Zentron was created to challenge the visual conventions of pharmaceutical packaging, offering a bold, minimalist identity that enhances clarity and engagement.

MèDISIN’s product range —including sachets, vials, and sprays—is designed for self-medication and healthcare, requiring immediate recognition and ease of use. A vibrant cyan background, covering an average of 95% of the surface, ensures instant impact, while the bold, sans-serif logo in deep navy blue strengthens brand recognition through high contrast and strategic placement. Stylized illustrations subtly blend into the background while remaining visible enough to indicate the product’s therapeutic area, improving accessibility and guiding consumers effortlessly. The final design was achieved through a balance between aesthetics, functionality, and strict pharmaceutical regulations. Constraints such as mandatory positioning, sizing, spacing, and legal elements were carefully integrated without compromising visual appeal.

Predictive neuromarketing analysis was used to optimize visual impact and engagement, ensuring an intuitive connection with the target audience. Zentron’s universal language transcends cultural and market boundaries, making it instantly recognizable and emotionally engaging. Its clean, structured, and efficient design reflects the growing demand for transparency and simplicity in healthcare, delivering an impactful and effective visual experience.

Commander’s Palace is a renowed Creole restaurant in New Orleans, Louisiana. The place and its café, Le Petit Bleu, are using Selva Script alongside Gimlet Founders Grotesk and Self Modern on some of their products. The seriffed caps for the Commander’s Palace wordmark are from Fragment Serif.

Gaya and Anthony are the typefaces used for the website of Anthropos Ex:

Anthropos Ex is a theatre-based collective of artists. We develop tools for transdiciplinary storytelling which speak of the entanglement of human and non-human agency. These manifest in many different projects and formats such as performances, workshops and exhibitions.

Christopher Anderson (b. 1970) is an American photographer and member of Magnum Photos. Two-time winner of the World Press Photo award, he first got known for his pictures from zones of armed conflict like Afghanistan and Iraq. The project shown here, however, stems from a different, artistic vein of the author. The series Odyssey takes us on a poetic ride through black-and-white images on the threshold between the real and the imaginary. While depicting human figures and landscapes, they take a step into graphic abstraction.

On the occasion of their exhibition, Stanley/Barker, a London-based publisher specializing in photo books, issued the pictures in a limited edition of 750 hand numbered copies. It is luxurious in its format, the printing quality, the paper and the layout: each spread is only used on one side. This way each photograph gets its own, ample space.

The whole book only contains few words and thus little typography. But the choice is remarkable. The typeface used is Kessler, designed by Alaric Garnier and published by Production Type. Its name refers to Harry Count Kessler, a pivotal figure around 1900 who linked the British Arts and Crafts Movement to the part of the German scene that strived for artistic renewal. It was Kessler who gave the 23-year-old Eric Gill* one of his first commissions, the calligraphic design of titles for his Großherzog Wilhelm Ernst Ausgabe of German classics.

Alaric Garnier stumbled upon Gill’s first sketches for this alphabet in a 1958 issue of the Monotype Recorder (pdf) and picked up on it in 2013. Over the course of four years, he amended the Kessler typeface with lowercase letters, extended it into different size-specific cuts, and added italics. Today, Kessler is a comprehensive serif family with sixteen styles for applications ranging from Text to Super Display.

*) Production Type is conscious of the contentious aspect of publishing a work that is in some way connected to child rapist Eric Gill. While we believe Production Type addresses design needs for discerning users, we also want to be held accountable for our choices. For this reason, proceeds of Kessler’s licensing are transferred to L’Enfant Bleu, an association providing protection, care, and information to children victims of ill-treatment. Creating a virtuous cycle, both chronologically and economically, is what we aspire in making Kessler available for licensing.

TT Travels Next and TT Hoves are part of Oasis at Grace Bay’s website.

Oasis at Grace Bay is a small chic villa resort that’s within walking distance of the famous Grace Bay Beach of the Turks and Caicos Islands, the perfect place to stay on your sunshine getaway.

The logo is based on Futura.

A guide to the life, times, and work of William Butler Yeats, Ireland’s national poet, published on the centenary of his Nobel Prize. and the changing Ireland he lived through. Designed for New Island Books by Jack Smyth using Mortise Medium and Bold.

Brand identity for a Engine Capital – a company from Sydney, Australia, that provides mortgage-backed commercial loans to SMEs & developers.

The main challenge was to have a strong representation among the competitors that could instantly draw attention to the dynamic of the business to the multiple possibilities to get the mortgages. The concept highlights the key advantages of the company: focusing on a fresh perspective in the field, where things are dynamic and swift and have fast approvals instantly. The symbol is clean, simple, and multidimensional and it highlights the main mission of “powered finance” and “accelerated lending”.

Niveau Grotesk is used for the all-lowercase wordmark, accopanying the custom E glyph. For all communication, IBM Plex Sans is the main typeface, used in various weights. On the website, selected headlines use IBM Plex Serif.

