In 2019 NYCEDC engaged Frere-Jones Type to design a custom typeface for the new facility that reflected the Essex Market’s unique history. In collaboration with Lite Brite Neon, Via Collective, and Lower East Side Partnership, the resulting logo typeface – Essex Market – was inspired by the original Orchard Street Meat Market signage recovered from Essex Market Retail Building D (restored for the new facility), as well all canopy signage and supplemental test incorporating Mallory by Frere-Jones Type as well.

Essex Market is a historic, vibrant public food market on Manhattan’s Lower East Side (LES), a community hub since 1818, now in a 37,000-square-foot modern facility at 88 Essex Street, featuring diverse local vendors selling fresh produce, specialty foods, and prepared meals, plus hosting cooking classes and events, blending NYC's immigrant history with contemporary culinary delights.

Read more about the making of New York’s most historic market on Frere-Jones Type’s blog.

LINII is a creative agency based in Moscow. They have issued merchandise in the form of a calendar where you are the main thing of the day.

In this alternative calendar, instead of work calls you’ll find “doing nothing”, instead of planning meetings – “a date with yourself”, and instead of deadlines – “arrange the best day for yourself”. CoFo Sona is used throughout.

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The “Pussy Wagon” is a Chevrolet Silverado pickup truck that features in Quentin Tarantino’s 2003 film Kill Bill: Volume 1. The pink lettering on its rear – replicated in the keyring pendant – is in a groovy 1960s style that, among other things, was used for cheesy pulp fiction with sexist tropes.

In an act of reframing through affirmation that’s typical of Tarantino, the bright yellow vehicle with the tacky name (and matching license plate) serves Uma Thurman as Beatrix “the Bride” Kiddo to launch her “roaring rampage of revenge” against the men (and women) who did her wrong.

The font in use probably is Action Is, an all-caps freebie from 1998. It was drawn by Jeff Levine based on an application of either Caruso Roxy or its close follower Holiday. The Identifont blog has the font’s origin story:

While working in the recording industry for Steve Alaimo, former singer and co-host of the 1960s TV show Where the Action Is, Jeff noticed an interesting typeface spelling out the show’s title on a photo album Steve kept from those years. Tracing the letters which existed on that page, and creating his own characters for those that were missing, the font was digitized by Brad Nelson of Brain Eaters Fonts and released as freeware under the name Action Is.

The iconic prop was subsequently produced as fan item, in the form of stickers, patches, keyring pendant, model cars, and more.

It has also been quoted more than once: in Tarantino’s Death Proof from 2007, a 1972 Ford Mustang is labeled “Lil’ Pussy Wagon”. The car again serves women to take revenge on a misogynistic murderer. And in 2009, the original Pussy Wagon made a cameo in the music video for Lady Gaga’s 2009 song “Telephone” featuring Beyoncé.

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Quentin Tarantino used to drive the Pussy Wagon himself. Via the Quentin Tarantino Fan Club: “The thing about the Pussy Wagon is, whenever I drove it on the freeway, everyone recognized it’s me. Everyone recognized the Pussy Wagon. And then it would be a chain, because people would drive alongside me and try to talk to me.”

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Embroidered iron-on/sew-on patch

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Box for a Pussy Wagon truck replica in the scale of 1:32

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Mary Elizabeth Winstead in her role as Lee Montgomery, sitting on the “Lil’ Pussy Wagon” in the second segment of Death Proof (2007)

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Stills from the music video to “Telephone”: Lady Gaga leaves prison …

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… and dances with Beyoncé in front of the Pussy Wagon.

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For the 2025 Brand Builders Summit, Australian designer Jacob Cass of Just Creative created a strikingly modern visual system that feels energetic and high-impact.

Cass used a very typographic approach mixing P22 Type Foundry’s Constructivist and Bifur—two early 20th-century display faces with strong geometric presence—with Mark Simonson Studio’s Proxima Nova, whose clean, contemporary forms bring support and balance like only a workhorse can. With a simple but bright color palette—black, white, gray, and hot pink—giving the artwork momentum while subtly echoing Just Creative’s own brand language.

The result is a typographic identity that feels confident, contemporary, and well-suited to a digital-first conference focused on creativity and brand building.

The logo combines P22 Bifur with what looks like Sweet Sans.

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Minnie ’n Me: Songs Just for Girls album cover (1990), ft. the italic and roman styles of ITC Century Bold Condensed for secondary text

From The Disney Wiki:

Minnie ’n Me was a 1990s merchandise branding program from the Walt Disney Company featuring the comic character Minnie Mouse in her childhood days. Her youthful companions include Daisy Duck, Clarabelle Cow, Penelope “Penny” Pooch, Patti Pony, T.J. Turtle, Heather Hippo, Lilly Lamb, Minnie's dog, Fifi, and Daisy's kitten, Trixie. Later on, Disney added Figaro, Mickey Mouse, and Donald Duck to the mix. On the whole, this line of merchandise was mainly targeted towards elementary-aged girls ages 4–9.

