Network Sans is the official type family of the public transport system throughout the state of Victoria, Australia. It appears on signage, promotional and safety material throughout the state on metro and regional trains, trams, buses, ferries and more. This has meant it has been applied to a wide array of substrates and surfaces including enamel station and stop signage, various digital screens including Public Information Displays (PIDs) as well as billboards, printed posters and decals for walls and and floors to name a few.

Network Sans is also integrated into the Wayfound Victoria wayfinding programme which is available to any municipal body and provides a signage system for walking and general navigation. So far Wayfound has been adopted by Melbourne, Maribyrnong, Port Phillip, Stonnington and Yarra city councils with a view to streamlining way-finding throughout the state.

The goal was to unite a complex system of public-private providers, modes and routes under the one easily-identifiable system. When you see Network Sans you should be able to recognise where you are and where you are going. Alongside the typeface—which plays a pivotal role—there are also suites of colours, way-finding forms and products, textile patterns, print templates, on-screen and app-based templates and more.

The development of Network Sans has taken place in stages with extensions created as the need arose. Starting out as a multi-weight family of Sans and Sans Italics, it has grown to include Network Neo and Network Geo versions adapted for specific purposes such as on platform place-naming (often with rounder, more circular counter-spaces and wider forms). From this a series of Condensed versions were extrapolated and original letterforms adjusted and updated for enchanted clarity, especially on screen.

Development began in-house at Public Transport Victoria with many stakeholders from in and around the design team contributing to its evolution. This meant letterforms could be trialled within real world scenarios and in proposal work (the earliest version appearing on directional signage along the bridge at Footscray station). Design team staff even got their own desk name plates set in the new typeface.

Adoption has been wide-spread, particularly within wayfinding and navigation systems although private operators can still choose to employ different typefaces for their own promotional material based on their specific identity guidance. Network Sans is also playing a leading role within the promotion and rollout of the imminent Metro Tunnel project appearing on posters, hoardings and within social media campaigns where animated text is also a key tool in grabbing viewers attention.

TEC (Technical Education Copenhagen) launched a new visual identity that seeks not only to reframe the school’s identity, but also to shift the wider perception of vocational education in Denmark. Centered around a narrative of craft, pride and belonging, the identity celebrates the heritage of craft guilds while giving it a contemporary and inclusive expression. Rather than presenting TEC as a traditional educational institution, the visual language frames it as a shared professional community – almost like a club – for the next generation of skilled workers.

In 2024, the photobook FAGLÆRT was published. The publication puts the school’s students at the forefront, giving them a format to tell their own stories and share their experiences. The launch of the photobook was celebrated through a public exhibition that travelled around Denmark.

As part of the new visual identity, Playtype developed TEC Sans, a custom sans serif typeface based on Playtype’s Rialta.

Website

Website

Social media

FAGLÆRT photo book

FAGLÆRT exhibition

Graphic design and production of physical materials for the book Livio Vacchini. La construction paradoxale de la forme (“Livio Vacchini. The Paradoxical Construction of Form”), published by Caryatide and Mendrisio Academy Press.

As the interior layout had been finalised before I joined the project, I designed the cover using my interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), to complement the interior layout, which was set in Garamond Simoncini and Akzidenz-Grotesk.

Written by Josephine Berry, Art and (Bare) Life: A Biopolitical Inquiry explores the intersection of political philosophy with contemporary art theory, analysing the connections between current biopolitics and art’s drive to blur with life. The design of the publication makes subtle and oblique references to the contrasts and conflicts Berry explores within the text. Lining by A Practice for Everyday Life is used for titling on the cover and throughout.

Body text within the book is set in Spectral, which was designed as a screen-first font but is equally well suited to long-form reading.

Art and (Bare) Life: A Biopolitical Inquiry was first published in 2018 by Sternberg Press.

Zeche is a sans serif that reinterprets old German industrial typography for a contemporary context. Its origin is personal: conceived around the Zeche Zollverein colliery in the Ruhr my move from North Rhine-Westphalia to Berlin, it carries the weight and geometry of Germany’s industrial lettering into a clean modern sans. The face is now used by the traditional Schützenverein (“shooting club”) Halbvoll – leaving a piece of the designer’s origin at work in his home region.

