For the “In Our Nature” campaign identity, Real & Good Creative paired Lodgepole with Today Sans Serif to create a typography system rooted in both character and clarity.

Lodgepole, used in the logo, brings an organic, handcrafted warmth that immediately evokes trails, tree lines, and the tactile feel of being outdoors. Its subtle irregularities and nature-inspired forms give the wordmark a grounded sense of place—perfect for a campaign centered on protecting Nova Scotia’s wild landscapes. Lodgepole’s personality helps the brand feel human, inviting, and deeply connected to the land.

To balance that expressive character, Today Sans serves as the supporting font across campaign materials. Its clean, modern, and approachable letterforms offer a sense of trust and accessibility, ensuring that calls to action, impact statements, and storytelling remain clear and legible. Today Sans complements Lodgepole without competing with it—its quiet confidence allows the logo to shine while reinforcing a cohesive visual voice.

Together, the combination of Lodgepole and Today Sans creates a brand system that feels rooted in nature, contemporary in execution, and emotionally resonant. The typography invites people to connect with nature, feel part of the conservation movement, and see themselves in the shared responsibility of protecting the lands we love.

The redesigned visual identity of the FAD Architecture and Interior Design Awards (Arquin-FAD), developed by ESIETE, responds to the need for a contemporary update across modern formats. This transformation reinforces the awards’ role in promoting Spain’s architectural excellence.

ESIETE’s solution builds on the concept of space—essential to architects and designers—by reimagining the interior of letterforms. The system balances legibility with geometric precision, echoing foundational elements of construction, from childhood blocks to technical drafting.

Kit Sans is the typeface chosen for the redesigned identity of Bionox. The brand for dietary supplement products introduced the font family earlier this year, starting with the packaging design of their new flagship product, CardioGO.

The workhorse sans by Darden Studio is used throughout. All information on the labels is set in various styles from the Kit Sans family. The CardioGO name is presented in caps from the boldest weight, Kit Sans Black, with a custom heart-shaped counter in the letter O. The directions of use on the back are shown in the Regular, and the slogan “Everything You Need in 2 Scoops!” in the Bold Italic. As all fonts by Darden Studio, Kit Sans offer various sets of numerals. The label text features the oldstyle variety, with numerals that ascend and descend like alphabetic glyphs.

In the meantime, the use of Kit Sans has been expanded to the Bionox website as well as to other products such as the Chelanox Heavy Metal Detox and the Ultimate Nitric Oxide Capsules.

CardioGo was launched in three flavors, with packaging designs differentiated by color.

The Bionox website uses Kit Sans Regular for text, with ExtraBold for headings.

TT Drugs is an integral part of the brand identity of APF Holdings.

APF Holdings is one of Latvia’s largest poultry farms, specializing in chicken egg production. Established in 1961, the company has evolved into a leading supplier of eggs to retail stores. In 2024, APF Holdings achieved significant growth by expanding its product portfolio to include items for sports and healthy nutrition and launching its own online store.

On the website, headlines in TT Drugs are paired with Kremlin and text in Proxima Nova.

Someone & Others used ABC Diatype Rounded (Dinamo) and GT Pressura Mono (Grilli Type) as main fonts for the identity of skin care brand Starface. The logo is based on Haley Fiege’s Sniglet, with custom star-shaped counters.

From Margaret Andersen’s article for Wix Studio:

Starface […] takes a worldbuilding approach to brand development, and it’s become wildly popular among teens for its colorful star-shaped acne patches. Someone & Others, which developed the brand’s identity (as well as for other notable beauty brands, like Kosas and Good Weird), grounded the Starface branding with a bright yellow color palette, Y2K design elements, and an adorable, starry-eyed, smiley face character called Big Yellow that, like the Futurewise slug, serves as the main persona for brand storytelling.

Big Yellow anthropomorphizes the brand’s packaging: riding roller coasters, running a book club, buying a bouncy house on TikTok (to which one of the brand’s two million followers commented, “this is so random I’m obsessed”), and commenting on brand posts from its own account. (All things one hypothetically might do with the loud confidence provided by a Starface pimple patch.)

Logo officially used until 2001

The Do it Center store concept and identity was drafted for Fort Wayne, Indiana-based hardware distributor Hardware Wholesalers, Inc. (HWI) by legendary Canadian retail branding firm Don Watt + Associates, and finalized in September 1980. A trademark for this logo was filed in October 1980, but the first store to test this branding wouldn’t be opened until sometime in 1981, to warm reception.

All aspects of the store, from its advertising to signage to store brands, were drenched in a sea of red-orange and yellow and a copious amount of tightly-kerned ITC American Typewriter Condensed Bold. Most of the subtle curves in the original typeface were smoothed out and straightened for ease of use across both print media and physical signage. The mostly-lowercase treatment of the warm-colored and bold, soft-edged text conveys reliability in an inviting and approachable manner.

Watt and his firm were still riding out the success of their identity package for The Home Depot from the year prior, which also included a prominent red-orange hue and bold, rounded font (in that case, Stencil).

