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.

From Wikipedia:

Lost Continents: The Atlantis Theme in History, Science, and Literature is a study by L. Sprague de Camp that provides a detailed examination of theories and speculations on Atlantis and other lost lands, including the scientific arguments against their existence. It is one of his most popular works. It was written in 1948 and first published serially in the magazine Other Worlds Science Fiction in 1952–1953; portions also appeared as articles in Astounding Science Fiction, Galaxy Science Fiction, Natural History Magazine, and the Toronto Star. It was first published in book form by Gnome Press in 1954; an updated edition was published by Dover Publications in 1970.

The shown cover is for the 1975 paperback edition by Ballantine Nonfiction (24379), featuring two styles of Eightway in chromatic use, set on a circle. Cover artist unknown.

In 2023, Pastai Sanniti, a historic pasta factory in Sannio, enters a new phase thanks to the acquisition by the two-Michelin-starred chef Giuseppe Iannotti. A bold and contemporary vision has transformed every aspect of the brand, leading it to break with the past to project itself towards an innovative future.

The rebranding was born from the encounter between the extraordinary quality of the products and a radical narrative approach, inspired by the legendary figure of Mazzamauriello, a mischievous elf of the Samnite tradition.

Mazzamauriello, a mythical and mischievous figure of the Samnite culture, has become the symbol of the project. This elf, with his pointed hat, has been reinterpreted in a modern key: an alchemist of flavors who wanders around the pasta factory while production is in progress, leaving the mark of his magic. Hence the idea of ​​the brand: Alchemy of wheat.

The logotype and other elements are set inSud. The typeface chosen for smaller text is Onest.

The Philadelphia Museum of Art, in collaboration with design studio Gretel, rebuilt its identity with the goal of putting the institution in direct conversation with the city that surrounds it. Typography is the primary device for achieving this. The type palette mainly works on two levels: outside-and-inside, or community-and-institution.

Inspired by Philadelphia’s rich visual texture of storefronts, street vendors, and murals, the vernacular type palette brings the voice of Philly into the museum and injects the identity system with contrast and spontaneity. The current library is curated (exemplified by the likes of Shatter, Cooper Black, and Balloon), but it is designed to continue growing over time. Each of these display typefaces can be used on various seasonal activations, or specifically assigned to exhibitions or departmental roles. ITC Pioneer was used for the recent exhibition The Time is Always Now, a survey of contemporary Black and African diasporic figurative art. Purple Haze is the designated typeface for PMA Members, and Megazoid is used for PMA Kids.

On the other hand, the institutional typographic voice serves an evergreen role: echoing the museum’s classical character while embodying Philadelphia’s industrial sensibility. The core typeface, Fairmount Serif—named for the Fairmount neighborhood—was custom-drawn by Ryan Bugden after a study of Philadelphia’s typographic history. Searching for a balance between the industrial structure of 1930s American sans-serifs and a classical features brought Hess Neobold forward as a key reference. Its designer Sol Hess attended PMSIA—the precursor to the museum—and later succeeded Frederic Goudy as Philadelphia-based Lanston Monotype’s type director. Fairmount Serif evolves the Hess Neobold model while incorporating more contemporaneous industrial cues. It remains relatively neutral alongside the museum’s broad palette of display faces while providing a distinct, authoritative voice of its own. Fairmount Serif was also used as a starting point in rendering the various institutional logos.

For the more workhorse level, Klarheit Grotesk serves as the museum’s body text typeface. It is set at small sizes across branding, materials, signage, and exhibition text.

See more images in Gretel’s case study.

Mockups of exhibition catalogs

Banners.

Seasonal program.

Identity for the 7th anniversary of studio Demande Spéciale. Optima was used for the Oods (“Office of Demande Spéciale”) logo, and a variant of Neue Montreal was used for the body text.

Celebrating seven years of visible work, even though, in truth, the studio’s practice goes back long before time itself was a concept. Whether seven years or seven centuries, the studio approach remains unchanged. Each project is a piece of a broader story, ever-evolving, a story that has always existed and will always exist beyond the boundaries of the present moment.

They explored the idea of research and archaeology, creating their own relics and assembling an archive of all their work.

An advertising card design shown in the Printers International Specimen Exchange, Vol. XIV, 1893. Printed letterpress with extensive usage of bent brass rules. Though not typical of the genre, it should be considered work in the artistic printing movement category.

“Tipo-Litografiche” is in Bijou (1883), “Milano” and “Telefono N. 143” in caps from Unique Celtic (1889), and the address in Chaucer (1883). The thin typeface chosen for the company name itself is yet unidentified.

