Ataro.ge is a iOS app for expat car owners in Georgia where they can check and pay their fines, purchase an insurance policy, or even arrange for a sober driver. Loos by CSTM Fonts is in charge of the app’s typography. The project was designed by Together with You studio, Ivan Korkovidov, and Margarita Petukhova.

Payless is a service that automatically adjusts users’ basic insurance based on their preferences. According to Payless, clients no longer need to spend time comparing different insurance offers, and can save money by being automatically switched to the best available option.

NN Pivot Grotesk is the primary typeface used across all branding materials.

Kenshō Agency has redesigned the identity of Masbro, a trusted insurance provider in Gibraltar since 1985. The new brand direction moves away from conventional insurance aesthetics, favouring a playful and imaginative visual language that sets Masbro apart in a traditionally reserved industry while preserving its deep roots in the local community.

Drawing inspiration from Gibraltarian culture, the refreshed identity captures the vibrant spirit of the community and the unique character of the place Masbro calls home. A lively colour palette, echoing Gibraltar’s distinctive architecture, and illustrations of everyday moments ensure every brand touchpoint feels welcoming, relatable, and unmistakably local.

Typography plays a key role in this transformation. The combination of Store Norske Leif from Skriftkompani and Fixel from AlfaBravo strikes a balance between contemporary clarity, warmth and personality. Leif adds a friendly, distinctive touch, together expressing Masbro’s commitment to both trustworthiness and creative engagement with its community.

Wisconsin-based insurance company Dairyland uses Geogrotesque for its corporate website:

We’ve been providing quality insurance coverage at competitive rates for more than 70 years. We know how important it is to offer support when you need it most, which is why our team is available 24/7 to help you. Dairyland is committed to treating people with respect, honesty, and integrity. Our goal is to make sure every customer feels confident and protected on the road.

A consulting company for private health insurance has to convince with a trustworthy web design.

safe:on is an independent insurance broker that specializes in advising civil servants, teachers, and students. They offer advice on private health insurance, disability insurance and pension plans. In partnership with Planted, they are committed to sustainability and planting a tree for every new policy taken out.

Their fresh graphic design is supported by the friendly and optimistic Easy Grotesk for the logo and headlines, as well as Inter for body text.

Anadolu Hayat Emeklilik is a Turkish individual retirement and life insurance company owned by İş Bankası. The logo resembles a sliced rhombus, similar to the logo of Chinese company Juejin, but instead has four segments, with the top segment being green instead of blue.

The logo typeface is Edwin W. Shaar’s Futura Extra Bold. The company has recently started a social responsibility project named “Tohum Biriktir Geleceği Değiştir” (“Collect Seeds, Change the Future”) for engaging kids and to help them improve the nature.

This LinkedIn post for Döhle Assekuranzkontor announces its participation at the Monaco Yacht Show. The design combines the event’s signature blue hue with red rhombuses from Monaco’s coat of arms, reflecting its flag’s colors and creating a regal, distinguished look. The prominent title “Monaco” is set in Fujiwara from W Type Foundry, while the subtitle “Yacht Show” uses Friends. The supporting text is in Karlsbader Grotesk.

Cover for a book produced by FEMSAM, a Quebec City collective advocating for healthcare support for pregnant immigrant women who do not yet have coverage under the RAMQ (Régime d’assurance maladie du Québec), Quebec's health insurance program.

Book published by ESBC, Éditions science et bien commun.

Casava is a new insurance company that’s attempting to change the experience of insurance in Nigeria. The brand identity for Casava builds on the concept of enjoyable insurance.

Leveraging an underexplored approach to brand identity design that de-prioritises illustrations and doubles down on owning and communicating effectively with simple elements like characterful typography, vibrant colours and a relatable photography style.

Casava’s evolution started with the wordmark. Drawing inspiration from the typography of lifestyle brands, it is drawn to be as smooth as a gentle wave with ease in mind. The wordmark reflects the enjoyable feeling that comes with being insured by Casava. The animation sets the tone for what the entire Casava experience for a user should be, easy, calm and enjoyable.

The chosen typeface, Gooper, with its swashy, tight, and touching old-style serifs, harkens back to the phototypesetting era of the 1960s and 70s. Used in Semi Condensed styles, Gooper is supported by Fellix.

