Pauline Desombre designed the visual identity for Simone, a purpose-driven menstrual disc brand. Inspired by a legacy of women who have shaped history and challenged conventions, Simone’s visual identity is built around the ideas of confidence, authenticity, and empowerment.

The logo and identity are set in Ninna by Margot Lévêque, alonside the sans serif Lexend by Bonnie Shaver-Troup and Thomas Jockin.

Front cover

You’ve Got to Believe in Something is the third album by the American rock band Spin Doctors. Art direction and design are credited to Chika Azuma. The cover photo is by Richard Samuel Roberts.

On the front cover, the band’s name uses OPTI Grant Rustic, Castcraft’s digitization of Grant No. 2. The c has been modified, presumably because the original looked too much like a G, and the final s is a reversed capital S. The album title uses all-caps Antique No. 14.

The text on the back cover and disc label is mainly hand-written, but some legal text and serial numbers have been added using FF Justlefthand.

[More info on Discogs]

Back cover

Disc

The Wondrous World of Whimsical Willy is a fictional children’s TV show, starring Whimsical Willy in the magical fantasy land of Daydream Lane. The show is created by a bunch of criminals who manipulate their impressionable child audience (and the Mayor) into giving them money. It appeared in the Powerpuff Girls episode “Neighbor Hood”.

This show is a parody on Soupy Sales, a 1950s children’s TV show, infamous for an episode where they scammed children into taking money from their parents and sending it to the show's address. The creator of the show claimed that when they scammed the kids, it was only a joke, not meant to be taken seriously, but he didn’t account for how impressionable his young audience was. As such, he made a rough estimate of $60,000 off of the stunt, and got in lots of trouble with his superiors.

The font used for this show is Action Is, designed by Jeff Levine and digitized by his friend Brad O. Nelson at Brain Eaters Font Co.. Cartoon Network used the Action Is font since the late 1990s, and throughout most of the 2000s.

Typ Recruitment, stylized as {typ_, had the energy of a misfit collective, but the identity told a far safer story. Behind the company lived curiosity, experimentation, grit, and a very particular kind of humor. None of it reached the surface.

The new identity brings that internal culture forward. Built for people who explore before they read, the system filters through behavior rather than brand language.

At the center sits the {typ_ logo, a small manifesto reflecting the idea that identity is never finished, but always shaped by context and iteration.

Instead of a traditional corporate website, we designed a layered desktop-like environment with terminal interactions, overlapping windows, hidden details, and subtle narrative clues. The visual language draws from tech culture and open-source systems, modular, exploratory, and intentionally imperfect.

For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

Title design with Solæ typeface for Alex Van Pelt’s album Cabin Fever. Logotype by Gwennina Moigne and album design by Alex Van Pelt, using Neue Helvetica and two yet unidentified typefaces, a serif and a condensed sans (Kazimir Text and Univers Condensed are similar, respectively).

Solæ in use for The Garden, an art exhibition in New York curated by Jeanette Spicer and inspired by “Le Jardin” (1978, translated as “The Garden”) by Monique Wittig, a major figure in feminist and lesbian theory. Drawing on her vision of radical spaces for lesbian existence, the project offers a contemporary interpretation of that utopian framework.

Bringing together darkroom prints, collage, scanned flowers, a card deck, portraits, and video, the exhibition at the Bureau of General Services—Queer Division (BGSQD) emerges at a time of renewed threats to LGBTQ+ lives. Featuring works by Rhiannon Adam, Deborah Bright, Sara Duell, Naima Green, Lindsey Perryman, Sunny Leerasanthanah, and Tray Tsui, The Garden centers lesbian vision, presence, creativity, and connection.

The italic is from Eugénie Bidaut’s Adelphe Germinal. Additional fonts used by designer Sara Duell are Kadabra by Dai Foldes and Victoria Rushton as well as BBB Baskervvol by Bye Bye Binary.

Deadlocked is an album by F-777 a.k.a. Jesse Valentine, a musician from Edmonton, Alberta. It was self-published in February 2013. The title on the cover uses all-caps Haettenschweiler with EndcapS including a mirrored final letter and various effects.

