An update to the visual language of the Congresso Raízes, which is now known as Congresso Brasileiro de Gastronomia Entre Nós, or “Brazilian Gastronomy Congress Between Us”, celebrating the essential connections that drive gastronomy. The rebranding was done by design studio Lanatta, who had this to say about the design (translated):

Applying the personality of the color blue, already present in the previous brand, we reinforced the values ​​of bringing together the expert and enthusiast audience to develop gastronomy at all points in the chain in a new icon, including the new language for photographic direction and applications in the Raízes brand's digital products.

The visual language is based on a strong use of the color blue, the typeface Ergon Light, a clear photographic art direction and a fluid shape as an icon for the event.

Visual identity of the quarterly booklet, the quarterly program posters and the posters for all events for Maison CFC, a bookstore in Brussels, Belgium.

ZER01NE (“Zero One”) is an open innovation platform belonging to Hyundai Motor Group where different perspectives converge to create questions and find answers. ZER01NE DAY 2019 took place at Hyundai Motor Service Center, Seoul. Massimo Grafia was used for the graphics, together with what appears to be Sandoll GothicNeo for Korean text.

From the designers of Everyday Practice:

ZER01NE DAY 2019 presents the results of the past year as creative minds who create questions from people, society, and life concerns, start-ups that translate questions into real-life, and find answers through quick action, and connect and share various questions and answers with people-centered social values. We have developed a borderline fluid image that reflects the theme of ZER01NE DAY 2019 called “BORDERLESS in EVERYTHING,” and have worked hard to articulate the theme of the festival in preparation for an object symbolizing the engine

These posters, T-shirts, and bags are all part of the identity designed by André Cruz for Turno da Noite (“Night Shift”), a conference on night culture and its economy held at Porto’s Maus Habitos in July 2025. The text is set in Tokyto by Benoît Bodhuin, paired with what appears to be Neue Haas Grotesk.

Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.

Switch is the annual conference run by the NSW Public Libraries Association. Each year the conference is held at a different location and brings together the New South Wales public libraries workforce, industry and key speakers to learn, network and celebrate the achievements of it’s members. After working with the NSWPLA on updating their brand identity I was brought on to update the way the Switch conference presents itself to the world. The result was an updated brand identity as well as design applications across print, screen and motion.

Upon talking to the leadership of the NSWPLA it became clear that the conference was a well-loved event for all involved. The three-day event includes educational talks from library leaders and industry, awards for library staff as well as networking opportunities. It was clear that people who attended left feeling elated, this concept was captured with the simple logo mark, the takes a rectangle and switches it up as it moves to the right to form a stylised S. This concept was re-enforced by using a set of thin horizontal lines across the design application which also add structure to the layouts. Working with the colours from the NSWPLA brand identity, the event colours change each year, as does the year in the logo.

Atlas Grotesk was chosen for the branding as it ties in with the updated NSWPLA branding and is a workhorse font that brings a refined character to the designs. The black weight was used for the logo whilst light and regular was used elsewhere. The logo uses an apostrophe from Söhne Black.

The Red Sea Project X conference took place July 6–9, 2022, in Rethymno, Crete, hosted by the University of Crete and the Institute for Mediterranean Studies (FORTH), in collaboration with Emory University. This tenth installment of the Red Sea Project series brought together international scholars to explore the Red Sea as a dynamic geohistorical region. The conference focused on themes such as maritime networks, cultural transitions, historical boundaries, and the role of islands and insularity in shaping regional identities. It continued the series’ mission to reframe the Red Sea not as a peripheral passage but as a central space of historical significance.

The visual identity was intentionally simple, built around a few distinctive elements. The key motif is the use of a deep red color – evocative of the Red Sea itself – paired with Infini, a typeface designed by Sandrine Nugue. As a subtle visual layer, small boat illustrations were incorporated, adapted from a medieval map of the Red Sea. These elements together create a clear yet historically resonant identity for the conference.

The Hamburg Sustainability Conference (HSC) is an international gathering to promote the 17 Sustainable Development Goals of the United Nations. Bringing together leading representatives from across politics, business and science, it took place for the first time in October 2024 with over 1,600 participants from 100 countries. The inaugural conference resulted in 15 concrete agreements, including the Global Battery Alliance and the Declaration on Sustainable Aviation. The next HSC is planned for June 2025.

Dörte Matzke and Julia Friese from the agency Matzke und Friese were responsible for the visual identity, along with the communication designer Ruth Heinlein. Their tasks ranged from logo development to corporate (website, printed materials) and event design.

For the logo, they used the symbol of a bridge, which was designed from the 17 colors of the UN Sustainable Development Goals according to the official SDG Color Wheel. Dörte Matzke commented on the design: “A bridge overcomes barriers and connects politics, business, science and civil society across the global North and South, and helps find solutions for a sustainable future.”