Glyph set

Members of the Schützenverein

Piloti, by A Practice for Everyday Life, was originally designed for the identity of the London-based architecture practice Feilden Fowles. Piloti is a light sans-serif typeface, its high x-height and curved forms offer a sense of softness and warmth, reflecting the practice’s ethos of fostering learning and collaboration. Tapered stems that flare at their ends add character to the diagonal strokes. This detailing is inspired by stone-carved letterforms and by Feilden Fowles’ focus on craft.

The Feilden Fowles logo celebrates the typeface and is available in a range of lock-ups, including a bespoke FF ligature reminiscent of a sash window or a maker’s mark. The identity includes a comprehensive set of digital and print templates, and a visual refresh of the Feilden Fowles website to apply the new identity in this context.

A Practice for Everyday Life also designed an accompanying publication for The Weston, a gallery and visitor centre for Yorkshire Sculpture Park, which opened to the public in spring 2019. Built on a the site of a former quarry within the Yorkshire Sculpture Park’s 18th-century Bretton Estate, the building has been designed to sit sensitively within this historic landscape.

Clément Le Tulle-Neyret designed the book Magdalena Abakanowicz. La Trame de l'existence / The Fabric of Existence for the eponymous exhibition that was presented at musée Bourdelle in Paris from 20th November 2025 to 12th April 2026.

He used his own interpretation of Akzidenz-Grotesk, CLTN Grotesk (working title), for the main text, in order to add warmth to block text without loosing the spirit of Akzidenz-Grotesk – rough, industrial, and, paradoxically, organic. Akzidenz-Grotesk from Berthold is used for italics.

He paired his typeface with Dutch 801 to embody texts by Magdalena Abakanowicz, and with EB Hymne for the titles, all typeset in full capitals.

The French-language publication has 168 pages with 84 colour and 15 black-and-white images and measures 210×280 mm. It was sewn-bound and printed in 3,000 copies.

Montaigne en mouvement (“Montaigne on the move”) is an annual festival organized by the association of the same name, which aims to promote the cultural and literary heritage of the French philosopher Michel de Montaigne.

For the second year, the event is focusing on philosophy in the garden, which inspired the theme of the illustration.

See also the design for the festival’s first edition.

La Part terrestre discusses how the crossing of planetary boundaries is destabilizing the conditions for life on Earth and forcing cities and urban spaces to confront profound ecological challenges. While urbanization has contributed to these crises, the author explores emerging ecological approaches to urban planning that seek new ways of imagining and shaping living environments. Avoiding both alarmism and excessive optimism, the book examines how ecological and political questions challenge traditional ideas of habitability, justice, and urban development. By treating the “terrestrial” as a working hypothesis rather than a fixed concept, the author invites readers to rethink the scales, balances, and practices of urban production through a slower, more reflective perspective rooted in the humanities and ecological responsibility.

Headings, the table of contents, and footnotes are set in Muoto Normal and Ultra Condensed, designed by Matthieu Cortat. The body text is set in Alcalá Xtra, designed by Damien Gautier. These two typefaces are distributed by 205TF.

Culottes (“Panties”) is a self-initiated publication by Anouk Bornand. It traces the history of this type of underwear through different textual and visual materials and questions its symbolism in an artistic context and explores women’s relationship to this everyday item. Culottes comes with iconic images from advertisements and goodies. This edition was created for ABRACADABRABOOKS, an independent book fair organized by ENSBA Lyon students.

Anouk created her own script typeface for this project. It’s called Subliga and is not released yet. She also used Sagace by Alexandre Créquer. The book was offset printed at ENSBA Lyon.

Posters for the exhibition of final year projects by students of Design & Art School Kortrijk (DAS), Belgium, using RM Neue.

The ceramic artwork in the first series is by final year student Nina Dendoncker.

The letter X in the second series uses Connect, a self-made typeface that’s still work in progress.

Le fiabe sono vere… Storia popolare italiana / Fairy Tales are true... Italian Folk History reimagines the Museo delle Civiltà’s folk art collection, making it more physically, intellectually, and culturally accessible.

