How can a tech podcast become Silicon Valley’s newest obsession?

For TBPN – the Technology Business Programming Network – the answer began with branding. In 2025, Los Angeles–based creative agency Day Job developed the network’s identity and website, positioning the show somewhere between a financial news channel and a sports broadcast. Drawing inspiration from Formula 1 sponsorship density, forest-green “country club” codes, and lo-fi VHS effects, the system embraced spectacle over startup minimalism. In 2026, Area Technology expanded the identity with a brand refresh and a new suite of live broadcast graphics, intensifying TBPN’s on-air presence across streaming platforms.

At the center of both phases is Record Laser, designed by Image Format and published under Sharp Type's season two catalogue. Used as the sole typeface across the entire system, Record Laser carries headlines, motion graphics, and interface typography without auxiliary support. The decision to rely exclusively on a single display family underscores its range and broadcast legibility, positioning the typeface not simply as a stylistic layer but as the structural and expressive core of a contemporary media brand.

TBPN website

TBPN logo lockup

Functional chyron system with extensive font and color configurations for live broadcast

Vertical card graphics for social media

A badge created by Sam Potts for the Judge John Hodgman podcast.

AirGo Radio is a podcast and media hub in Chicago reshaping the culture of the city and beyond. At a key moment for growth, they needed a future-facing brand with echoes of the history inspiring them.

AirGo’s wordmark references “on-air” and video recording iconography with a simple red dot, which expands to form the basis for the visual identity. The simple contrast of circle and angle expands to the broader system, inspired by mid-century media such as Avant Garde magazine and PBS Television. ITC Avant Garde Gothic was a practical choice as well—when handed off to the client for use, it’s sturdy enough to live unchanged, but its alternates can easily add visual interest to a pull quote or other text.

Cugat Mèdia’s identity system – crafted by ESIETE – reimagines public media branding, think radio, TV, podcasts, and digital press. A minimalist typographic gesture unveils a microphone, honoring Ràdio Sant Cugat's 43-year heritage while symbolizing connection.

The mark positions design as a transformative agent for communication.

ESIETE’s solution gives authentic meaning to “We are your voice”: a confessional statement for community-powered media.

Mediapart is a French investigative online newspaper known for exposing numerous political and economic scandals. Its financing model is unique: funded exclusively through subscriptions, Mediapart reports independently without advertising influence.

During the redesign of its website and mobile app by cmjnrvb studio, the visual identity was harmonized across editorial content, the user interface, and the subscriber area (the Mediapart Club). A central challenge was differentiating these spaces while maintaining a coherent overall system.

Pensum Pro was adopted for editorial content, supporting long-form reading with balanced proportions and excellent legibility. Pensum Display provides contrast and presence for special headlines. For the Mediapart Club and interface elements such as author names, dates, and metadata, Atlas Grotesk establishes a clear typographic hierarchy that distinguishes subscriber content from editorial material.

Historically, Mediapart’s typographic wordmark was set in the seriffed Trajan. The redesign shifted to the sans-serif forms of Trajan Sans to improve readability while preserving the essence of the original design.

The redesign also included a refined logotype, a systematic color palette, and a consistent illustration style. These elements were compiled into a comprehensive graphic charter ensuring clarity, consistency, and flexibility across digital and print platforms.

Edastra is an entrepreneur-led investment firm founded by Swedish entrepreneur Robert Ahldin. Built on clarity, conviction, and long-term thinking, Edastra operates with short decision paths and minimal administration, focusing on developing companies, sharing knowledge, and acting with intellectual independence.

At the core of Edastra’s new visual identity, developed by Gärde Design Studio, is Upplyst – the firm’s podcast and most far-reaching expression. Rooted in Enlightenment thought and Gnosis, it frames knowledge as something to be questioned, shared, and refined, forming the conceptual foundation of the identity.

The design concept, Lux Mentis (“light of the mind”), expresses this philosophy through a minimal, precise system where content leads and form supports. A central symbol represents both the spark of ideas and the steady rhythm of long-term growth. The custom-designed wordmark is carefully aligned with the symbol, with serif details calibrated to create structural and visual coherence across the identity.

