From the Flora website:

Natur- und Erlebnishof Flora e.V. is a non-profit association that fosters participation and lived inclusion right in the heart of Heitlingen.

A place to arrive, catch your breath, and simply be.

Whether young or old, people and animals alike can meet here on equal footing—far removed from the pressures of performance and expectation.

We firmly believe that nature, time, and genuine connection open up spaces where personal growth can unfold quite naturally.

Here, on our nature and adventure farm, we build a bridge between people, animals, and the environment.

Flora’s identity and website were designed by Hildesheim-based Studio Zwille.

Other than the logotype, which appears to be custom lettering, the identity is based on the Fictional typeface as well as illustrations.

The website is fully set in Fictional, except for the main navigation, which is set in Poppins.

Last season, Plac Zabaw nad Wisłą, a vibrant riverside cultural and recreational space in Warsaw, Poland, unveiled a refreshed visual identity.

The concept grew from a simple block of colored paper – playful, inclusive, and DIY in spirit. Color pairings distinguish daytime from evening events, while a set of pictograms organizes information for clarity and intuitive navigation. The system now extends across wayfinding, social media, and the website.

Creative direction and design by Kasia Łubińska of kuna works, using Tor grotesk from Threedotstype. On the website, it’s supported by Apfel Grotezk by Luigi Gorlero. The storytelling and microcopy is by Maria Wanda Dutkiewicz. Sesme Studio did the on-site painted elements.

Portal Thermaculture is a new recreation and fitness center in Boulder, Colorado. They use the solid cut of Store Norske Stilig for their logo, and Libre Franklin as support.

This poster (41×59 cm) was issued by Reichsbahndirektion Cottbus, one of eight regional directorates of the East German state railway, in 1969. It advertises trips to the Sächsische Schweiz, or Saxon Switzerland, and the Lausitzer Bergland, or Lusatian Highlands, two neighboring tourist regions at Saxony’s border with Bohemia. The space to the right of the illustration showing a rock formation of the Elbe Sandstone Mountains and a paddle steamer on the Elbe River is left empty, probably so that current offers can be added manually.

All typefaces were already thirty to forty years old at the time. “Ausflugsverkehr” is set in Bison (1938), a sharply cut brush script also known as Blizzard. As far as I know, it wasn’t cast by Typoart, who carried the similar Impuls (1954) and Stentor (1964). The reversed sans-serif caps are from Lucina (1926), a display extension to the Erbar-Grotesk series. The sender info at the bottom is set in caps from the fett and dreiviertelfett weights of Super-Grotesk. Arno Drescher’s geometric sans was first cast by Schriftguss in 1930 and became the GDR’s ersatz Futura after World War II. The modulated sans used for “Sächsische Schweiz” appears to be custom drawn. It’s a bit similar to Walter Käch’s Röntgen Therapie lettering model from 1949. See also Baker Sans (1973).

Detail

Detail

De Warande is a recreation resort in Oosterhout, the Netherlands. It consists of an indoor Olympic size swimming pool, an indoor "regular size" swimming pools, two outdoor pools, an outdoor children pool, sports fields, a climbing park, and more.

De Warande has used Neuropol for its branding since 2016, the current version dates from 2020. The tagline “zwemmen, bewegen, spelen, genieten” (“swim, exercise, play, enjoy”) is added in all-caps Interstate.

NNormal is an outdoor sports brand, born between the shores of Mallorca and the Fjords of Norway, specialising in trail running and hiking products that combine maximum comfort with ample durability.

Visual identity by Régis Tosetti and Simon Palmieri, with typefaces Modelo and Rhymes from Maxitype.

The slogan “Your Path, No Trace” uses a type weight gradient involving four of Modelo’s five weights.

Cover illustration and design by Kevin Thatcher for the first issue of Thrasher skateboard magazine, published in January 1981. The publication primarily features articles on skateboarding and music, along with photography, interviews and reviews of skateboard-related content. The magazine was founded by Eric Swenson and Fausto Vitello.

The cover's masthead/logotype, also designed by Thatcher, is based on Banco, which is also used for the other main coverlines toward the bottom. The masthead for the magazine has remained largely consistent for more than 40 years and over 500 issues. The subtitle or selling line, omitted by 1984, is placed directly below the masthead and set in Eurostile. The dateline and price are set in Adonis Extended Italic.

FunPlanet is a Swiss chain of recreation centers, combining in one building activities such as bowling, billard, laser tag, miniature golf, virtual reality games, and arcade games with restaurants and theme nights. FunPlanet was an institution some years ago, but in 2020, it needed a rebrand to attract a new audience.