There was a wide variety of Minnie ’n Me products, including dolls and other toys, trading cards and stationary, perfume and jewelry, luggage, bedding and more. The logo used for this brand is based on Sweetheart, and some of the merchandise, mostly books, actually uses the typeface.

Similar in design to Photo-Lettering's Bonaparte and Lettergraphic's Spring, Sweetheart features terminals and tittles decorated with hearts and an alternate B with a heart-shaped counter. Additionally, its f, t and ! have arrow-like qualities that suggest Cupid and his bow.

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My Favorite Book: A Book of Verse (1990)

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Where's Fifi? book cover (Little Golden Books, 1992)

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What Will I Wear? book cover (Little Golden Books, 1991)

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Minnie’s Slumber Party (Little Golden Books, 1992)

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Spread from Cooking Together: A Book of Recipes (1990). The text typefaces are Century Schoolbook and Helvetica.

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Toy china tea set

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Audio cassette that came with the book When We Grow Up (1990), additionally featuring ITC Century Bold Condensed Italic and Helvetica (incl. Helvetica Condensed)

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Trading card packs with card pack box

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Paper plate

The Magic Oyster Tour is a series of pop-up events across Germany, organized by Sara Hillenberger. It presents objects, calendars, ceramics, new shirts, live acts, and much more.

The design was created by Herburg Weiland, using Romie Regular and Italic (designed by Margot Lévêque), and available from Claude Type Foundry. Romie is supported by Grilli Type’s GT America Condensed.

Located in Brussels' Marolles district, Gimic is a bar and radio station whose mission is to foster the electronic music scene of the city. On their Instagram page, which has amassed over 23k followers as of January 2026, they chose to use DOSS Exaflop from the Doss Collection by Marc Rouault, available at Sharp Type. The typeface was also used for their main wordmark, often paired with an abstract purple icon. Emulating the futuristic soundscape of electronic music and infectious DJ sets, their team uses the typeface for promoting in-person events such as holiday markets, workshops, and new release events.

Gimic’s website, designed by Ozon Studio, also features GT Planar by Dominik Huber, available at Grilli Type.

On view from 26 August to 23 November 2025, the 13th Seoul Mediacity Biennale, “Séance: Technology of the Spirit”, opens to the public at Seoul Museum of Art and other venues across the city. Inspired by occult, mystical, and spiritual traditions, key to the proposal is that these alternative “technologies” contest the accelerationist and rationalistic logics of capitalist modernity, and might therefore help us to resist – and reconfigure – the political and intellectual structures that shape our experience.

In response to the curatorial theme, graphic design studio nonplace developed a visual system founded on a series of radiant halos symbolizing spiritual energy. Their arrangement into modular structures expresses the organization of immaterial forces into the patterns and forms of art and techne, providing a flexible, transformable, and infinitely extendable visual system. (Text rephrased from nonplace)

For the identity of the biennale, nonplace chose Noto Serif Korean (see Source Han Serif), accompanied by Moulin Light from Commercial Type.

République Studio created a wordmark based on Romie Italic (designed by Margot Lévêque) and a pattern that reflect the identity of FC Versailles, giving supporters a one-of-a-kind piece to wear. Fans can now purchase these exclusive scarves directly from the club’s official website.

Color variants

Biergarten opened in 2016 as an inclusive neighbourhood space inspired by the communal spirit of traditional German biergartens. Over time, its culture became vibrant and loyal, but the brand’s expression didn’t keep pace. Ahead of national expansion, the identity needed to better reflect its fun, familiar personality. We refreshed the brand around its core truth, Biergarten as the familiar go-to place for connection, expressed through the idea of “Always Familiar.”

The brand palette draws from Germany’s Oktoberfest, pairing warm creams and mustards with playful light blues, all grounded by a unifying navy. Beer illustrations use smudged acrylic strokes to evoke blurry community memories. Each beer character is shaped by real stories overheard at Biergarten’s outlets, with small details that make them distinct and true to their backstories.

The brand’s type family is a reflection Biergarten heritage, familiar conversations, and functional needs. Bungee leads as the primary display face, reminiscent of the woodcut letters that were seen in some of the early Biergartens. It allows for versatile usage with various styles to create unique and dimensional displays, both horizontally and vertically. It is paired with P22 Underground, a geometric humanist workhorse for clarity and function across menus, wayfinding, and body copy. Good Dog is used sparingly for handwritten, conversational moments that inject warmth and personality. Together, the three form a layered system that balances heritage, utility, and friendliness in a premium-yet-inviting voice.