Sixty years supporting good design: ADG-FAD, 1961–2021.

Paying tribute to Samuel Beckett’s “Fail, fail again, fail better”, this poster was created for the commemorative exhibition marking the 60th anniversary of ADG-FAD at the Design Museum of Barcelona. ADG-FAD (Asociación de Diseño Gráfico y Comunicación Visual) is the association for graphic design and visual communication within the FAD.

The title is set in Neue Haas Grotesk Display by Commercial Type (featuring a rotated and mirrored G). The small text at the bottom is set in Neue Haas Unica by Monotype.

The Spanish edition of Omdenken: El arte de pensar al revés – Convierte los problemas en oportunidades was published in 2024 by Temas de Hoy, an imprint of Grupo Planeta focused on non-fiction and philosophy.

The cover uses Aqueduto by Naipe. Written by Dutch author Berthold Gunster and translated by María Rosich Andreu, the book adapts Omdenken, originally published in Dutch as Omdenken: kijk-denk-creëer, a long-running self-help bestseller that introduces the author’s concept of “flip thinking,” a method of reframing problems as opportunities.

One of the letters E in the main title appears flipped.

Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.

Visual identity and website for Interpret*innenkammer designed by Christine Claussen and Ruben Lyon. The custom typeface Space 7353 is a modification of Space Grotesk (by Florian Karsten) – with which it is combined – and ties in with the idea of the teaching concept.

interpretinnen­kammer.com is designed as an open archive, documenting various interdisciplinary teaching projects carried out by the professorship for Creation and Interpretation at the University of the Arts Bremen. Creation and Interpretation rethinks interpretation in sound, performance and conceptual practices. […] The performative rewriting, re-enactment and setting in motion of social orders is at the centre of artistic teaching situated in and around the class of Prof. Raphael Sbrzesny.

The website is structured by a graphic notation that changes every 20 seconds and was performed by an ensemble as part of the Hochschultage 2022. The open archive appears in a different order and sequence each time the page is accessed, continuously creating new relationships between images, ideas and projects beyond a hierarchical structure. Icons of instruments, accessories, stage elements and objects can be grouped and moved interactively on the page, the user “co-organizes” the archive.

Repass is a flexible transparency platform that enables brands and manufacturers to create digital product passports (DPPs). These passports ensure compliance with EU and US regulations while providing tools for storytelling, cross-selling and customer engagement. By facilitating data exchange across the value chain, Repass helps companies build trust, improve sustainability and create new revenue streams.

Designed by Studio Sager using Melange Grotesk in Regular and Semi Bold, paired with Source Serif.

Ostankino Television Technical Center (Телевизионный технический центр Оста́нкино) is a television studio and technical center in Moscow. The wide caps above the central entrance are from China (1975). The letter И is a mirrored N.

Brand identity by Soo Yeah Studio for Out/Standard, a library music provider.⁠
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NaumType’s Base&Bloom serves as the primary typeface, offering a fluid type system for unique-looking words across the brand. Logotype and headlines are in Yafeu by Creativetacos. Klim Type’s Untitled Sans Regular complements it as the body copy typeface, balancing the design.⁠

Exhibition flyer

The Reflected Self: Portrait Miniatures, 1540–1850 examines the functions of portrait miniatures through the centuries, from those held in the hand of Queen Elizabeth I to their eclipse by the invention of photography.

Curated by Compton Verney and The Limner Company. The 3D exhibition design is by Ali Brown. Photography by Simon Bevan. Badrock Design is responsible for the identity, typography and 2D design.

The motif used throughout the show, based on the letter S from Didot Modern

Entrance wall of the exhibition

Directional sign

Angled A set in Alterego Big Trap (designed by Pieter van Rosmalen and released by Bold Monday) at 1,700 pt on an Autumn Sunset background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female type designers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

Backward B set in Binia (designed and released by Agnieszka Ewa Olszewska) at 1,690 pt on a Brights background

Cut pile C set in Cottonwood (designed by Barbara Lind, Joy Redick, and Kim Buker Chansler and released by Adobe) at 1,475 pt on a Citron background

Debossed D set in Daze Display (designed and released by Gemma Mahoney) at 950 pt on a Dark Ivory background