With Pangea, they found a suitable typeface for a conference on sustainability. Pangea is characterized by clear lines, excellent legibility and charming details and is suitable for both digital and printed applications. Its name refers to the primeval continent and symbolizes cohesion and global responsibility – a guiding principle that is also reflected in Pangea’s own sustainability.

A quarter of Christoph Koeberlin’s designer royalties from the sale of Pangea goes directly to climate protection projects, in particular to saving and reforesting the rainforest. In addition, Pangea was deliberately developed for multilingual communication, with extensions such as Pangea Afrikan for African languages and later additions for Arabic and Hebrew for the Arabic and Hebrew language areas.

The Chancellor of the Federal Republic of Germany, Olaf Scholz, delivering a speech at the HSC, embedded in the Pangea font family.

Logo, website, printed materials and conference design: designed by Matzke und Friese using the 17 UN colors for sustainability and the Pangea typeface family.

Announcement for the second Hamburg Sustainability Conference in summer 2025

Following their international specialist conference on railway heritage preservation in 2022, the Specialist Service for the Preservation of Historical Monuments of the Swiss Federal Railways (SBB) and the Chair of Construction Heritage and Preservation (ETH) have published a comprehensive volume with 50 contributions from authors from more than 10 countries, highlighting and discussing the many challenges and opportunities of the young field of heritage preservation.

The trilingual texts and the titlings in the sewn-bound volume with 460 pages are typeset with the regular and black cuts of Neue Moderne Grotesk FSL, while the cover variants reference a typographic hodgepodge of Neue Moderne Grotesk FSL, Futura, Helvetica and Univers Condensed, plus some unidentified numerals and color patterns found in typical mid-1900 Swiss railway tickets. In a wider context the format of the book (170×280 cm) references the typical Edmondson railway ticket that has been in use from 1840 until recently in countries all over the world. This also resonates with the international contributions about the topic of the railway heritage preservation (excerpt from the Schwabe Verlag):

The construction of many national railway networks was essentially completed in the early 20th century. Since then, the operation of the railway system with its buildings and artistically designed constructions has required constant adaptation to changing technical standards and requirements for usage requirements. It is only in this way that the functionality, safety and economic efficiency of the railway system can be guaranteed. However, the pressure to change is not only inherent to the system but is also driven by socio-political processes. How does the preservation of railway heritage position itself in this field of tension? What characterises the existing railway transport system and what heritage values are associated with it?

Eisenbahndenkmalpflege – Préservation du patrimoine ferroviaire – Railway Heritage Preservation was published by Schwabe Verlag and designed by Huber/Sterzinger and Miloš Gavrić. The book was printed by Merkur Medien on Werkdruck and Bierdeckelkarton papers by Fischer Papier. Texts in German, French, or English, with translated abstracts.

Extra love to Joshua Schenkel for the Edmondson railway ticket history and Weichi He for the custom embossing type.

The Society for Media Studies (Gesellschaft für Medienwissenschaft, GfM) held its annual conference at the Johannes Gutenberg University Mainz from September 25 to 28, 2024. This year’s theme was “assembling” (versammeln), focused on media, orders, forms and critical practices of gathering. The concept encompassed images, data and bodies as well as political collectives, archives, architecture, and infrastructure.

Katharina Koch and Marcel Backscheider were responsible of the design, which included posters, tote bags, T-shirts, badges, and social media content. It was set in HAL Four Grotesk (HAL Typefaces) and Director (Velvetyne Type Foundry), designed by May Jolivet and Justine Herbel as part of the Reviving Ange Degheest project at EESAB Rennes.

The German Exercise Science and Training Conference (GEST) is the biennial meeting of the Exercise Science Section of the German Association for Sport Science (Deutsche Vereinigung für Sportwissenschaft, dvs). The theme for the upcoming event at Saarland University is “Fusion of Science and Sport: an international Dialogue”.

The many different styles of Puffling allowed me to use bold lettering for all kinds of names and headlines. Name too short? → Puffling Extended! Headline too long? → Puffling Ultra Condensed! I used Puffling as much as I could and added Martian Mono for some longer texts. The branding is completed by turning some of my sports and science inspired illustrations into 3D renders, that turn, float and hover on top of the typography.

XOXO is an experimental festival for independent artists who live and work online. A robust and enthusiastic community has formed around the festival since it was first held in 2012. After a few years off, founders Andy Baio and Andy McMillan decided to hold one last XOXO. For this final year, Each Other created a visual identity to send them off, centered around the impressions it leaves behind, and the beauty of the community that has grown from it.

A strong type system was important for the brand, as many pieces are copy-heavy. Avara by Velvetyne echos the angular fluidity of the pattern for headlines, while VCTR Mono by Vectro Type lends a soft typewriter feel to all the body copy.