Ambar Lucid’s new EP is supported by a clear and cohesive communication strategy that extends beyond the music itself. The release is accompanied by a set of physical and visual products – vinyl, posters, and apparel – designed to strengthen the album’s identity and visibility. The typeface Rosalie, by My-Lan Thuong and available at Sharp Type, is used on all the supports. For the singer’s name, the capital I was replaced by a lowercase i and a star was used for the dot. The typeface has a blurry and shinning effect for the song titles on the videos.

The vinyl record design is composed of four panels; with the front cover showing the main photo artwork that’s also used on the T-shirt. The back cover has lettering with the title of the EP, El Jardín de Lágrimas, and finally the inside contains the lyrics and a photo of the artist as an angel.

Together, these items create a unified promotional ecosystem: digital platforms introduce the music, while physical products reinforce the branding and extend the EP’s presence into the fan community. The visual identity of El Jardín de Lágrimas is not officially credited publicly, at least in the usual metadata and merch sources.

[More info on Discogs]

The poster for the release party additionally uses what appears to be a blurred version of Arial.

Unboxing Bauhaus is a multi-site exhibition by students of Fine Arts and Visual Communication at Bauhaus Universität Weimar, presented in KunstHaus Potsdam and Kunstraum Potsdam from 27 July to 24 August 2025. The project brings together painting, drawing, sculpture, photography and performance, developed both in advance and during a ten-day residency in the city.

The visual identity, designed by Ossian Osborne, Lilli Sörries and Annemarie Grund, makes extensive use of G2 Airdancer by Gruppo Due. Multiple cuts of the typeface are used and switched mid-word, creating a lively and highly dynamic typographic system. This shifting rhythm mirrors the exhibition’s premise of reframing perspectives and opening artistic processes to public view.

The designers expanded the exhibition’s central motif, the moving box, into a set of playful and oversized visual scenes. Boxes on trucks and billboards suggest the idea of the Bauhaus leaving its familiar bubble and entering new contexts, echoing the title Unboxing Bauhaus.

For the artwork on Margo Price’s latest album, Hard Headed Woman, the typographic palette echoes the grit and charm of classic Americana. Her name appears in Ars Nova from PintassilgoPrints—a decorative, Art Nouveau-inspired display face whose bold, squarish forms instantly signal a sense of time and place. The album title is set in Cottonwood, an Adobe Originals typeface from 1991 inspired by 19th-century Western wood type, adding a rugged, frontier-style texture to the composition. Smaller supporting text uses News Gothic, a quintessential American sans serif designed by Morris Fuller Benton for American Type Founders in 1908.

The typographic mix feels rooted in time, and a little rebellious, by blending vintage influences with a modern confidence that mirrors Price’s own blend of country: true Americana and outlaw soul. The typography extends across the album packaging, the deluxe boxed set, and merchandise—giving the entire release a cohesive, unmistakably American voice.

[More info on Discogs]

Formula E is a single-seater motorsport championship for electric cars, the electric pendant to Formula 1. This championships focuses on sustainability and innovation in electric vehicles by reducing the footprint of the races through diverse means and compensating the remaining emissions (though I still wonder how the cars, racers and staff are traveling around the world).

For their rebranding with the launch of their ninth season in 2023, Formula E commissioned a script font, FE Torque, made by lettering artist Rachel Joy Price based on the new logo she designes. It’s used for main titles and to accentuate some words. A custom cut of NaN Jaune was also developed. Named FE Sans, it’s used for all other typographic materials.

The custom cut puts aside the signature touching/closed apertures of Jaune and brings calmer and more traditional structures to some characters such as a monocular a and g, an e with an horizontal bar, etc. The resulting font family is used for all the branding and communication of the FE brand, from the subtitle of their logo, their website, the on-site communication and signage during the races, social media, infographics, etc.

FE Sans also comes with dedicated titling alternates which bring notches – drawn almost like ink traps – to the stems of the capital letters.

See the full case study on the website of lead designer Tom Myers.

Selleb is a resale platform that connects second-hand fashion with culture, storytelling, and status. Its visual identity, developed in-house, revolves around a bold and unconventional use of the typeface Bull‑5.

Bull‑5 Mono is used prominently in brand elements such as the logo and product markings, where its monospaced rigidity communicates structure and presence. In contrast, across the website and other content platforms, Selleb uses a custom hybrid version that blends Bull‑5 Mono with Bull‑5 Typewriter – often mixing styles within the same headline or paragraph. This results in a lively, tactile typographic texture that reinforces the platform’s emphasis on individuality, surprise, and curated imperfection.

The brand’s typographic voice is raw yet intentional: expressive, irregular, and entirely unique. Supporting styles include Bull‑5 Regular for longer text and Unica77 for fine print or metadata, ensuring a balance between character and clarity.