Innate offers ketamine therapy to treat adults and teens suffering from a variety of health conditions. Their identity (designer unknown) pairs two subfamilies of Kontour’s Utile collection.

Utile is an elegant and subtly flared sans serif, suited for continuous smaller sized text typography with superb legibility and optical balance in print and screen. Utile Display, the contrasted sans companion, promotes a timeless elegance and lively aesthetic that comes especially to light in larger sizes.

This is the brand identity for a safety campaign, working to keep you SUP safe at all times.

In the UK, a number of safety concerns have arisen in recent years due to the immense popularity of stand up paddle boarding. In a bid to set the standard for SUP worldwide, the Academy of Surf Instructors of South West Cornwall used their decades of experience in the surfing world and world class knowledge of the sport and surrounding safety parameters to lead this new conversation.

The design identity needed to be universal, professional and champion the sport in a way never done before. Reviving values which were lost in the previous identity, a strategy was devised to produce engaging and informative content in the following years.

Balto Bold was a perfect type choice as it speaks to the humanity of the issues in the industry, whilst representing a positive strive for change. The space given to the headlines to speak for themselves allows the web users and the social media audience to read about the safety measures and make their own judgements based on their ability and environment.

Bespoke Serif is a brilliantly readable and subtle pairing for body copy. Copious amounts of detail needed to be digestable to a large audience, spanning continents (including translations by Google). Whether in paragraphs or captions, Bespoke did a wonderful job at communicating the technical and inviting the audience in closer.

SUP Standards now has a brand it can be proud of, keeping a generation of paddle boarders safer.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Psychomania is a British zombie biker horror film from 1973, directed by Don Sharp and starring Nicky Henson, Beryl Reid, George Sanders and Robert Hardy. In the United States, it was originally released as The Death Wheelers. From IMDb:

An amiable, psychopathic leader of a violent teen motorbike gang is spurred by his mother, a Satan-worshiping spiritual medium, into committing suicide and returning to life as an “undead”.

In a 2016 article for Film Inquiry, Cai Ross wondered if it’s “the greatest terrible movie ever made”.

Both the opening titles and the end crawl are exclusively set in Charleston. This reworking of the bold weight of Radium (Ludwig & Mayer, 1904) was conceived by Hace Frey and first cast by Ludwig & Mayer as Charleston in 1967. In or before 1971, Letraset competitor Mecanorma adopted the design for dry transfer lettering, which spurred its international dissemination. Charleston also was adopted for phototype, by Berthold and, relevant for this application, by Photoscript in London. For some reason (is it the bone-like strokes?), the Jugendstil revival developed into a popular choice for eerie topics, see e.g. Der Frauenhexer (1974) or Dario Argento’s Inferno (1980).

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Source: archive.org License: All Rights Reserved.

Sevita Health, based in Boston, is a national provider of home- and community-based health and human services to must-serve individuals with intellectual, developmental, physical, or behavioral disabilities and other special needs.

Utile Display (Kontour) is a modulated sans that pays tribute to the contrast of thick and thin, feeling right at home in title compositions with tighter letter spacing and re-proportioned designs. The contrasted sans promotes a timeless elegance and lively aesthetic that comes especially to light in larger sizes. As part of a branding by Jackrabbit, Jason Larose designed the new visual identity and website. Utile Display is used for logo, tagline and headlines; body copy on the website is set in Poppins (Indian Type Foundry).

Moore College of Art & Design was founded in 1848 as the first and only all-women’s art and design school in the United States. Moore, located in Philadelphia, offers undergraduate creative degrees for women (and in their graduate programs, men too) who strive to professionalize their artistry.

Creative agency CCA, under directon of David A. Moore, chose Utile and Playfair Display as part of the new branding system – consisting of a new wordmark and updated color palette, among other features.

Utile is an elegant and subtly flared sans serif, suited for continuous smaller sized text and impactful display typography with superb legibility and optical balance in print and screen. With the rebranding efforts, it contributes beautifully and dynamically to the Moore College of Art & Design’s new and contemporary branding.

Source: www.jimstoddart.co.uk Jim Stoddart. License: All Rights Reserved.

Launched on February 22, 2018, Penguin Modern is series of low-priced paperback editions of modern literature by Penguin Books.

Each little book in the Penguin Modern series offers a concentrated hit of its author’s work. From complete stories to essays and speeches to poems, these books celebrate the groundbreaking writers who today define the radical spirit of Penguin Modern Classics.

Initially spanning fifty titles, each book from the series costs £1. The full collection is also available as a box set.

For this series, Penguin’s Art Director Jim Stoddart specified ITC Avant Garde Gothic, in tightly spaced caps, and with its iconic alternates and ligatures, like the one for TH, or the nested double L. The color used for all books is referred to as “eau-de-nil”, i.e. a pale turquoise.

Source: www.amazon.fr License: All Rights Reserved.

From Mark Sinclair’s article for Creative Review:

The cover designs for the new series are “all about the titling typography”, says Art Director Jim Stoddart, who explains that favouring type instead of imagery over the 50 books enabled Penguin to keep the price for the series low.