Taking an editorial approach in key communication moments, the new identity puts customers front and centre with a fresh library of brand photography that illuminates the people at the heart of the platform.

Diot-Siaci is a new brand resulting of the fusion between Diot and Siaci Saint Honoré, international leaders in insurance brokerage and risk management consultancy.

The symbol embodies the fresh impetus of the company. The inflated sail represents the protection and leads the brand forward, while the solar gradient keeps a bit of the former identities.

The visual territory takes shapes from the logotype for playful and living compositions. This new brand identity carries the Diot-Siaci aim: Protecting the progress for a sustainable and serene future.

The General Automobile Insurance Services, Inc., or simply The General, is an insurance agency focusing on auto insurance, with headquarters in Nashville, Tennessee. From 1993 to 2000, the logo combines several styles from ITC Stone Informal – Bold for “General” (with faux small caps), Semi Bold Italic for “The” and Medium for “Credit General Insurance Company” – with stretched Industria for the phone number.

Société Wemind is a French insurance company. Their website wemind.io uses Merriweather for headlines and Open Sans for body copy. In further roles: Montserrat and Caveat.

Figo offers premium pet insurance plans for dogs and cats. Their new and compelling brand identity was designed by Imagehaus who built the typography with IvyPresto for headlines and IvyEpic for smaller text.

Berlin-based German Insurance Association (GDV) is the federation of private insurers in Germany. Hamburg’s twotype chose Comspot to redesign the association’s visual identity and unify a wide-range of editorial and stationary media. As of issue 2/2018 the Comspot is applied in all media: used for styling complete website, advising brochures, fresh infographics and quarterly Positionen magazine.

Serif Elena completes for text, to add some smoothness to the technical flavoured Comspot, even though Comspots rounded corners plus humanistic basic structure already add something soft to visual image. By using the light styles the typography of the rebranding is focusing on rather bright than massive.

To facilitate the daily workflow with the new corporate typeface some small but efficient modifications went into action: The complete family was renamed to an identity–supporting GDVtype. Furthermore, a variant named GDVtype Office with tabular figures as default was made available, so OpenType support is not required to access variants of figures – a crucial aspect for applications like MS PowerPoint. Last but not least, the technical possibility for embedding in Office applications is implemented, to keep the brand consistent across all templates, even when some users do not have the right typefaces installed.

The Halyard Text typeface family forms the backbone of Spot’s visual identity.

Life By Spot is a startup focused on offering accident and injury insurance policies. Their website makes exclusive use of Halyard Text. The grotesque sans by Darden Studio serves in five of its eight weights, for everything from headlines down to body copy. It also appears in forms and other user interface elements, both on the customer acquisition and support website and in the web app for insurance holders.

Halyard was conceived in three subfamilies, each of them optimized for a specific optical size range. As the name implies, Halyard Text is at home in text sizes. Spot’s use demonstrates that, when in the right hands, it can sing in display settings, too. Here, its more open shapes (compared to Halyard Display) yield a breezy, dynamic look. The notches where diagonals meet transcend their original purpose of keeping joins clear. In the bold headings, they become an eye-catching device that is a great visual match for the casual copywriting.

Getting the weight right: This detail from the homepage features Halyard Text Black (headline), Regular (intro text), Semibold (selling points and button text), and Medium (navigation).

From design studio Ragged Edge:

Insurance is often synonymous with misfortune and mistrust. Laka needed a brand to challenge those preconceptions, establish a positive, community-based model, and turn the industry on its head.

We partnered on brand strategy, visual and verbal identity, art direction, website design and writing.

Laka are currently focused on cycling insurance. But this brand had to be bigger than insurance policies for bikes. It had to tackle the traditional insurance model while establishing a collective of cyclists that would look out for each other. Where members would pay their share for claims that actually happen rather than ones that might. This brand needed to demonstrate the value of clubbing together.

Following the strategy and identity work, we moved on to helping Laka write and design their new website. And to capture the Laka members in our unique photography style, we held a socially distant photoshoot with Jason Bailey. This identity has been a collaborative effort made all the better for such daring and decisive clients. Long may the ride continue.

The typography combines Ambit (CoType) with Simula from Sharp Type.

