Visual identity of La Loge, a production and artistic support structure. La Loge’s main mission is to support contemporary creation in theater, music, and dance. The identity is set exclusively in Forma DJR Deck Bold.

The Haus der Musik is a landmark institution in Vienna, serving as an interactive museum, a concert stage, and a premier event venue. To unify these diverse facets, WEDEL Markenbau (Hubert Wedel) developed a new, homogeneous brand strategy designed to make the identity more tangible both internally and externally.

Working in collaboration with designers Flora Bacher and Stefan Müller, the team created a flexible brand system that acts as a “transporter” for the museum’s story across all channels from print and out-of-home advertising to digital platforms and environmental graphics within the Palais itself. The core of this system is Nexa by Fontfabric. The font’s geometric clarity provides a modern, “scientific” foundation that complements the museum’s focus on acoustics, while its rhythmic versatility allows it to adapt to the emotional world of classical and contemporary music. The result is a dynamic, high-contrast visual language that feels as vibrant as the sound museum it represents.

Derrick Gee’s new show on YouTube, Solid Air, uses the newly released Focal Maxi. The branding/design was done by Jonny Sikov of Pentagram. He's interviewed people like Lorde, Japanese Breakfast, Ichiko Aoba, and many more. Also, as a bonus, Derrick uses Focal Maxi for some announcements he makes here and there on Instagram and YouTube.

Description from Derrick Gee:

Solid Air isn’t a podcast, a radio show or a DJ set – it’s quite simply, two music fans connecting over music.

Born out of Derrick’s weekly show on Patreon – the guest edition of Solid Air welcomes high-profile guests into Derrick’s home (and home office) to talk music in the tamest back-to-back you’ll ever witness. Part hanging out with friends, part intimate music-discovery listening session, Solid Air is a wholesome celebration of music and fandom.

Founded in 2017, Plus Un Music is a label and artist services company that offers personalized support in administrative, legal, and financial matters for all those involved in a music project, whether they are musicians, beatmakers, publishers, performers, managers, producers, or songwriters.

Ring Ring Music is a music supervision agency based in Stockholm, Sweden. Founded in 2018 by Jenny Ring, the company specializes in music-related services for commercials, films, TV shows, and documentaries. Its work includes music search, licensing, negotiations, artist involvement, custom compositions, and project management.

Apple Music Chill is a radio station launched in December 2024, designed to provide listeners with a continuous flow of relaxing music across various genres. The station aims to offer a sanctuary of sound, helping listeners unwind and find calm throughout their day.

Programming includes ‘mindful moments’, brief interludes intended to encourage presence and relaxation. These programs explore how music can serve as a tool for focus and mental well-being. It used Raum, the new experimental display typeface by Justin Sloane and Huw Williams, characterized by its distinctive inktrap design.

OSHI is a talent development platform that creates fertile ground for driven musicians and aspiring creative professionals through collaboration and connection. Inspired by R&B, soul, jazz, hip hop and related genres cultures, the visual identity of OSHI is based on a colorful and impactful graphic system.

The typography combines Baste from Lift Type, used for logo and titles, paired with Denim INK from Displaay Type Foundry, used for all other texts.

A limited edition T-shirt designed by artist and illustrator Gabriel Alcala.

“It’s A Rainbow Full of Sound” – a quote from the lyrics of a Grateful Dead song – is set in the black weight of Central Type’s Rodger.

Type animation for an event about practicing as a musician. Üben was invented by Musik Raum a.k.a. Martin Schlögl and held at queer muscle, a queer fitnessstudio in Vienna.

NATURE. Now officially an artist!

Sometimes projects come along that we just can’t say no to. We are super proud and grateful to have been included in this amazing and massive collaborative non-profit project.

Sounds Right is a global music initiative calling for climate action and awareness. Introducing, for the first time, a way for NATURE to generate royalties from its own sounds to support its own conservation… Sounds right!

We created a variable typeface to be used as a distinct and expressive display typeface across all communication platforms. A bold flare serif with a variable height axes that aims to visualise the concept of sound.

We are beyond excited to see the work that AKQA came up with, and see the identity and typeface unfold from New York to Jakarta. Huge high five to all the partners and all the artists who decided to take part and make this project a reality.

From the website of Theater und Philharmonie Essen (TUP) (translated from the German):

With the artistic divisions Aalto Musiktheater, Aalto Ballett Essen, Essener Philharmoniker and Schauspiel Essen, Theater und Philharmonie Essen (TUP) unites one of Germany's largest theater companies under one roof, which also includes the Philharmonie Essen, an internationally renowned concert hall.

The venues of the TUP – the Aalto-Theater, the Philharmonie, and the Grillo-Theater – are among the architectural icons of the region. Around 350,000 guests attend the more than 1,000 TUP events each season. The work of the artistic disciplines is praised by audiences and critics alike, with various awards recognizing the top performances.

Bureau Mario Lombardo created season posters for this cultural institution. Titles are set in Dahlia. The wide sans is Bureau Grotesque, designed by Lombardo himself.

For more than twenty years Gideon Karting has been a fixture in the music industry. He started at the bottom as a concert billposter and worked his way up to the highest level of concert promotion. He was one of the top promoters in the Netherlands, having promoted all the Dutch shows of a wide range of leading artists, including Lady Gaga, Harry Styles, Adele, One Direction, Arctic Monkeys, Bruno Mars, and BTS. For many years he was also responsible for the programming of major festivals like Lowlands, North Sea Jazz, and Pinkpop.