The exhibition transforms the showcase from a protective device into an open, flexible archive. Objects are presented not as autonomous artworks but as carriers of collective memory. Drawers, sliding surfaces, and layered narratives invite direct engagement and multiple readings.

The printed catalogue, designed by Omnigroup and edited by publisher Treccani Arte, translates the exhibition’s structure into twelve standalone chapters, encouraging a non-linear reading within a unified narrative. Each booklet offers an in-depth analysis of the topics presented in the corresponding section of the exhibition, exploring Italy’s ethnographic heritage through cultural spaces such as the forest, the sea, the countryside and the village. Colour serves as a means of identification within the catalogue, echoing the thematic sequence used in the exhibition to guide the visitor’s experience avoiding hierarchical order.

In response to the metaphor used in the title, the fairy-tale narrative unfolds through a stream of object portraits, identified from among the more than 500 items on display, and weaves through the arc of Italian history in the 19th and 20st centuries under the lens of millennial traditions that can serve as a potential archaeology of the present.

The typographic identity of the catalogue is tuned around the unreleased serif typeface OT Kairo, used in a single weight and in a few text settings, in order to provide solid yet discreet support for the content, already populated by countless individual stories with the aim of providing a stable backdrop against which to articulate plurality.

There are two language editions, Italian and English, the latter of which is shown here.

Go Computer Now! How Sphere Corporation Invented the Modern Microcomputer—Then Disappeared is a reported nonfiction book about one of the first manufacturers of integrated desktop personal computers. Sphere operated outside of Salt Lake City, Utah, from 1975 to 1977.

The book was written by Ben Zotto (me) and published in 2026. The design (interior and cover) is by Sophie Wietlisbach, who brings a refinement and clarity to Sphere’s rough-around-the-edges technology and marketing.

Wietlisbach uses Optimo’s Media77 (the digital revival of Media) for the text, an effective nod to the mid-late-1970s era covered by the narrative. Captions are set in Media77 Condensed (as are the notes and index of the book, for higher information density).

My own Signetics CRT is deployed for the page numbers and dust jacket cover. This font was created for the book by starting with the bitmap letterforms produced by the Signetics 2513 character generator chip, then extruding the horizontal “pixels” to reflect the way that cathode ray tube video output appears on the screen of Sphere computers.

The cover text and the foil stamp on front board use a variable version of the Signetics font that subtly “jitters” the horizontal strips in the same way an imperfectly calibrated video circuit did in the 1970s, giving that text a less “perfect” and slightly more organic feel.

More information about the book can be found on gocomputernow.com. For more information about Sphere computers, see sphere.computer. The typography of Sphere’s corporate branding is covered in a previous post on Fonts In Use.

Finemateria is a Milan-based design studio founded in 2020 by Gianluca Sigismondi and Stefano Bassan.

The Finemateria logotype features a custom version of Superness Modulo, a design that comes from a group of well known Milanese graphic designers. Modulo is a digital version of Nebiolo’s unreleased attempt to create a radical modular design based on mathematical ratio. It features almost no contrast overall and has a solid appearance that create a sense of established firm, static, neutral and solid.

Modulo is the core typefamily. All weights are used if needed, but the bold cut is the default voice of the identity. Overall the spacing is crafted to giving extra space between each glyphs and enhancing a unique – both strong yet relaxed – flavor.

The identity application is plain and self-aware, conceived as a flexible framework capable of show carefully crafted and well-defined projects, each distinct in character. The visual approach is paired with dusty, low-saturation tones, allowing the materic quality of the printed matter to emerge, so as to highlight the attention that Finemateria dedicates to materials, enhanced through a precise and thoughtful photographic perspective.

We used Gutach (dito-typo) together with ABC Prophet (Dinamo) for the exhibition poster to Compartment. From Carolina Maddè’s text for G10 Projektraum:

With Compartment, G10 brings together three artistic positions that deal in very different ways with contemporary visual habits as well as the composition of space and time. All three artists – Jan van Hal, Ludwig Kuffer and Tobias Becker – deal with an intensive formal analysis in which material and perspective are treated not only as creative tools, but as independent dimensions.