“Holidays” (No. 329) ft. Aesthetic. Having been issued by the Dickinson Type Foundery in 1882, the Victorian face with the ornate caps is the oldest one in the mix. In 1980, it was available from Photo-Lettering, Facsimile Fonts, VGC, and others.

Covers for various clip books of line art issued in 1980 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey.

The booklets from this volume exemplify the dominance of ITC for display typography in the United States in this period. There are nine different typefaces from the library of the International Typeface Corporation, including less common ones such as ITC Uptight Neon (1970) and ITC Quorum (1977).

Letraset (the company that would acquire ITC in 1986) was also influential: There are two originals by the British manufacturer of dry transfer lettering sheets, Compacta (1963) and Cathedral (1978). Many other faces were available from Letraset (as well as from various phototype providers), too, among them revivals like Harrington, Tintoretto, Dynamo, and Peignot, or adaptations of designs that originated in phototype like Tonight, Yagi Double, Checkmate.

Exclusive designs by Photo-Lettering are less frequent than in the late 1960s and 1970s. They are still represented by Benguiat Caslon and Hasler Circus. Filmotype faces – which used to be omnipresent on Volk booklets in the 1950s and 1960s – have largely disappeared, with the exception of Filmotype Quiet (1954), a stencil design that by 1980 had been copied by PLINC, VGC, and others.

All covers feature the logo designed by Herb Lubalin and introduced in 1976, here with the subline in caps from Kabel Black.

See the previous post about the clip books issued in 1955 for more information on Harry Volk Jr. Art Studio.

“Wedding” (No. 328) ft. partly overlapping caps from Harrington. The typeface was first issued by John Haddon & Co. in 1899.

“Graphic Arts” (No. 331) ft. Benguiat Caslon. Because nothing says Graphic Arts like overlapping swash caps.

“Birthday” (No. 332) ft. skewed caps (a contra-rotalic?) from Compacta on candles. Illustration by Tom Sawyer.

“Religion” (No. 334) ft. Cathedral for a cover on a cover.

“Winter” (No. 335) ft. the snow-capped letters of Igloo.

“Show Biz” (No. 336) ft. stacked glyphs from Tonight.

“Occupations” (No. 338) ft. Yagi Double.

“Communications” (No. 340) ft. ITC Benguiat Bold Condensed Italic (1979) and the comeback of the landscape format which would become the standard in subsequent years. The Volk logo is now shown in reverse on a black triangle. “Clip Book of Line Art” is set in ITC Avant Garde Gothic.

“Fitness” (No. 748) with caps from ITC Uptight Neon, set on a curve.

“Marine” (No. 749) ft. Filmotype Quiet. Illustration by Tom Sawyer.

“Summer” (No. 750) ft. ITC Bauhaus Outline with the alternate M, filled with sunbeams.

“Tourism” (No. 751) ft. ITC Bauhaus.

“Couples” (No. 752) ft. tightly spaced caps from Benguiat Caslon, here just with a single swash O and no overlaps. Primary Illustration by Tom Sawyer.

“Executives” (No. 754) ft. Peignot and a border full of handshakes.

“Family” (No. 755) ft. Times New Roman.

“Autumn” (No. 756) ft. ITC Serif Gothic.

“Homemaker” (No. 757) ft. Circus.

“Education” (No. 758) ft. Atrax with middle dot (·), apostrophe (’), and mid-word linebreaks.

“Christmas” (No. 760) ft. Tintoretto, a typeface that was not made to be used in all caps, as the letter I shows: The J-like form works OK in initial form, but sticks out like a sore thumb in the middle of a word.

“Energy” (No. 762) ft. stacked caps from Dynamo.

“Transportation” (No. 763) ft. caps from Wedge Bold by Lettergraphics [edit: it appears to have originated at VGC, see comments], which is Egyptienne Bold Condensed Bold Condensed customized with triangles cut from the letterforms.

“Insurance” (No. 764) ft. Compacta Bold Italic in lowercase, with an omitted i dot.

“Senior Citizens” (No. 765) ft. all-caps ITC Souvenir with initial and terminal swash forms.

“Crowds” (No. 766) ft. ITC Bauhaus.

“Human Relations” (No. 767), again with oblique Compacta in all lowercase and no i dot.