Learn more about the project on Each Other’s website.

TEDx is an international community that organizes TED-style events anywhere and everywhere – celebrating locally-driven ideas and elevating them to a global stage. TEDx events are produced independently of TED conferences, each event curates speakers on their own, but based on TED’s format and rules.

The main theme of TEDxKatowice 2019 was “Poza zasięgiem,” which translates from Polish as “Beyond Reach.”

The display font used for the event graphics is Misto, a wide all-caps typeface with reversed contrast made in 2019 by Ukrainian designer Kateryna Korolevtseva. Misto is paired with Gopher for text, used with its alternate a. Also released in 2019, Gopher was designed by Adam Ladd, a designer from the United States.

All-caps Filmotype Cadet for the cover of a booklet with technical proceedings from the 1968 Railroad Engineering Conference titled “Car Design Inputs”, published by the Dresser Transportation Equipment Division of Dresser Industries, Inc. The design shows a stack of punched cards feeding into a train.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library.

In the 1970s, even conference proceedings on transportation planning looked like album covers. ITC’s digitization of ITC Busorama Medium includes none of the original alternates. Its glyph repertoire does cover most of the forms used here, though, including the wide E, the T with the curved roof, the R with the concave leg, and the top-heavy S. The only one that’s absent is the left-leaning A.

This Compendium of Technical Papers for the 49th Annual Meeting in Toronto on September 23–27, 1979 was published by the Institute of Transportation Engineers (ITE), Washington, DC.

Via Rachel Cole, librarian at Northwestern University’s Transportation Library.

Identity for Zwischen Spiele: the 19th Conference of the German Society for General and Comparative Literature (original German title: “XIX. Tagung der Deutschen Gesellschaft für Allgemeine und Vergleichende Literaturwissenschaft”). The event took place from May 30th until June 2nd, 2023, at Campus Neues Palais of the Universität Potsdam.

Graphic design by Bernd Grether and Sam Kim, set in HAL Four Grotesk, published by HAL Typefaces.

Visual identity, art direction and communication material for Rencontres Cinématographiques de L’ARP 2022, designed by Building Paris together with Maxime Verret (photographer) and Loïc Altaber (assistant). The typeface is EB Trainer Grotesk by Antoine Elsensohn.

For more than 30 years, L’ARP (Société civile des Auteurs Réalisateurs Producteurs) organizes the annual Rencontres Cinématographiques to bring together nearly 500 French and European professionals for political and artistic debates, preview screenings, and to discuss current affairs and the future of cinema and audiovisual industries. For the third year in a row, the event was held in Le Touquet-Paris-Plage in northern France.

BoKoMaT is a colloquium on martensitic transformation, organized by Ingpuls GmbH at Ruhr-Universität Bochum. For the 8th BoKoMaT taking place in September 2023, a new visual identity was designed by Schacht32. The event lighting was done by Donna und der Blitz.

See also the previous post about the BoKoMaT identity and website.

BoKoMaT is a colloquium on martensitic transformation, organized by Ingpuls GmbH at Ruhr-Universität Bochum. With the 8th BoKoMaT taking place in September 2023, a new visual identity is presented. The identity, website and communication materials were designed by Schacht32 and feature visualizations of martensitic transformation and the extensive use of Scope.

Poster for Mutation de la Caserne de Reuilly, 2017

In fall 2017, Kreuz was not yet released. Pierre Vanni, art director and graphic designer in Paris, took Emmanuel Besse’s upcoming typeface for a spin, and put it to imaginative use for the poster announcing a conference at the Pavillon de l’Arsenal.

This event titled Mutation de la Caserne de Reuilly was concerned with the transformation of the Reuilly baracks, a former military complex in the 12th arrondissement that was converted into 600 housing units.

Vanni exclusively used type, and employed all three widths of Kreuz: the Condensed, the medium-wide, and the Extended, always in all caps. For the title, he arranged the words on an arc, skewing the individual letterforms to evoke a perspective effect. This can be read as an allusion to the architectural theme, and at the same time to the conference as a place where various participants come together to examine a topic from different angles.

Kreuz is a typeface of industrial roots, with letterforms that combine angular and smooth outlines, evoking nuts and bolts. Here it is paired with a font that’s even more technical, and comes straight out of AutoCAD software: it’s the monolinear Proxy by Autodesk.

In 2019, after Kreuz was officially made available by Production Type, Vanni reused the basic design for another urbanism-related event at the Pavillon de l’Arsenal. That conference accompanied the exhibition Transformations pavillonnaires (“Suburban transformations”) which presented a pilot project in Arcueil, a town in the southern suburbs of Paris.

Stills from an animated version used to advertise the event online

Stills from an animated version used to advertise the event online

Poster for Transformations pavillonnaires, 2019