G10 project space; exhibition view

FAT International returned to endurance racing in 2024, revived by Ferdi Porsche celebrating the 30th anniversary of its 1994 Le Mans victory. In partnership with Proton Competition, the team campaigned the Porsche 963 in an all-white livery with neon green accents referencing 962 prototypes and FATurbo Express liveries.

For the 2025 season, the FAT International identity was updated with a redesigned logo featuring FAT Camera–a modified version of ABC Camera Plain–alongside a custom bitmap version of FAT Gravity Express used for the FATurbo Express wordmark. NM Beyond appeared across livery details and the team's capsule collection, with custom numerals for the car’s race number 99.

Images taken across the FIA World Endurance Championship 2025 in Imola, Le Mans, and at Fuji Speedway, photographed by Lukas Gansterer.

Every year, the canton of Geneva in Switzerland organises a public event called La semaine de la démocratie to celebrate, promote and explain the democratic process. To promote this event, they select an agency to work on the branding of the year event with a theme that is chosen by the organisers, the Chancellery of Geneva.

In 2024, Parson Research was selected as the agency with the theme of ‘cultivating democracy’. The selected design therefore aims to reflect this theme by seeking inspiration in a blend between the Art Nouveau style and a modernist angle. I chose the Huggy typeface as the headline font to reflect a soft and welcoming tone. With it heavy form and curved stroked, it lent itself well to the effects and deformations that the titles required. As a secondary, complimentary typeface, I decided to use Matryo that offered a better legibility for continuous reading and setting out the smaller texts, especially for the event programs. With its wide weight range and narrow proportions, it suited the tight confines that the layout imposed.

A Festive Tale is a short film created by François Larpin for &Daughter, the British womenswear brand. Written and directed by Larpin and starring Elfie Reigate, the film was produced by Voodoo Pictures.

The chapter title cards punctuating the film were designed by Alan Madić, set in an early version of Initiale Display. The small body text is set in Alte Haas Grotesk Bold, in all capitals.

Opening credits

From Wikipedia:

Aaahh!!! Real Monsters is an American animated television series developed by Klasky Csupo for Nickelodeon. [...] The show focuses on three young monsters—Oblina, Ickis, and Krumm—who attend a school for monsters under a city dump and learn how to frighten humans. Many of the episodes revolve around their zany hijinks after making it to the surface in order to perform "scares" as class assignments. The series premiered on October 29, 1994, and aired until November 16, 1997.

The titles and credits use Snort, a custom font designed for the show by László Nosek. Snort was also used on merchandise, and was made available to the public in 1999 as part of the Nick-O-Matic Design Factory art software.

Episode title card

End credits

Toys with packaging featuring text in Snort

Back, showing text in Mister Frisky and Uncle Stinky (now known as Professor Minty) as well as Helvetica Condensed

Cover of the book Stage Fright! (Simon & Schuster, 1997), using Snort for the title; other text is in Woody Normal and Avenir Black.

Temporary tattoos included with Stage Fright!, some of which also use Snort.

Issue 7 of the GRAM book series published by Editions QNDMC is a monograph that dives into the philosophy of Nicolas Dorval-Bory Architectes, featuring a selection of both built and unbuilt projects. Started in 2018, the GRAM series explores emerging architectural practices through conversations and interviews with the editorial committee and various practices.

This new opus also marks the arrival of Studio Hugo Blanzat in shaping the graphic direction of the series. On a scale from 1 to 10, how would you rate your architectural emergence? This idea—evaluating emergence through analog scales—informs the design principle. In medicine, pain is measured via visual analog or numeric scales, which, despite technological evolution, remain the primary method of assessment.

Conceived as a system of graphic variants and invariants, the collection establishes a shared framework where each book belongs to the same family while adapting to distinct practices and contents. Covers oscillate between contrast and near tone-on-tone, using colour as both a narrative and conceptual tool, echoing scales of emergence and reaffirming colour’s role in architectural communication.

In the colophon, AV Synteca Sans is listed under its working title, AV Antiverse Untitled.