“Money” (No. 769) ft. Molé Foliate. Primary Illustration by Tom Sawyer.

“Circus-Fair” (No. 770) ft. Hasler Circus.

“Spring & Summer Sports” (No. 771) ft. ITC Lubalin Graph and its sans-serif sibling ITC Avant Garde Gothic.

“Drop-Ins” (No. G111) ft. Pabst Extra Bold Condensed. The logo of the Grafika subseries is in ITC Fat Face with ligatures for ra and fi, accompanied by Kabel Light with omitted tittles.

“The Gals” (No. G112) ft. ITC Newtext and a rare photographic cover.

“The Guys” (No. G114) with tightly spaced City caps.

“Contests” (No. G116) ft. ITC Quorum.

“Printed Forms” (No. G117) ft. overlapping caps with swash initials from ITC Bookman Outline. “We’re moving” is in an unidentified (homemade?) variation on the Electric Circus theme, see also Electus.

“Gimmicks” (No. G119) ft. a fairy tale castle à la Neuschwanstein and caps from Checkmate.

OCC is the specialist for the insurance of vintage cars and premium vehicles. They have been insuring historic and modern collector’s vehicles for more than 30 years. OCC has over 80 employees in Germany, Austria and Switzerland.

The new identity is designed by SUAN Conceptual Design GmbH, Basel, Switzerland. They won a Red Dot Award for this work, where they chose IvyJournal Bold for headlines and Gotham in several weights for text.

“Hot & Cold” (No. 228) ft. Chwast Blimp and Benguiat Charisma Script. “COLD” appears to be based on Oprescu Fingerprint, with the outer lines removed. All three faces are original designs carried by Photo-Lettering.

Covers for various clip books of line art issued by Volk Corp in 1972. This volume continues the portrait format that was introduced in the year before. Just as in 1970 and 1971, many of the display faces like Brave and Free or Futura Dot are novelties from the extensive catalog of Photo-Lettering. Jolly Roger and the refreshingly blasphemous Helvetica Flair originated at Phil Martin’s Alphabet Innovations. The covers with Countdown and Premier Shaded might be among the earliest examples for Letraset originals used by Volk. On most covers, the line “Clip Book of Line Art” is set in ITC Avant Garde Gothic with alternates for e and A.

See also the dedicated post about the subseries titled Grafika which includes booklets published in 1972. For more information on Harry Volk Jr. Art Studio, see the post about the clip books issued in 1955.

“Distaffers” (No. 227) ft. Kabel Black, contrasted with Kabel Light.

“Holidays” (No. 229) ft. Brave and Free.

“Radio & TV” (No. 230) ft. Goudy Heavyface Italic.

“Insurance” (No. 231) with a graphic depiction of why you might need one, ft. Kabel Black.

“Opposites” (No. 234) ft. all-caps Kabel Black.

“Occupations” (No. 236) ft. Eurostile and Helvetica [see comments].

“Expressions” (No. 240) ft. tightly spaced Charter Oak.

“Mail” (No. 241) ft. Profil. The subline here uses a bolder weight from ITC Avant Garde Gothic, to avoid a too great contrast in weight next to the chunky shadowed slab serif. Illustration by Tom Sawyer.

“Holidays” (No. 242) ft. all-caps Goudy Heavyface Italic, paired with the similar (and earlier) Cooper Black Italic, here distinguished by swash caps.

“Summer” (No. 563) ft. Novel Gothic.

“The Golden Years” (No. 564) ft. Kabel. Sensitive typophiles may cringe at the combination of two very similar typefaces.

“Autumn” (No. 565) ft. Jolly Roger.

“Education” (No. 566) ft. Countdown, designed by Colin Brignall (Letraset, 1965).

“Groups” (No. 567) ft. Premier Shaded, designed by Colin Brignall (Letraset, 1970). Illustration by Tom Sawyer.

“Christmas” (No. 568) ft. Kalligraphia and Helvetica Flair.

“Couples” (No. 569) ft. slanted Futura Dot. The addition “20th Anniversary issue” suggests that Volk was founded in 1952 or 1953. The oldest booklets published in Bart Solenthaler’s collection are from 1954.

“Transportation” (No. 572) ft.Buxom. Just like in “Mail” (No. 241, see above), the weight of “Clip Book of Line Art” is increased to hold up against the heavyweight.