Giovanni Ricordi founded his internationally known music publishing company in Milan, Italy, in 1808. He was hired by Teatro alla Scala in 1814, and in 1825 purchased the entire La Scala library. In 1839, he published Verdi's first opera. The company in 1893 was headed by Giovanni's grandson Giulio. Ricordi remains very much in business today.

This composition, to me, could be mistaken for a modern, contemporary design.

everyday utopia is a jacquard-woven blanket inspired by A Decolonial Feminism by François Vergès.

Yik Heng Lee (RISD textiles MFA) interpreted the digital design by graphic designers Jacob Marcus and Avrie Allen, indexing graphic pixels into woven structures and form.

Body glyphs are from Nat Pyper's typeface Michiyo Fukaya.

Tomorrow's Harvest is the fourth studio album by the Scottish electronic duo Boards of Canada released in 2013 via Warp Records.

The font ITC Avant Garde Gothic Bold is used on both the cover and back.

[More info on Discogs]

Vinyl label

Circus is movement, memory, and, above all, enchantment.

From an invitation by Sesc São Paulo came the challenge of visually translating the 8th edition of Circos, a festival that transforms the city into a contemporary big top. In August 2025, São Paulo became a meeting point for artists from 21 countries, weaving together cultures, languages, and timelines into a single sensory narrative.

Guided by the concept “Enchantment Beyond Time,” the project is built upon three pillars: memory, movement, and enchantment. These elements do not appear as isolated ideas, but as forces that intersect, shaping a living, pulsating identity in constant transformation.
Memory reveals itself through an aesthetic construction that evokes traditional circus imagery, with visual references that echo popular culture and classic spectacle forms. Movement emerges through the repetition and variation of geometric modules, creating patterns that vibrate, almost as if in rotation, mirroring the bodies of performers, their spins, leaps, and fluid gestures. Enchantment manifests in the intense color combinations and dynamic compositions that invite the viewer to wander, discover, and immerse themselves.

Graphic elements take center stage within the visual system. Built from simple shapes such as circles, triangles, and ellipses, they unfold into modular patterns that move between the contemporary and the ethnic. There is a sense of universality rooted in the local, as if each repetition carries a collective memory, reinterpreted through a new lens. These patterns are not static: at times they appear as bold surfaces, at others as fragments that invade compositions, creating rhythm, tension, and surprise.

Black and white photography acts as a counterpoint, grounding the project in the reality of the body and performance. While the graphic elements expand the imaginative realm, the images document the human gesture, establishing a dialogue between the tangible and the symbolic. This relationship reinforces the idea of time, where past and present coexist within the same visual space.

The color palette is bold and carefully orchestrated. Warm tones such as red, orange, and yellow interact with deep greens and purples, creating vibrant contrasts that evoke energy, diversity, and cultural strength. It is a palette that does not whisper, it projects. It occupies space, draws attention, and sustains the festive atmosphere of the circus.

Scapegrace is a distillery located in Central Otago, New Zealand. In 2023, ten years after the launch, One Design refreshed the visual identity using Banto and Calibre as the main typefaces. The bottle labels and can designs additionally use at least two unidentified sans serifs. It’s unclear whether the wordmark uses a font or not. The website was made by General Studios.

Let’s Unravel This Knot! by Anna Sperotto reveals the intricate relationship between nature, society, and technology, helping readers to reimagine a balanced future. Each page of this book was crafted to bring clarity to complex topics, using storytelling and visual design to communicate scientific insights in an accessible way. In collaboration with leading researchers, we’ve created a journey through sustainability, resilience, and adaptation. The publication is more than a book; it’s a tool for reflection and change. The book is available in four different languages: English, Italian, Spanish, and Basque.

Commissioned by the BC3 Basque Centre for Climate Change. Concept, design and creative direction by MMXX Studio, creative direction by Pianeta.Studio, art direction and layout by Marianna Rossi, and graphic design by Francesca Fossati with illustrations by Daniele Simonelli. The complementary website was developed by Andrea Macone. Nearly all text is set in Brandon Grotesque. The Typewriter style of Dico Mono is used for the author’s name on the cover and Proxima Soft is used for smaller texts.

Located in the heart of Guadalajara, El Idealista is a pastry shop where daily baking with love takes place.

El Idealista seeks to leave his personal touch on all his creations. Founder Rubén camouflages himself in the ‘Idealist’ character to manipulate the best ingredients, highlight their flavors, textures, and colors, and transform them into unique pastries.

In this story, we translated and shaped different elements into an emotional and uniform visual identity. Our character plays and juggles with different ingredients and tools. We want to transmit Rubén’s story to this character, who, before working in the pastry world, was a juggler and who found in pastry the passion to overcome personal obstacles.