“A fundamental ingredient for these new covers is Herb Lubalin’s Avant Garde typeface which is already thoroughly in use as ‘brand font’ on all Penguin Modern Classics and originally selected for the job as a symbol of modernistic progression,” says Stoddart.

“For the pictureless Penguin Modern covers, rather than use the familiar upper- and lower-case setting, we’ve switched to all-caps – where Avant Garde has its own amazing and extensive ligatures – creating an even more potent cover appearance. This way these little covers fearlessly compliment the progressive, creative, often powerful writing within the books.”

The dedicated website has a complete list of all titles, with a short summary for each of them, and an animated version of the cover designs.

Source: www.amazon.de License: All Rights Reserved.

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Source: www.amazon.com License: All Rights Reserved.

Source: www.creativereview.co.uk License: All Rights Reserved.

Source: www.amazon.fr License: All Rights Reserved.

From vigia.tech (translated from the German):

Virtual Realities: From the home office to the virtual office and with glasses to digital entertainment. A number of leading companies announced the manufacture of new VR worlds and products in the last year. But VR is also finding new areas of application apart from such commercial visions, for example as a collective design space, a stage for exchange and activism or in behavioral biology. All of this reveals both the potential and the danger of a technology that promises empathy and communication but all too often leaves isolated users behind. This issue takes a look at VR, its history, its potential and its dangers in the quest for a good life.

Vigia is a biannual print magazine devoted to technology issues related to their societal and political importance. The editorial team wants to open a space for political and scientific discussions and visions about how technology shapes our lives, who it serves, who it enriches or who is enriched by it, who has access, who is excluded and why this is so, which narratives it follows and which discourses arise from this, which affirmative or resistant practices result within and outside of certain applications and which emancipatory future designs are possible. They do not work for profit and try to finance themseves in the long term through subscriptions and magazine sales.

The visual identity of the magazine is built around the very sharp serif Armag (Blaze Type) and the neutrality of Suisse Int’l (Swiss Typefaces).

“BTBT” cover

“BTBT” is a single from B.I and Soulja Boy featuring DeVita. The single and music video have been announced and teased.

By combining a K-pop artist and a rapper from two different countries the project is full of scope linking several communities. Added to this is the presence of R&B artist DeVita.

For the title, the chosen typeface is Engin. It’s a futuristic design with rigid structures. The creator of this typeface, Viktor Pesotsky, says that this typeface could be used in 2132.

All other text is set in various weights of Eurostile.

Korean artists often use futuristic typefaces carrying novelty. This is consistent with their artistic philosophy proposing music in connection with the contemporary era. Just like Soulja Boy who many qualify as visionary. The clip likewise is in a futuristic atmosphere. K-Pop is a style of music turned towards the future which tries to reinvent the music and its aesthetic with emphasis put on the communication (clip / cover).

The title “BTBT” comes from the Korean word Biteulbiteul which means to stagger in its steps, to lose the balance. In this piece, B.I's new love is enough for him to give up all control.

“BTBT” poster

“BTBT” poster teaser

“BTBT” poster

Clip teaser

Patricia Wants to Cuddle is a new book by author Samantha Allen and published in 2022 by Zando. The cover prominently features Roslindale Narrow Ultra. This is part of the later set of weights that I first issued in September 2020, which has been used less often than the original Display Condensed. It’s cool to see it in action!

According to Bookshop.org, the book is “a whirlwind romp careening toward a last-girl-standing conclusion, and a scathing indictment of contemporary American media culture, Patricia Wants to Cuddle is also a love story: between star-crossed lesbians who rise above their intolerant town, a deeply ambivalent woman and her budding self-actualization, and a group of misfit islanders forging community against all odds.”

Poster designed by Ishaq Fahim to promote a Spoon concert at The Fillmore in San Francisco.

The two band names, Spoon and Geese, are both set in Phaser Thin. The secondary type at the bottom is set in Gotham.

Henderson Sans lends a classic note to the packaging for the handcrafted artisanal caramel by Laura Raes.

The Centre d’Esclerosi Mútiple de Catalunya (Cemcat) is a specialized hospital in Barcelona. The Cemcat app facilitates the management and communication of the patient with the center. A very important factor is that the user is a patient with multiple sclerosis. The project was carried out in cooperation with the programmers of the center. Roboto is used throughout.

Sa’ada is a new water front real estate development in Bahrain. The visual identity and brand design was created at Unisono, using Larken and FS Siena. From the case study:

For the type palette, we are using Ellen Luff’s Larken in headline sizes for its sheer presence. A bold and confident serif typeface design, Larken sails between the rocks of the contemporary and breezy classic worlds with ease. As Ellen would say, Larken is “Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator”. Nicely said. Suited to display sizes, the type design is coupled with Fontsmith’s Siena for smaller sizes. Both type families have a classical DNA thanks to the contrasting strokes in their designs.

As of 2022, the rebrand is in the process of being rolled out.