Embossed E set in VTC Eva Maria (designed by Tré Seals and released by Vocal Type) at 680 pt on an English Rose background

F set in GlyphWorld Forest (designed and released by Leah Maldonado) at 1,375 pt on a Fiesta background with Fringe

G set in Giana (designed by and available from Fanny Hamelin) at 845 pt on a Gradient Gravity background

Louis Miethe was a plumber in Leipzig, Germany, and purveyor to the Saxon court. The business is long gone, and the building at Arthur-Hoffmann-Straße 28 (in 1900: Äußere Bairische Straße) now houses a wool and yarn shop. The mounted letters on the shopfront have been preserved, though. They bear witness to the fact that in early 20th century Germany, Eckmann (1900) was ubiquitous – not only in printed matter, but also in the streets.

For 25 years, the neighboring house at number 30 was home to Louis Miethe Buchhandlung, a bookstore run by Andreas Bode. The great-great-grandson of Louis had to close shop earlier this year.

The pictures were captured by Google Street View in August 2022.

Detail: the first A was mounted the wrong way – a slip that went unfixed for more than 100 years.

Woohoo is a yarn collection launched by Berlin shop Knit Knit and yarn manufacturer Lana Grossa. The brand focuses on providing a colourful palette and, more original, a set of free knitting patrons that are free to use and published on their website. The tone is colourful, cheeky and definitely addressed to a younger audience who might be new to knitting.

Stroke and Marvel design studio created the branding and art direction of the collection, using codes — sketches, large choice of fonts, polaroids — that could be reminiscent of the zine world, or more simply referring to the handmade and craft aspect of the brand.

The Berlin-based duo chose NaN Success Sans for the logo, vertically mirroring the 2 of the 4 asymmetric /Os of the name for a rhythmic effect. The main titling font used is SoLow, a surprising pixel font in this realm, maybe reminiscent of Jacquard or embroidery patterns but definitely giving a refreshing tone to the brand. Object Sans is carrying the heavy load of setting most text content, bringing a subtle warmth to the text through is almost wide proportions.

Album cover

Mr. Wildflower is the debut album from Canadian musician and visual artist Mac MacLaren, announced on December 1, 2023, and released independently on March 1, 2024.

The album design is by Mac MacLaren, with photography by Tyler Gardiner. The album art prominently features text set in Raphaël Bastide and Jérémy Landes’ Fungal in various growth-affected styles. Fungal, based on Bistream DejaVu, was a challenge given to Landes from Bastide to "make a typeface rot and ferment" (Studio Triple). This rotting growth affect was used in the album's artwork to symbolize memory loss by demonstrating a progressively worsening text legibility as the album's written story progresses. This is featured most noticeably on the back of the Wildflower Gazette vinyl insert, where the story becomes nearly illegible mirroring the titular character's decent into a dementia-fueled haze.

Several fonts from the last century and older make an appearance in the Wildflower Gazette vinyl insert in an homage to dense information-packed periodicals of these older periods. These various typefaces are mostly digitizations by Dick Pape based on the originals, including Via Face Don (circa 1977) by Hans Donner and Sylvia Trenker, Frankfurter (1970) by Bob Newman and its copy Rock Opera (circa 1974), Tuscan Italian (1853) by Jordan Davies, Futura Licht (1931) by Paul Renner and Pluto issued by Face Photosetting in 1969. Picnic by Mariel·le Nils and Adelphe by Eugénie Bidaut are also featured.

I created a hand-cut linocut design with a W initial based on Arnold Böcklin for the second vinyl insert and album promotional poster. I transferred the letter to the block directly from my scan of the typeface which inadvertently mirrored the letter, and luckily since its only a W it’s not a noticeable mistake!

Back cover

Spine

Record labels

Insert featuring Picnic and drop caps set in Via Face Don

Insert featuring Frankfurter and Rock Opera

Insert featuring MAiD “advert” set in Via Face Don, with additional text in Tuscan Italian, Futura Licht and Adelphe

Insert featuring Pluto, and Fungal with increasing growth levels

Linocut print featuring hand-cut lettering based on Arnold Böcklin