beyond its design, this typeface plays a central role throughout the visual system. Deployed in several weights and conceived to stretch vertically, it extends into use what makes the logotype distinctive: a form of writing designed to rise, to converse with the architecture, and to open the gaze toward the landscape of the bay. Typography thus becomes far more than a functional tool: it sets the tone, establishes a restrained elegance, and connects the heritage of Mont-Saint-Michel with a contemporary graphic vision. A collaboration that aptly illustrates the strategic role a foundry like Blaze Type can play today in shaping public identities.

The typeface’s scope with five weights and three widths, or heights

Glyph set with stylistic alternates

A real estate brand built on trust and connection. For Rotberg Realty, we developed a calm, confident visual identity rooted in human connection. At the center of the system is a custom RR monogram, designed as a symbolic gateway: open, balanced, and architectural. It represents opportunity and reliability at once—an emblem that quite literally stands for opening doors and bringing people together.

The typographic foundation combines STK Bureau Serif and STK Bureau Sans, creating a deliberate tension between tradition and clarity. The serif conveys stability and credibility, while the sans-serif adds precision and contemporary ease across digital and print applications. Together with a restrained color palette and tactile materials, the identity results in a clear, characterful real estate brand that feels established yet approachable.

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.

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Letterhead by José de Ros

Josep de Ros was an industrialist from Figueres, Spain, born in the manor house of Les Olives into an aristocratic family. Around 1917, he started a business in the fertilizer sector and opened the Camponal liquor distillery a few years later. He had a warehouse on Vilallonga Avenue in Figueres, near the railway station, close to the border with France. He died in 1935.

In the shown letterheads by Josep/José de Ros from around 1930, the difference between typography and lettering is difficult to appreciate (thanks to the staff of Fonts In Use for the clarifications).

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Detail of the letterhead: “José de Ros / Abonos, cereales y despojos / Figueras”. All three styles are lettering.

The name is in an English script close to Stempel’s Künstler-Schreibschrift, known in Spanish as Inglesa Artista semi-negra, with an ornamented J and a characteristic loop around the stem of the R. Josep de Ros i Moner (father) and Josep de Ros i Reig (son) were descendents of Ros de Olano. In Stempel’s 1918 specimen book for the Spanish market, the name of Ros de Olano is set in Inglesa Artista (it’s misspelled as “Olona”; another page in the same book has the correct spelling).

“Figueras” is drawn in a serif with inline. The structure is very close to the Bravour typeface designed by Martin Jacoby-Boy for Stempel in 1912), but with sharper serifs, and a wider letter U with a small spur. I have made a comparison with the solid Bravour negra and the decorated Bravour adornado (Verzierte Bravour).

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Comparison of the lettered inline caps to the Bravour typeface

From the obituary for the father in La Veu de l’Empordá, 27 December 1919 (translated):

[…] Josep de Ros was from a noble family, from the stately house of Ros located in the town of Les Olives, although the one they owned in this city could also be considered a manor. Among the ancestors of the house are the famous General Ros de Olano, who was a minister of the Crown and commanded an army corps in the African War during the years 1859 and 1860. The last Prior of the Monastery of Santa Maria de Ripoll also came from the Ros family.

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Detail of the letterhead featuring Merveille, Kleukens, and Venus, all by Bauer/Neufville

The Camponal letterhead is typographic: it’s set in the typefaces Merveille, Kleukens-Kursiv and Venus-Grotesk, all by the Bauer type foundry (Merveille originated in the United States under the name Laclede), and distributed in Spain by the Neufville branch in Barcelona. Bauer’s typefaces were the most commonly used ones in Catalonia before the Franco dictatorship (1939). This letterhead helped to locate the forgotten Camponal distillery.

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Label featuring Venus schmal dreiviertelfett, Fette Grotesk-Kursiv, and Clio a.k.a. Kleopatra

The Camponal identity uses other typefaces by Bauer and Neufville, like Antigua Mercedes (the Spanish name of Tages-Antiqua), Bernhard-Antiqua, Fette Grotesk-Kursiv, Carnaby (Marocco), Grotesca Estrecha (Neue enge Zeitungs-Grotesk), Florentiner Mediaeval, and Majestic.

A few typefaces could have been sourced from different type foundries based in Madrid and Valencia, like Clio (Ludwig Wagner, 1903) distributed by Neufville/Bauer as Kleopatra and by Gans as Aurora; or Aurora Grotesk (Wagner & Schmidt, 1908) sold by Gans as Grotesca Ideal and by Fundición Tipográfica Nacional as Grotesca Estrecha.

Typography and lettering also coexist in other elements, such as in the Camponal liquour labels and packaging.

Learn more about Josep de Ros and the Camponal distillery.

