Posters and graphics for several exhibitions at Le Manoir de la Ville de Martigny, or Manoir Martigny for short, featuring Protest Grotesk as the primary typeface. The visual identity and exhibition graphics were designed by Anouk Andenmatten.

Below is an English adaptation of the museum’s editorial text:

Le Manoir de la Ville de Martigny is a contemporary art center dedicated to presenting exhibitions by Swiss artists across a wide range of disciplines. Alongside its exhibition program, Le Manoir hosts public events, guided tours, and workshops throughout the year.

Originally built in 1730 by the Ganioz family as a large private residence, the manor is now recognized as a listed building of cantonal importance. Since 1964, it has served as an exhibition space and today stands as the oldest cultural institution in Martigny.

Nomad Electric delivers comprehensive utility-scale renewable energy solutions, pioneering solar, wind, and hybrid power plant technologies.

We implemented a complete brand transformation using our “unselling” methodology, repositioning Nomad Electric from a conventional energy contractor to an advancement-driven technology pioneer. The strategic redefinition centered on the concept of “never stop” – continuous energy, innovation, and operations – while developing a sophisticated identity system that speaks to engineers rather than boardroom executives.

KATELYN LEE IS ONLINE translates six months of personal browsing history into a typographic system. 24,740 entries are indexed, classified, and encoded through a custom glyph language, where each action becomes a mark and each entry a line of text. Browser data is restructured into legible, repeatable forms across books, posters, and a web interface built with HTML, CSS, and Paged.js. By treating browsing behavior as a written record, the project reframes digital activity as something that can be read, archived, and physically encountered over time.

Running visualization at the bottom represents the information on that page.

72 unique topics, manually tagged.

Blac is a seafood restaurant with a warm and lively atmosphere, where wine plays a central role in the dining experience, along with fresh, flavourful cuisine focuses on grilled dishes.

For the logo, the designer used a custom twisted version of Maroni Condensed, playing with the letters and the sea level. The accompanying typeface is Baskervville Italic.

Experiti was made as a student project at École Estienne, Paris. It’s a kit composed of a binder and a set of three drawing templates, designed to map any kind of visiting experience: museum visits, forest walks, visits to a family member’s home, and more. The binder notably includes an instruction manual and a detailed legend, providing users with precise guidelines to help them create their own maps. The kit also contains various sheets for drawing, as well as a label to be filled in.

Its first section allows users to record essential personal data such as age or disabilities. The second section is used to indicate climatic and geographical information that enables a detailed description of the location of the experience. This information is crucial, as it may influence the representation of the visit. Animals, architecture, natural elements, individuals, transport, and furniture are among the many categories of elements available on the templates. This mapping process allows for a detailed and complex exploration of our visiting experiences. Users can precisely express certain tastes, smells, or sounds. For instance, a sound might be music or noise, long or short, high-pitched or low-pitched. These sensory elements can also be connected to our emotions, allowing us to understand their origins.

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.

CaféCité in Seoul was envisioned as more than a café—it is a keeper of memories, a place where fragments of personal journeys are gathered, treasured, and shared. Rice translated this vision into a brand identity built on a flexible grid system, echoing drawers filled with postcards, souvenirs, and fleeting moments.

Illustrations take the form of travel mementos and postcard-like scenes, nodding to the café’s role as a meeting point for stories. A masthead-inspired logo anchors the brand with presence, while evoking the editorial voice of a city publication. HEX Franklin is our primary brand typeface. HEX Franklin is an homage to the classic Franklin Gothic type family and its lighter-weight siblings, News Gothic and Lightline Gothic. This gives the brand a unique character that stands out while remaining elegant and approachable.

Together, these elements create a framework that is both dynamic and evolving—mirroring the shifting rhythms of urban life. Through this system, CaféCité becomes more than a destination for coffee. It stands as a living archive, where the city and its people inscribe their own memories, continuously adding to a collective story still unfolding.

The Halo Beriti label uses Beatle.

The portfolio of Fiona Hansen Sigrid, student at the Institut Français de la Mode (IFM), captures the creative process of pattern making, volume and garment construction by using design and images.

Featuring Tess Lochman, with art direction by Clothilde Bouan, photography by Jean-Marie Binet, and lighting assistance by Loc Boyle.

As its name suggests, Folder Records merges the flair of analog archives with the groove of music in a time of digital manifestation. The visual identity, developed in collaboration with Pira, mirrors that contrast. The colour palette references an “office core” atmosphere with pastel tones and bold RGB accents.

The logo, set in PF Mellon with its playful positioning of the “DE”, was inspired by the tactile motion of flipping through records, while the monospace Director alludes to a bygone era when typewriters clattered away in the background.

Equally important alongside the bold, condensed PF Mellon was the use of publicly accessible digital imagery from libraries, museums, and other archives.