GD Serio was selected as the primary typeface to support Edastra’s editorial and analytical voice. Its humanist character conveys clarity, calm, and credibility, making it well suited for knowledge-driven content across digital and print applications.

Paired with GD Gaio, used primarily for small text and captions, the typographic system balances warmth and precision while maintaining clarity and hierarchy across all touchpoints.

The Gown and the Shipwreck (Dutch: De Jurk en het Scheepswrak) tells the story of a remarkable 17th-century dress discovered in the Palmhoutwrak, or Palmwood shipwreck, off the coast of Texel. The wreck lies in the Burgzand Noord area of the Wadden Sea, where strong currents and low visibility make diving challenging. Since its illegal retrieval in 2014 by amateur divers, the dress has attracted global attention, symbolizing both the allure and the controversy surrounding underwater archaeological treasures.

The project is multi-faceted, including a three-part documentary, a podcast series, and an interactive website where visitors can explore a virtual reconstruction of the wreck. The design of the project draws inspiration from the natural transformations objects undergo underwater, such as erosion and corrosion, which lend them authenticity and a sense of history. Even the variable font used for the project reflects this process of change over time.

To design this project, Superaarde used the typefaces Exposure (Federico Parra Barrios, 205TF) and Sharp Grotesk (Sharp Type).

Kugel und Niere is a podcast production company that operates from Munich, Germany, since 2017.

Studio Veh led the 2025 (re)branding of the company, with a highly typographic approach. From the case study:

With words being the brand’s most important asset, Studio Veh delivered a typographic solution: a flexible type system using a wide typeface that not only emphasises the larger-than-life stories, but also the impact of the podcasts’ conversations.

For the logo and titles, Veh went with Druk Wide. Then, contrasting in weight as well as structure and width, we have NaN Rage Beau Condensed Thin (mostly). NaN Rage Beau is used for secondary titles and contrast, when needed. On Kugel und Niere’s website, Neue Haas Unica is used for all body copy and sub-headings too, while NaN Rage is curiously absent.

Darden Studio’s Omnes Black is the titling font for Nick Jr.

Nick Jr. is Nickelodeon’s preschool programming block and also the name of a dedicated pay TV channel. It’s best known for shows like PAW Patrol, Dora, Peppa Pig, Dinosaurs in Space, Blaze & The Monster Machines, and Baby Shark’s Big Show.

On the Nick Jr. website, kids can watch full episodes and videos, play games, and interact with their favorite characters. Omnes Black – the boldest weight of the family – is here used for headlines, alongside text in Neue Plak.

The heavyweight with the selectively rounded corners also features on title cards in the video clips themselves, as well as for the names of the Wheel of Games podcast and the Party Adventure video game, among other formats.

Omnes is typically used in all caps, with smaller text in several weights from Neue Plak.

Omnes Black is also used for title cards of video clips.

Omnes Black in all-lowercase letters for Nick Jr. Games

Wheel of Games is a podcast format launched in 2024. The identifier uses Omnes Black with distorted letterforms.

Omnes Black with dancing letters, contour and highlight effect, on the packaging for Nick Jr. Party Adventure, a video game released in 2024.

Hasse mit Liebe is the podcast for anyone who wants to view the world through a smart, feminist lens – with attitude, but without losing themselves along the way. Journalist Kerstin Hasse dives into equality, politics, and pop culture – sometimes solo, sometimes with like-minded guests – always personal, pointed, and unapologetic.

As striking as a magazine cover. But is pink too on-the-nose for a feminist podcast? Maybe not, especially when paired with GT Planar – bold, leaning to the left, and sharp, just like the podcast. A playful, confident identity for a show with substance.

Vivir de (Esto) is a podcast created and presented by Dei Arroyo and Luismi Gómez. Each episode features a new guest, with whom the hosts speak about turning their passion into a professional livelihood. The series’ graphics and identity were created by errorerror.studio (Paloma Vicente & Luismi Gómez), a creative duo based in Valencia, Spain. Their design for the podcast is typeset in HAL Four Grotesk and HAL Timezone, both published by HAL Typefaces.

Design of a calligram for the podcast dedicated to the book Una peripecia fotográfica por España / A Photographic Scramble through Spain by Charles Clifford.