For a detailed look at the brand identity system, see the full guidelines.

For the 2025 rebranding of Mother Root, an alcohol-free natural aperitif launched in 2015, POST chose Piet Mono by Nils Thomsen as the display typeface. The font's rounded letters and simple construction go well with the simplicity of the four-ingredient drink and its liquid nature, while its structure provides a clear departure from the traditional serif typefaces commonly used for alcoholic drinks.

The typeface is used on packaging, marketing materials, and digital touchpoints, creating a visual identity for the growing community of flavour-first drinkers.

For the main text, the brand uses Grenette by Colophon, whose big serifs contrast with the serif-less interior of certain letterforms like n, h, and v. The mix of serif and sans-serif fonts creates a visual conversation with Piet Mono, while making sure it's easy to read long texts.

In Guadalajara, brand designer Moisés Visuals created a bright, modern identity for Cleo y Teo, a local restaurant celebrating the flavors of the Mediterranean. The illustrations are unfussy and playful, setting an approachable tone that pairs naturally with the typography: Gopher, a reverse-contrast modern typeface from Adam Ladd Design, appears in the logotype and large headings, while Gotham from Hoefler & Co. brings structure and clarity to supporting text.

The result feels open and joyful – minimal without being sterile. Each element works in harmony to express the restaurant’s welcoming spirit and contemporary take on, as they say, “comida predilecta” (favorite food).

See the full project on Behance.

Na in its three version album box cover

In June 2024, Nayeon – from the K-pop girl group Twice – released her second mini album soberly titled Na (na 나 meaning “I” in Korean). The album marks a bold evolution in her solo career, blending catchy pop melodies with a more emotional sound. The album was released in three standard versions, three vinyl versions, and the special “NEMO”, “D’igipack” and “A to Z” versions.

The visual identity and album design has been curated by PRESS ROOM, a graphic design and publishing studio based in Seoul, founded in 2016. Each track has a title logo designed by Lee Daehuen, while the album title logo has been designed by Park Hyunjin and Jin Sohyeon. Park Seoyeong, Song Seoyoung, Yang Jieun also contributed to the design.

In its variegated promotional artworks can be found a sleek visual aesthetic that takes full advantage of the clean, modern look of Suisse Int’l Condensed. This choice enhances the album’s minimalist yet young design, embodying the energy of Nayeon’s music while maintaining a contemporary feel. For the promotion of the track list then, the font has been accompanied by the grunged Veneer Regular and Pretendard SemiBold (프리텐다드) for the Korean script.

Na CD cover and booklet

Na vinyl version with record jacket and sleeve

On May 15, 2024, JYP Entertainment, Twice, and Nayeon teased on their social media the album track list. Here can be seen the use of Suisse Int’l Condensed together with Veneer Regular and Pretendard SemiBold (프리텐다드).

Photobook in three versions accompanying the album, 180×250 mm, 88 pages

Also accompanying the album: photocards 55×85 mm; hangtags 50×100 mm; mini book 70×90 mm, 12 pages; track sticker pack 90×90 mm, 8 pieces.

Stage setup in the studios of M Countdown where Nayeon performed lived on June 20, 2024

Merchandise from Nayeon's pop-up store in Seoul for the special collection “Nayeon x bloomingtale x oddoneout”

Outside view of Nayeon's pop-up store in Seoul

The 74th Berlin International Film Festival (Berlinale) took place from 15 to 25 February 2024, and is considered one of the most important film festivals worldwide.

Claudia Schramke was responsible for the visual design of the festival for the fourth time. This time, she devoted her full attention to the Berlin Bear, which she depicted in various poses. “The bear is the symbol of Berlin and of the Berlinale. It is a robust and inquisitive animal, intended to emanate optimism, willpower, and strength on behalf of the international film festival during the challenging times of our world”, writes Schramke on her website.

What makes the bear design special is that she created it entirely by hand using stamps. “It was a great honor and pleasure for me to once again create the posters and graphics for the Berlinale! I put a lot of love and care into the blue bear of this edition; every single hair of the fur was individually placed with self-made stamps.”

GT Flexa by Grilli Type from Switzerland was chosen for the typography; it was designed by Dominik Huber in collaboration with Marc Kappeler. Since its release in 2020, it has been available in an impressive 112 styles.

GT Flexa breaks with the classic understanding of font as a static system. Instead, it sees itself as a dynamic tool that responds to the demands of modern design. This is exactly what Claudia Schramke does in her design by deliberately replacing letters in the expanded family. Also noteworthy is the attention to detail, with the font sometimes colliding with the bears and sometimes blending in with them.

Branding and merchandise celebrating the farming retirement of the designer’s parents, after 34 years working their fields and farm in Eksingedalen. Design and illustrations by Håvard Bergo, typeset in STK Earl by Smuss Type Kiosk.