Following HWI’s merger with Minnesota-based hardware store franchiser Our Own Hardware in 1998, the combined entity (named Do it Best Corp. after their premium store brand of home improvement products) looked to modernize. Between 1998 and 2001 much of the company’s identity was overhauled, instead using a modified Goudy Old Style over American Typewriter.

Due to the independent nature of these stores, there remain a decent amount of locations that still display this era’s signage both inside and outside.

Proofs sheet of various print sizes

Excerpt from vehicle identification graphics ordering form

Wagner Do it Center in Peru, Illinois. This location would close in 1994.

In 1979, an independent hardware company in Río Abajo, Panama, was the first international member to join the HWI co-op. They would be the first outside the United States to receive Do it Center franchising rights in the 1980s.

Spread from a corporate brochure highlighting Do It Center’s private label products, which also used ITC American Typewriter for the packaging

Typical Do it Center interior in 1982. Upper section of price signage held individual characters (white on transparent plastic) to spell out whichever item was on display, though these are not used in this photo.

Signage and other supplemental materials

A new identity for Maison Saint-Gervais, a theater in Geneva, Switzerland. Art direction and design Dual Room (Emmanuel Crivelli), starring KTF Concrete Bold (available on request) and Selecta by Maxitype.

Detail from the style guide, with the key-related elements derived from the Geneva flag

From Herb Lubalin Study Center:

Book jacket designed by Lawrence Ratzkin. Ratzkin graduated from The Cooper Union in 1951. He was a prominent graphic designer noted for his cunning design solutions honed down to their graphic essence. He produced thousands of book jackets for the major American publishing houses.

Mary Stewart’s The Hollow Hills is the second in a five-part series of fantasy novels about the Arthurian Legends, which was started with The Crystal Cave in 1970. First published in the United Kingdom by Hodder & Stoughton in 1973, this is the first American edition by William Morrow. Ratzkin used Hermann Zapf’s Optima and crayoned in the spaces between and inside the letters in alternating colors, highlighting the relationship between positive and negative forms.

[More info on ISFDB]

Benguiat Zenedipity is a variant of Benguiat Serendipity with flared bottom halves. A condensed style of this 1960s display typeface was used for the cover of The Intruders Are Together, with a customized heart-shaped counter in O and letterforms that serve as mask for the photograph.

The debut album by the Philadelphia soul group was released in 1967 on Gamble Records. Founded in 1965 by Kenneth Gamble and Leon A. Huff as Excel Records, the label was renamed in 1972 and later merged into Philadelphia International. See the FunkMySoul blog for more info about the Intruders and their debut album.

[More info on Discogs]

The liner notes and track names on the back cover are set in Memphis.

Katalin Kopin writes:

Opened in Szentendre in early 2022, PhotoLab is a exhibition space of the Ferenczy
Museum Center that supports the creation of new photographic projects and presents
exhibitions to the public.

The intention behind the creation of this exhibition space is to secure due attention for
to photography in a town where the main focus is on graphical arts.

We seek to represent the diversity of photographic genres, including the use of photography in fine art, conceptual and experimental art, as well as documentary
photography.

When developing the graphic design concept, it was an important aspect to include the work of representatives of all photographic genres in the design of the visual elements. The encapsulating form of the logo shapes an analog camera, with light passing through its stylized form. The key graphics are based on the reduced forms of the photographic elements that make up the logo. The layout of the key graphic elements and the use of the logotype on the external communication elements refer back to the basics of creating an image, which photography brings to life. The image is built primarily from a combination of minimal elements, which emphasizes the typography and the selected image of the exhibiting artist.

The concept, logotype and graphic design were created by Agnes Herr, using Aventa throughout.

See more images on Behance.

Richard Yee is a visual designer and creative developer based in New York. Next month he will teach a course at Type@Cooper titled AI Motion Capture for Designers, where one “will learn how to create real-time video effects using face, hand, and pose detection.”

For the header graphic, Yee made an animation showing a wireframe hand defined by tracking markers. The typeface used for the abbreviated title is Tilt Prism, designed in 2020 by Andy Clymer (who was exploring facial recognition in typography already in 2011). Based on prismatic lettering, this caps-with-small caps typeface is part of a series of variable fonts that have the ability to simulate rotation in multiple directions.

Via Colin M. Ford, who comments:

Could there be a MORE PERFECT use of @andyclymer’s Tilt typeface than this @coopertype course?

Still from the animation: thumbs up!

Still from the animation: V as in … variable fonts!

Still from the animation: see you at Type@Cooper!

Stacey Geller designed a wordmark lockup for The Brooklyn Navy Yard’s pandemic-distanced video series “Taste of the Yard.” The customized treatment of mechanical-but-soft Aglet Mono for The Brooklyn Navy Yard is fitting, as Jesse Ragan designed the typeface while working across the street from that rehabilitated industrial site.

Resist Nutrition is on a mission to bring hormone and metabolic health to the “bro-tein” aisle by resisting diet culture and creating science-backed functional food that every body can enjoy.