Some interesting customization was done for the title: double underlines that blend into certain letters; a flourished, angled crossbar and differing leg lengths for the A; and extended and shifted arms of the & and swash M.

While most community cookbooks have a reach limited to a specific time and place, some do go onto wider acclaim and use, as is the case with some of the cookbooks produced by Junior League associations. One example of such a cookbook is the Rochester chapter's Applehood & Motherpie. The cookbook has gone through at least 17 print runs, numbering over 250,000 copies. In 1990, it was inducted into the Walter S. McIlhenny Hall of Fame for community cookbooks.

Applehood is set overwhelmingly in varying weights of ITC Bookman, with titles and other key text using swash alternates. The one small exception is that the opening initials to passages dedicated to anecdotes and tips use swash neo-Bookman Bold Italic instead.

A green apple next to a recipe indicates that it ranked very well amongst the cookbook’s testers.

An example of the anecdotal text interspersed throughout the cookbook, seen here with a swash neo-Bookman A.

The Rochester area is a large producer of apples, thus the title and motif (and numerous recipes featuring the fruit).

The crease that runs horizontally across the cover is designed to be bent so as to allow the book to stand upright.

MP2E Solutions is a company specializing in the distribution of Hauschild planetary mixers and equipment. For nearly ten years, it has been the exclusive distributor of these complex and highly technical machines. The SpeedMixer™ mixers from Hauschild GmbH, also known as planetary or bladeless mixers, are the safest and most versatile equipment in their category, enabling mixing, pulverizing, degassing, vacuum processing, and more.

In this context, MP2E Solutions provides these machines to various industries, including the pharmaceutical, food, medical, and electronics sectors, which rely on planetary mixers for their manufacturing and research processes. To mark a new era for the company, Palantis — Brands was commissioned to redesign the brand’s entire visual identity. As an industrial company with expertise across multiple sectors, MP2E Solutions needed an identity that accurately reflected its positioning and know-how. The entire visual system was built around the hyphen, symbolizing the connection between MP2E—an acronym for Mélangeur Planétaire Emmanuelle Etiemble—and Solutions, representing the full range of services, products, and support the company offers its clients. This graphic language, both sleek, adaptable, and coherent, is designed to work across multiple communication platforms, ensuring a strong and recognizable visual identity.

The interplay of symbols and the color palette provides great flexibility, allowing for endless variations while maintaining clear brand identification and visual consistency. Each color was carefully selected to evoke the industries served, reinforcing the brand’s presence within its ecosystem. Additionally, a dedicated iconographic system was developed to structure and clarify information across different communication channels.

The OH Catalogue website offers a comprehensive overview of the fonts available at the co-operative printing studio Officina Helvetica in Biel, Switzerland. The project aims to systematically document, catalogue, and digitally archive the studio’s collection of wooden and metal typefaces. To date, 81 wooden typefaces in sizes ranging from 3 to 60 cicero have been recorded, while over 70 metal typefaces, from 5 to 72 points, are still awaiting documentation.

Each typeface has been printed on individual 297×460 mm sheets, compiled into a portfolio of 25 prints, produced in a limited edition of 50 copies. This documentation not only preserves and showcases traditional craftsmanship but also supports the planning of future printing projects. Both the physical and digital catalogue are designed to serve as a valuable resource and source of inspiration for designers.

Reflecting the name Officina Helvetica, the website honors the iconic typeface by using the digital version of the original Neue Haas Grotesk.

The project was initiated by Thomas Hirter, Philippe Marmy, and Simon Moser, with a beautifully crafted website designed by mutoco.ch in Bern.

Photobook design for the artist Rudi Weissbeck, featuring a travel journal and a short story, the book questions the essence of a classic road movie, while also embracing it. It is inspired by a journey along the American West Coast in 2015.

This catalog for the graduates exhibition of the AdBK Nürnberg, an art academy in Nuremberg, Germany, is both a collection of individual booklets and a bag. The individual booklets with wire stitching contain works from the entire course of study of the students at the academy. The challenge was to have both individual booklets for the artists during their exhibition and to combine a conglomerate of these in a catalog. The idea for the bag arose from having a free hand for a drink and still being able to carry the catalogue. The design is a kind of file folder with metal stitching for the individual booklets. Punched holes are incorporated so that the whole can be used as a bag. The cover pocket is a chrome sulphate cardboard, the inner part is glossy picture print.

The catalog was made by Lucia Schmuck and Elisabeth Thoma, using Editorial Old and Hofmann, supported by Suisse Int’l Mono (not shown).

The catalog was designed by Anna Wank for the exhibitions Holy Place – No Kiss, No Touch and MANA at VerpackereiGö.

It consists of two books with open thread binding, encased in a hardcover jacket and secured with an elastic band. The reversible hardcover jacket features both titles in transparent relief varnish. While the books differ in layout and typeface, they are unified by their cover design.