Translated by María Luisa Balseiro and published by Ediciones de la Universidad de Castilla-La Mancha, Ediciones Universidad de Granada, and the Hispanic Society of America, the book reproduces countless images captured by British photographer Charles Clifford in the first half of the 19th century. Originally published as a 48-page booklet about 1862, Clifford conceived what basically is the first photobook in Spain.

Soundbeam is a podcast production studio dedicated to creating content that enhances every aspect of a brand’s marketing strategy. Whether the goal is to generate leads, engage existing customers, or establish thought leadership, their podcasts help businesses to participate in the most important industry conversations. They chose Ghost Bold by Sharp Type, made it tighter and used it for the titles. They paired it with the monospaced League Mono by The League of Moveable Type for the the paragraphs.

Where do you actually learn that it is possible to turn art and culture into a profession? Tear everything down and start again or diversity-oriented organisational development? What strategies are there for networking and self-determined work?

In three podcast episodes named “2 Years From Now”, Diversity Arts Culture Berlin talks to experts about classism in art and cultural practice, about racism in cultural institutions and the gaps that still need to be filled, about how artists can protect themselves and defend themselves against racism and what mutual empowerment can look like.

Graphic and cover design by Kathrin Windhorst / studiokwi

We had the pleasure of working with FilmNation and Pacific Electric Picture Company to develop the branding and overarching design system for SNAFU Media, as well as the cover art for season two of their flagship podcast. The new logo is based on Marvin Visions, with a modified N.

SNAFU is a podcast hosted by Ed Helms that dives into history’s greatest screw-ups. In each season, Helms explores significant, yet often overlooked, historical events characterized by major blunders and their far-reaching consequences.

The hero of the identity system is the SNAFU wordmark, based on Marvin Visions (an expressive typeface with an interesting backstory), but with custom adjustments. The deep drop shadow on the podcast cover art is evocative of a red lens that reveals invisible ink, but it can also stand alone without that particular treatment.

SNAFU wordmark on merch.

SNAFU cover art as shown on a podcast app.

A series of three posters, each positive and negative: Let’s Talk about… Type, Print, Design. The posters were designed for a live podcast recording during the Wonder Festival in Kortrijk, Belgium. This festival brings young creative force and established values from all disciplines – from design, innovation, technology to art – will set out their vision of a better future. Wonder takes you along a free trail of special places in Kortrijk UNESCO City of Design, with stunning exhibitions, installations and events.

Uploader is a project that uses the podcast as a tool to make known the stories of young people who know how to be an inspiration for other local children: projects, personal paths, ambitions, hardships and dreams that come true.

An underground graphic, as the project wants to be, that is a story of out-of-the-ordinary stories, difficult stories of people often “labeled” by society.

Ways Into Practice is a resource —

created and produced as part of Bielke&Yang’s internship programme taking the form of a podcast to provide students and young designers valuable insights when starting their journey into the design industry. Featuring in-depth interviews with established professionals sharing their personal journeys into the field. Aiming to provide a holistic understanding of the design industry and empower aspiring designers to make informed decisions about their own professional paths.

Through a compelling journey, Pourquoi tant de haine ? (“Why so much hate?”), a podcast by Savoir média, follows filmmaker and researcher Léa Clermont-Dion as she delves into the issue of cyberviolence against women, a subject she explored in her doctoral thesis. To understand the roots of online hate, she engages with both victims and experts.

At the heart of the composition, Léa’s portrait highlights her role as the podcast’s narrator. As a well-known figure in Quebec’s media and a respected feminist voice, her central placement reinforces the podcast’s credibility. The organic shape surrounding her acts as a window, symbolizing fluidity and openness in approaching the complex subject of hatred. The light and soft aesthetic of the design aligns seamlessly with the podcast’s mission of promoting empathy, understanding, and hope.

Bodkin is a seven-part dark comedy about an unfortunate true crime podcaster (Will Forte) and a Guardian journalist (Siobhán Cullen) who investigate the disappearance of three people in a small Irish town. It premiered on Netflix on May 9, 2024.

Navigo by CSTM Fonts is in charge of typography in the series’ title sequence, designed by Adrienne McGrane (who also happens to be the designer of The Green Knight).