“Sales” (No. 573) ft. Uncle Bill.

“Women” (No. 575), pairing Normande Italic with handwriting.

“Human Relations” (No. 576) ft. Cartier and Windsor for the bottom line.

“Teens” (No. 577) with more Jolly Roger.

“Communications” from the Paste Pot & Scissors subseries, ft. Mike Hinge’s Hinge Computer. Illustartion by Tom Sawyer.

Covers for various clip books of line art issued in 1970 by Harry Volk Jr. Art Studio, Pleasantville, New Jersey. The series provides a glimpse into the topics that were in demand by the press – and by the media in general – in the United States at the time. The covers paint a slightly more progressive image than those from a decade before, e.g. with a women in the driver’s seat (for “Transportation”, see below). The vast majority of the portrayed people still is white and male. The cover for “Communications” (above) with three protesting women is an exception.

The series is also a snapshot of what was in fashion in display typography. The chosen faces – almost each cover features a different one – are diverse in style. Many were issued only shortly before. There are several exclusive designs by the NYC-based typesetting studio Photo-Lettering (Hinge Computer, Brave and Free, Calendar, Microcircus, Benguiat Indian, Bauhaus Prisma, Bordonaro Black Magic, West Kangaroo) and also a few recent releases by VGC (Giorgio, Antikva Margaret).

See also the dedicated post about the subseries titled Grafika which was introduced in 1970. For more information on Harry Volk Jr. Art Studio, see the post about the clip books issued in 1955.

“Happy Birthday” (No. 190) ft. Davison Dimensional (1969). The small text is in Helvetica.

“Holidays” (No. 191) ft. Brave and Free with stretched letterforms.

“Travel” (No. 195). While the title is set in caps from Georg Trump’s City fett, rasterized and repeated at varying angles like stamps in a passport, the names of the destinations are hand-lettered. Some are probably based on existing faces, e.g. “Orient” appears to emulate Benguiat Newlock. “Greece” might be patterend after Copeland Trillium.

“Religion” (No. 196) ft. Solemnis. “18th Anniversary Issue” uses tightly spaced Futura Light.

“Winter” (No. 197) ft. Giorgio (Giorgio Giaiotto, 1966).

“Men” (No. 198) ft. Profil. Illustration by Tom Sawyer.

“Women” (No. 199). Illustration by Tom Sawyer. The constructivist stencil caps are from Futura Black.

“Holidays” (No. 200) shows tightly spaced lowercase Clarendon.

“Crowds” (No. 201) ft. Filmotype Vigus. The portrait format and the use of ITC Avant Garde Gothic Light as secondary typeface suggest that this was a late edition, already in the style used in subsequent years.

“Groups” (No. 526) ft. Calendar (1969).

“Transportation” (No. 527). Illustration by Tom Sawyer. The typeface is PLINC’s Microcircus, a squooshed variation of Microgramma/Eurostile.

“Insurance” (No. 529) again features Microcircus.

“Western” (No. 533) ft. a depiction of a Native American with feathered headdress. The type was apparently chosen for its name – it’s Benguiat Indian.

“Food” No. 539 ft. Prisma Graphic.

“Human Relations” (No. 541) in Cartier (Carl Dair, 1967), with slightly stretched letterforms.

“Education” (No. 542) ft. caps from Antikva Margaret (Zoltán Nagy, 1966).

“Handyman” (No. 543) ft. Goudy Oldstyle Bold, with a shortened ascender for d.

“The Golden Years” (No. 544) ft. Augustea Open. Illustration by Tom Sawyer.

“Teens” (No. 545) ft. Bauhaus Prisma K (1970).

“Family” (No. 546) ft. Jana (1965). Illustration by Tom Sawyer.

“Sales” (No. 547) ft. Eurostile stretto. Illustration by Tom Sawyer.

“Spring & Summer Sports” (No. 548) ft. Permanent Headline in solid and open styles.

“Worry-Fear” from the Paste Pot & Scissors subseries (No. PP132) ft. Black Magic by Lewell Bordonaro.

“Son of Little Guy” (No. PP136) ft. West Kangaroo Demibold, an informal face with horizontal stress by Dave West.