The interplay between text and images has an important role in the design. In Holy Place, the continuous typography grid using Joly by Blaze Type is partially obscured by images.

In MANA, the focus is on the combination of Aktiv Grotesk by Dalton Maag and Wired Serif by Nadine Wetzel, seen as a link between the physical and digital exhibition spaces.

See also a previously published contribution about the Holy Place exhibition and website.

Visual identity and publication for Atlas, a Fortis residency in Rose Bay, Australia.

Emily Matthews, art director on the project, writes:

From the past to the future, travelling through time to enjoy each moment had or yet to be. Touches of history elegantly remembered into Rose Bay. Vintage sports car, a Paris sojourn, white boucle, and an oil painter’s palette. A drifting memory of a European holiday, driving the coast with the top down, walnut bookshelves and long coffee mornings.

The identity for Atlas combined free-flowing emotive typography with romantic images captured by the acclaimed photographer Saskia Wilson, resulting in a poetic expression of a grand life.

The logotype is set in Magalie (Mark van Leeuwen) and is paired with Untitled Serif (Klim Type Foundry).

From a Brand Identity article on designers Elizaveta Pogossov and Graziela Machado:

Taking inspiration from the space itself – the visual language presents an abstract interpretation of sun-soaked Mediterranean villas – the overall typographic direction is flowing and poetic. At the helm of the identity is a strong and refined logomark which is applied generously across the collateral. Opting for Magalie due to its refined and expressive character, Pogossov explains that the duo “wanted the brand to hark back to the vintage Atlas you grew up flicking through,” but with a contemporary twist. “Magalie did that perfectly,” she adds. “It takes inspiration from classic serifs and calligraphic forms and balances that with an unconventional, playful look.”

This expressive character is further reinforced with Klim Type Foundry’s Untitled Serif. Whilst pairing two serifs can risk clashing or competing, Pogossov explains the thinking behind their cohesive choice. “For Atlas, we chose a very exaggerated, characterful display font as the wordmark and balanced it with the most intentionally-neutral serif text font. As far as serifs go, the two couldn’t be more different (both in their look and purpose), allowing them to comfortably play together.” This clear distinction in their respective applications ensured that the partnership would work without compromising legibility.

Folder and specimen for the introduction of Wilke Antiqua for phototypesetting, published by Linotype around 1988. The brochure is set in the three weights of Wilke, in roman and italic styles, and also showing the originally available oldstyle numerals and small caps. Conceived by Martin Wilke, it contains various calligraphic works by the lettering artist and typeface designer who died in 1993. Typographical design, layout and production work by Ralf Rudorf of Sedley Place Design, Berlin branch, Germany.

Montai Therapeutics (previously Montai Health) is a biotech company—founded by Flagship Pioneering—with a mission to “Unlock the power of nature with digital technologies to treat and preempt chronic disease.”

Our dynamic, modular identity system borrows from the visual language of chemical bond diagrams, symbolizing the infinite chemical possibilities afforded by their platform. Maax Mono from 205TF forms the foundation of the brand’s typographic language. Graphik from Commercial Type is leveraged in situations when a monospace font is less suitable. Vintage cyanotype textures emphasize Montai’s exclusive use of safe, organic compounds.

Printed circuit boards manufactured by Sphere Corporation of Utah, circa 1975. The condensed sans is Alternate Gothic.

Sphere Corporation was a short-lived manufacturer of early microcomputers outside of Salt Lake City, Utah, operating from 1975 to 1977. Sphere computers were available in kit or assembled form, and were among the earliest all-in-one microcomputer systems, using an integral keyboard and screen. Sphere’s logo and wordmark consisted of the name “SPHERE” set in Tuxedo (a.k.a. Program) and “CORPORATION” in a close-tracked Microgramma.

This branding did not appear on the exterior of the computer itself, but could be seen etched in tiny form on some individual circuit boards (shown above). It was used in large format on documentation and in the company’s marketing.

Notably and curiously, Sphere's use of Tuxedo in their wordmark followed competitor MITS, which used Tuxedo prominently on their earlier Altair computers. This was probably a coincidence, but nevertheless appears as a strange homage to a key competitor in what was a very small industry at that time.

Binder of documentation for a Sphere computer (c. 1975)

Full-page advertisement in Byte magazine (January 1976). Other fonts used for the ad include Gill Kayo, Alternate Gothic, Times New Roman, Optima and Univers.

The logo in another full-page advert in Byte magazine (Nov. 1975), with the address in Optima

BC Falster Grotesk is the typeface used in Werklig’s identity for INARO:

INARO is an integrated architecture office creating comprehensive design by weaving together urban planning, building design and landscape architecture. They place special emphasis on the relationship between built form and its environment.