Brand strategy, visual identity, creative direction, packaging design by Here and Now Creative Co.

Homepage on wide viewports

Staffy and Bully Breed Rescue Inc. is a not-for-profit focused on the rescue, rehabilitation, and rehoming of bully breed dogs. They are entirely volunteer-run and supported by donations from the community.

With its social media presence being more active and urgent, we focused the website on being passive and calming, communicating the positive change (speaking from experience) these big softies can bring to people’s lives.

Recoleta is used throughout.

Website on medium size viewport

Homepage on narrow viewports

The cover for the first New English Library paperback edition of Nick Sharman’s horror novel, The Cats, features a cat-themed LTypI use of Fat Cat. The heart-shaped counterform of the ‘A’ was either an after-market adaptation from another glyph in the typeface like the ‘E’, or it was an alternate glyph from a source I haven’t seen before. The accompanying slab-serif is Rockwell.

The design is credited to Stephen Knowlden, with the illustration credited to David McAllister.

Nick Sharman should not be confused with me, Nick Sherman :)

Roxette’s Bag of Trix is a collection of 47 previously unreleased or long since out-of-print Roxette recordings, demos, alternative mixes, unreleased Spanish versions, live recordings, bonus tracks and other fun stuff from the Swedish band’s long, illustrious and extraordinary successful career.

This box was released as 3 CDs or 4 vinyl records.

The logo, created by Pär Wickholm for the XXX (30) greatest hits album and world tour in 2014, and the box title are set in Red Top, while everything else is set in Barlow.

Cover of the English-language edition of Soviet Chess School by Alexander Kotov and Mikhail Yudovich, translated by Lev Kurilov and published by Raduga Publishers in Moscow in 1983.

The typography appears to combine two similar interpretations of De Vinne. The authors’ names are the easy part: They are set in Hawthorn by Mike Daines, released by Letraset in 1968 in a single weight.

The bolder style used for the title looks like a member of the Basta series, started by Georg Salden in 1972. At least that’s the only typeface in this genre with such an angled e that I’m aware of. The heaviest weights named 3.6 and 3.9 come particularly close: In addition to the e, details like the s/S with long, pointed serifs or the t with flat top are a match, too. Basta has a ball terminal on the lowercase c. However, its uppercase C has the same form as seen here, so maybe the c was redrawn to match the C (and the c in Hawthorn). The T with upward-pointing serifs (like in Hawthorn, but unlike in Basta) could be explained in the same way. The descending v and t, the shortened h ascender, as well as the o’s with the knight pieces in place of counters are obviously modified. That’s why I tend to say it’s lettering based on Basta. In any case, Salden’s design comes closer than Brendel’s De Vinne Serial 7, which is digitally available as (TS) Denver (Serial) Black, and might have been around already in 1983, too. I can’t rule out the possibility that the title lettering is a manual extrapolation of Hawthorn. In that case, the similarities to Basta would be coincidental.

Basta was originally developed for the GST-Kreis, a subscription model with new display typefaces added on a monthly basis. These were exclusive to the members – a number of phototypesetting companies. TypeManufactur’s digital Basta focuses on the text styles. It has Leicht, Buch, and halbfett weights, each with matching Kursiv styles (and roman small caps for the two lighter weights), plus a fett. Its design is different from the original numbered Bastas.

GST-Basta 3.9, the heaviest weight of the Basta series, with swash alternates. Shown in a catalog by German phototypesetting company Stulle from 1985.

100 year anniversary poster for Kulturgesellschaft Glarus. Printed in 10 print runs from hand-cut linoleum (Anzeigen-Grotesk with a modified number 1) and hand-set metal type (4pt Salon-Antiqua from Haas'sche Schriftgiesserei). Party-party!

Client: Kulturgesellschaft, Glarus
Format: 70×100cm
Paper: Forever Gelb, 200g/m²
Edition: 450 posters on a Grafix GX4

Visual identity created for Som Na Faixa, a free online event of classical music in Brazil.

Concept and colors were defined already for the previous event, but the use of Zenith Slab DJR (by David Jonathan Ross) for the new logo brought a fresh look. It was also the basis for creating a pattern based on its counterforms which was used in all material and motion graphics for the live tranmission of the concerts.

Guanabara Sans (by Plau) was a great choice for information because the pieces had a lot of text, but also needed some informality so that the event, and classical music itself, don’t seem too distant from people.

Watch some of the concerts and how the motion graphics make use of the visual identity:

F37 Ginger by F37 Foundry in use by Supple Studio for Bath Strings Academy. From Supple Studio’s post:

Bath Strings Academy provides specialised musical training and mentoring for string players of all ages, right in the heart of historic Bath. Its unique approach to string playing covers mindset, physicality and performance skills as well as technical tuition.

Our vibrant identity system is fun enough to appeal to kids and cool enough for the grown-ups too. It’s based around a tuning peg / B monogram, engaging copy lines and a colourful abstraction of musical notation.