Never Work With Your Idols is Karting's insider view of the music industry, full of dry humour and sardonic insight. In this amusing but practical guide Karting shares the fruits of his experience with his reader, guiding them through the music industry and its wealth of stories. Karting’s 35 Commandments give aspiring music professionals all they need to help them make a successful career in this sector. Never Work With Your Idols is essential reading for people starting out in the industry and a real nostalgia trip for seasoned insiders.

There’s also a Dutch-language edition titled Werk nooit met je idolen. The English edition was translated by Antoinette Fawcett.

Esther de Boer has a track record of using Logical in combination with GT Pressura. De Boer likes to work with strong colours and bold typefaces and uses Logical as the text typeface in several of her books and corporate identities. In this book series, the titles are set in Barlow, an open source font by Jeremy Tribby. All text is set in Logical Regular and Italic, subtitles use Logical Heavy. The book interiors were handled by Coco.

Banner and titles for UK music television show The Old Grey Whistle Test which ran from 1971 to 1988 on the BBC. According to presenter Bob Harris, the programme derived its name from a Tin Pan Alley phrase from years before.

The banner evolved between 1971 and 1975, including white and yellow versions, and initially using Pipeline in mixed case, before settling on the familiar typeface, which would be used until mid-1982. This design, using ITC Busorama in uppercase, is arguably the most enduring and recognisable.

More reading on Pink for your actual Pterodactyl.

Banner from December 1974, in Pipeline

Two versions of the title. The one on the left already uses ITC Busorama, but with its alternate unicase forms for E and R, as well as with rounded terminals – apparently to resemble Pipeline.

Title card with production credits from 1975, ft. Busorama with two forms for A

Cover for a compilation album released in 1975 on Super Beeb Records. Sleeve design by Andrew Prewett, Starkicker illustration by Roger Ferrin. [More info on Discogs]

amra are a digital music royalty collection platform.

They’re transforming global royalty collections by removing intermediaries and collecting royalties directly from the source, ensuring faster payments and increased earnings for song writers and publishers.

The brand identity is symbolised by a beacon of light, guiding songwriters and publishers through the complex landscape of royalties.

ABC Monument Grotesk and its Semi-Mono variant serve as the foundational typefaces for the brand. These fonts embody a modern, open and digital aesthetic, perfectly suited for expressing a message that is trustworthy and professional.

The logotype is fully custom. Its smooth, rounded design strikes the perfect balance between modernity and timelessness, while steering clear of excessive playfulness or outdated nostalgia.

Backroom is my private listening room here in Phoenix. I have listening sessions and art shows in there so I wanted to create a shirt in which sales could help support the sessions we have. I worked with the incredibly talented Scott Agustin to come up with this design.

The visual identity for the Australian Crown Ruler brand was designed by Play On Play Studio based in Melbourne. As mentioned in Crown Ruler’s website:

Since the year 2000, the name Crown Ruler has been synonymous with forward-thinking music in Australia and beyond. With a ubiquitous presence on the music landscape, Crown Ruler has played a dynamic and indispensable role championing the soulful underground.

Rooted in touring and events, the CR brand has expanded into a multi-faceted ecosystem of services and resources. [...] Today, Crown Ruler extends to an artist booking agency, a record label, a boutique store, a respected mix series, management, music consultancy and services, venue bookings, brand alignments and much more.

The Crown Ruler logo is based on the Cemer typefaces (designed by Michele Galluzzo for CAST typefoundry). It’s used together with Neue Haas Grotesk.

Die kluge Schlange (“The Smart Snake”) is an “evening-long spectacle of design, drama and music” about Hortensia von Salis, conceived by LAUTESkollektiv.

Founded in 2019, LAUTESkollektiv consists of composer Stephanie Haensler and designer Laura Haensler. At the interface of their disciplines, they make socially relevant topics artistically tangible: contemporary music meets object installation, design questions composition, the audible is reflected in the visible.

The flyer and the social media posts are set in ALT Riviera.

Visual identity by CM.SUPPLY for Trppn. On their website, the designers describe the project as follows:

Trppn is a mission to shake up the music industry through a new decentralized community platform. Our task was to give their identity and app a fresh boost and create new ways for them to connect with their audience. We didn't want to create rules right away, so we decided to build a fun tool that let anyone to play around with the trppn look and feel. With vibrant colours and trippy visuals inspired by 90s rave scenes, we hope to inspire the creation of a fresh movement with new possibilities.

From CLIP’s About page:

CLIP is a globally-minded platform catering to creators of all disciplines. With CLIP creators can make informed decisions and be recognized and fairly compensated for their work. CLIP was created by WIPO for Creators, a consortium founded by the World Intellectual Property Organization (WIPO), a United Nations specialized agency, together with Music Rights Awareness Foundation (MRAF), an apolitical foundation that works to increase knowledge of music rights worldwide.

Manyone has been “responsible for the project’s strategy, concept, experience design, learning experience, technology, content creation, film production, brand development, and more.”

Headlines are set in IvyPresto and text in Söhne.

Redesign and identity for The Wire, the world’s leading independent music magazine by Guillaume Chuard from Studio Ard.

The studio developed a brand new logo and custom cut of LL Unica77 in collaboration with Lineto which restores the definitive article to the magazine’s masthead. The new layout is functional, simple yet distinctive, foregrounding the text while leaving enough space for the original photographs we commission for each issue. The new masthead embodies this radical simplicity: The Wire is The Wire; the name speaking for itself. The Wire about their new typography:

For those of you interested in the technical details, the redesign includes a new grid system that actually increases the overall type area; a new font, a version of Unica77 that was customised in collaboration with Swiss type foundry Lineto; a new navigation scheme based on clear visual identities for each section; and a typographic treatment for the headlines which will evolve from issue to issue. Oh yes, and a new logo that finally restores the definitive article to the magazine's masthead.