Communication agency Bader designed a whole new identity for FunPlanet. It suits the new games and activities the recreation center offers, which are aimed at a wider target, not only families with children but also youngsters and adults who can spend the evening playing, dining, and drinking. Regarding this new context, FunPlanet needed to show how contemporary it is: to do so, Bader designed a logotype with the wordmark set in Media Sans Extended Bold from Production Type, accompanied by a circular sign. Its shape reminds us of a planet, in which we find back little bits of Media Sans letters (the drop of the a, the endings of the e). On the website, Media Sans Extended is paired with Finder by Black[Foundry]. The communication campaign shows trendy kids, teenagers and young adults having fun in different situations, which associate the place with their new target. The color code in RGB is also a reference to digital culture and a way to catch the attention of a generation born with the rise of digital technologies. The logotype is applied to all kind of mediums, such as the building, bowling balls, and also becomes a pattern for posters. The mobility of the logotype is a way to make the identity more contemporary, as the sign is not only a signature on the corner of a format, but a visual element in itself.

Campaign poster

Campaign poster

Elements from Media Sans are echoed in the graphic shapes of the planet logo.

Bowling balls

Mockup of the new identity as applied to the façade of a FunPlanet building

Social media post featuring Media Sans Extended in several weights

Website with a menu for the two FunPlanet locations in Rennaz and Bulle, plus the upcoming center dedicated to Kids

Nirvana is the voice of the new “Technical Apparel for Recreation” campaign by Outdoor Voices.

Outdoor Voices makes activewear for Doing Things daily — dog walks, runs, and yoga included.

Nature is staged in a graphic and simple way. Both in the wording, where the game is mentioned, and in the choice of materials and colors of the clothes, we can feel the invitation to play. Nirvana’s simple and geometric shapes interact harmoniously and reinforce the casual mood of the campaign. It’s paired with the fixed-width Aperçu Mono.

Page with classified ads for German North Sea resorts and the respective ferry connections, from the Reise- und Bäder-Anzeiger (“Travel and spa gazette”) in Reclams Universum, a weekly magazine printed and published by Philipp Reclam jun. in Leipzig, 1909.

While the title (“Deutsche Nordseebäder”) shows some clunky lettering, the ads themselves are set in a range of jobbing typefaces that were in fashion at the time. The credit line at the very bottom is the only occurence of a fraktur. The single display face that can be classified as blackletter is Bradley, see “Wyk Insel Föhr”. The actual font in use is probably Altgotisch or one of the numerous other German copies of Bradley.

“Wangerooge” and “Westerland-Sylt” both combine Viktoria (AKA Phönix, Medea) with an enlarged and lowered initial W from Siegfried. Another interesting face is the one used for “Wittdün”: It appears to be the solid version of Alexandra, which in turn appears to be Berthold’s bichromatic copy of Washington (Central). The use of all caps for emphasis is limited to “Borkum” (Romana) and “Juist” (Fette Bauersche Antiqua or similar).

Head of the Reise- und Bäder-Anzeiger with lettering modeled after Eckmann, including a fancy highlight version. The smaller text is set in Sorbonne-Circular, an italic with swash caps that was part of Berthold’s recutting of Cheltenham.

Kanna is a hypothetical line of products targeted for recreational cannabis markets. It aims to offer California customers a luxurious and unique cannabis brand experience.

The first challenge in designing this product line, is how to successfully create a premium and aesthetic appearance to audience through visuals under the strict laws of California cannabis packaging. Another main challenge is how to reveal a sense of joy through packaging and label to formally demonstrate the education of cannabis use. The solution is to apply minimal design approaches with appropriate illustrations and vivid colors. Using black & white to simultaneously create a sense of clean, premium quality, and rigor.

Thema is used for the identity and has been modified with a stencil-like appearance. The individual product names (Alce, Toco, Hope, Lori) are in SangBleu Sunrise, with Freight Italic used for the description. Smaller text like the weight specification is in Suisse Int’l.

This is a fictional design project for Package Design 1 class at ArtCenter College of Design. Please do check my website or Behance for further details.

Art Direction: Yi Mao. Styling: Charlie Sin & Yi Mao. Photography: Charlie Sin.

“El Capitán State Beach offers visitors a sandy beach, rocky tidepools, and stands of sycamore and oaks along El Capitán Creek. It’s a perfect setting for swimming, fishing, surfing, picnicking and camping. A stairway provides access from the bluffs to the beach area.” — California Dept. of Parks and Recreation

Unlike other California State Beaches, El Capitán uses an extended and modified version of Bradley. This follows the Lombardic or Uncial styles of many signs in Santa Barbara and other cities along the California coast. I suppose the intended reference is colonial Spain.

Scher previously developed the identity and signage standards for the New York City Department of Parks and Recreation, which manages and maintains the city’s beaches. The beaches are their own unique experience, and Scher has branded NYC Beaches as its own identifiable entity, endorsed with the NYC Parks logo. The identity uses different fonts, Founders Grotesk and Maple, and a color system that uses bright blue and yellow in place of the green of Parks. (No one wants to see green at the beach.)

Read and see more on the Pentagram site.