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Camponal label featuring lettering (white letters), Kleukens-Antiqua, and Majestic

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Label featuring Kleukens-Antiqua, Venus, and an unidentified typeface (similar to Stempel’s Holzhausen-Antiqua, but with a different M)

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Bottle label ft. lettering, an unidentified grotesk for “Licor de Hierbas ‘Camponal’” (similar to Grotesca Favorita by Gans), and Bauer’s Kleopatra

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Packaging ft. lettering (the reversed letters at the top), Marocco a.k.a. Carnaby for “Cura estómago e intestinos”, Majestic for “G. Garriga”, and other unidentified typefaces

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Camponal ad ft. Bernhard-Antiqua, Universitäts-Antiqua a.k.a Druckhaus-Antiqua, Neue enge Zeitungs-Grotesk, Tages-Antiqua a.k.a. Antigua Mercedes, and others

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Point-of-sale display ft. Columbus, a version of Edel-Grotesk (probably Groteska Moderna by Fundición Tipográfica Nacional), and Schmale halbfette Etienne

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Camponal ad ft. Bernhard-Antiqua, Tages-Antiqua a.k.a. Antigua Mercedes, Universitäts-Antiqua, Florentiner Mediaeval, Kleukens-Antiqua, and an unidentified grotesk

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Address label ft. Etienne Sombreada (Gans’s version of Umstochene Etienne by Schelter & Giesecke), Venus, and Antigua Veneciana (Gans’s version of ATF’s Cheltenham)

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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.

Juniper’s new visual identity, designed by forceMajeure, features the typefaces Syndicat Grotesk and Source Serif.

Juniper, a distinguished design and manufacturing studio renowned for its luxury lighting solutions, embarks on a transformative journey of evolving their brand identity. With a newly established NYC showroom and a cutting-edge factory in Connecticut, Juniper’s dedication to locally sourced materials and meticulous craftsmanship shines through each carefully crafted piece.

This invoice by Eduard Kleefeld’s chocolate and cocoa factory in Hanover, Germany, is set in four sizes of Georg Belwe’s Belwe-Gotisch. The initials just above the fold are from Belwe-Antiqua. Both typefaces were released around the same time (1912/1913) by the Schelter & Giesecke foundry in Leipzig. The roman also appears on the green slip where it is paired with Bravour.

Leo Göpfert had ordered 60 bars of cooking chocolate, 25 rolls of cookies, and 50 bars of fondant chocolate for his shop in Lohr/Main.

Zoom in to see the various ligatures included in Belwe-Gotisch. For example, “Poſtſcheckkonto” has pairs for ſt, ch, and ck.

Fedrigoni is a world leading Italian paper manufacturing company which has built and established a strong bond with the creative industry since 1888.

The paper brand saw a revolutionary turning point with the design of its Paper Box swatch book in 2020. Graphic Thought Facility reimagined Fedrigoni’s logo (previously set in Peignot) with a redrawn version of Aldo Noverese’s Forma.

“For our specific headline setting, we needed something ‘between weights, and wanted to enhance the roundness of the font.” — Paul Neale, Principal and Creative Director of Graphic Thought Facility, interviewed by The Brand Identity

The supporting texts in all other areas uses David Jonathan Ross’s 2016 revival based on this very same typeface: Forma DJR. The Paper Box books are beautiful, functional tools designed with an adaptable graphic and typographic system. Transitioning from artistic to sleek, unwavering, and established, the visual impact of the 3-in-1 swatch book box left a mark on Fedrigoni.

Subsequently, Pentagram partner Harry Pearce and his team were commissioned to create a global brand identity for Fedrigoni and its sub-brands. The team honoured Graphic Thought Facility’s custom drawn logo as they identified:

“This perfectly signifies Fedrigoni’s new global identity: strong, bold and confident and celebrating its strong Italian heritage.” — Pentagram

Fedrigoni's new wordmark was made suitable for various applications from small business cards to large signage on their buildings and delivery trucks. This wordmark is joined with an upgraded version of the crest symbol holding a ladder icon symbolizing Verona and its year of origin 1888.

The branding project introduced a custom version of Forma DJR as the main typeface to complement the “Fedrigoni” wordmark offering clarity, function and legibility. Forma DJR is used in Text Regular and Text Bold styles.

The same brand treatment was rolled out to the main Fedrigoni Group brand and its sub-brands Paper, Distribution, and Fedrigoni Self-Adhesive Units including the recently acquired group companies Arconvert, Ritrama, and Industrial Papelera Venus. With the exception of some longstanding and cherished brands such as Fabriano that maintained their original image, the overall Fedrigoni brand architecture was unified with the help of strategist Federico Gaggio.

Pentagram’s rebrand was launched on 29 March 2021.

Old Fedrigoni branding

New Fedrigoni brand identity by Pentagram

Visual identity design for Maison Guinguet, a chocolate maker based in Duras, in the Lot-et-Garonne region of southwest France. Known for its orchards, vineyards, and culinary heritage, the region is central to the brand’s story, from its origins in prune production to its evolution into artisanal chocolate. The identity reflects this local savoir-faire and the gourmet culture of the area.

The branding was designed by Plus Mûrs. The logo and the branding are set in Romie Regular (designed by Margot Lévêque).

Seraj Law came to us with a vision, not a brand.

They were getting ready to open their own practice, grounded in the kind of legal service people actually want. Smart. Straightforward. Human. But without a brand identity, there was no clear way to express what made them different. They weren’t just looking for a logo. They needed something with substance. A brand that could carry their voice, their values, and their presence into the world with confidence.

From the typography to visual identity, we shaped every detail to feel composed, approachable, and quietly powerful. The identity is clean without feeling cold, and confident without trying too hard. It reflects the heart of Seraj Law: a modern firm rooted in principle, built to guide, protect, and advocate with purpose. What started as a vision is now a brand that leads with clarity and feels unmistakably human.