Similar to pastries, the logo is made up of many textures to give the brand’s identity a distinctive and unexpected touch. The colors are our bold and strong ingredients that give voice to the creative and visionary world of El Idealista.

JT Picolo (Edward Dżułaj) and Kompas (Hanna Boslau) are the fonts used for Platform Pudding. From the magazine’s website:

Platform Pudding is a reflective platform on design – from graphic design to fashion and architecture, from Senseo coffee machines to Marcel Breuer’s S-32 dining chair. Design is about the tools that play a role in our daily lives. Pudding aims to foster a cross-pollination between theory and practice within design. Pudding explores the impact design has on society through diverse perspectives and various writing formats.

The magazine title appears to mix parts of Times New Roman and Helvetica.

Nodes. Journal of Art and Neuroscience is a peer-reviewed scientific journal founded in 2011 by Numero Cromatico, an artist collective, research center, and publishing house composed of researchers from both the humanities and scientific fields. The journal aims to explore and disseminate the intersection between art and neuroscience, a topic that has gained significant prominence in recent years thanks to the emergence of neuroaesthetics.

The visual identity of Nodes issue 26 is conceived as a visual soundscape, where music and rhythm take shape. Sound cones synthesized into gradients and circles of varying sizes evoke movement, depth, and resonance.

The visual language, inspired by experimental cinema, alternates between sharpness and blur in a continuous dialogue with typography: Blacker Mono, a contemporary monospaced serif typeface designed by Zetafonts, which becomes a form of musical notation. Within the space of the page and the flow of content, typography and graphic elements transform into rhythm, movement, and sonic memory. The typefaces in use furthermore include Blacker Mono’s proportional sibling Blacker, two type families from Atipo – Basier Mono and Geomanist – Ronzino from Collletttivo, Tinos by Steve Matteson and Monotype Baskerville.

For this issue, Dionigi Mattia Gagliardi was editor-in-chief and art director, with graphic design by Licia Masi. Printed in Rome by Risoma and Tipografare on two paper stocks: Favini Shiro Echo 120 g/m² (interior) and Favini Shiro Echo Raw Blue 250 g/m² (cover).

Show LA Love is a visual identity system developed by Ben Loiz Studio for Hoopbus during NBA All-Star Week in Los Angeles.

The project translates elements of Los Angeles’ visual language into a system that can move across courts, buses, apparel, and public space. References include hillside lettering, layered highway interchanges, and the shifting geometry of the city.

Typography plays both a structural and expressive role within the system. The typographic approach draws from the irregular rhythm of signage such as the Hollywood Sign, where letterforms respond to landscape rather than sit on a fixed baseline.

Primary typefaces include Cina GEO and Industry, selected for their balance of clarity and utility. In parallel, custom-drawn letterforms are developed directly within the court designs, where typography becomes embedded into the surface itself.

Across the courts, type operates less as applied text and more as form. Scale, movement, and interaction shape how the letterforms are read, allowing typography to function as part of the spatial and physical experience of the game.

The result is a system that extends beyond traditional identity, using typographic thinking to connect visual language, environment, and community. See the full case study on benloiz.com.

Mochi (by Typeverything) is used on the packaging for Plant Based Planet as part of the brand identity by Studio Spoke. The typeface’s soft, rounded forms support an approachable tone aligned with the brand’s focus on small, everyday shifts toward plant-based living. The sans used for secondary information is Neue Haas Grotesk or similar. On the website, it’s substituted by Work Sans.

Designed by Studio Diyen, Masonolay i Cepo’ is the latest album by the Taiwanese band Outlet Drift. In this work, the band members take the exploration of their own culture as a starting point. By sampling tribal music and heritage, and drawing from their experiences of wandering across different lands, they have gradually woven their faith, culture, and life journeys into the soul of this album.

The visual expression is rooted in the band’s core philosophy: “Sky, Earth, and Sea.” Drawing inspiration from the maritime culture and spiritual beliefs of the Amis people in Taitung, we ensured that the wardrobe, photography, and packaging all expanded upon this central theme.

The album packaging utilizes a three-layer structure to mirror the band’s worldview. The lyric book is secured by hand using hemp rope and traditional hip-bells, while carefully selected fabrics are used to evoke the fluid movement of seawater. By employing a diverse range of materials and a near-handcrafted approach, the packaging reflects both Outlet Drift’s eclectic musical style and the cultural preservation of their tribe.

For the album and track titles, we used a mix of Gothix (by DM Studio) and Super Sabretooth (by Set Sail Studios). These two powerful, wild, hand-drawn typefaces capture the band’s passionate and psychedelic musical style. In contrast, the Chinese titles feature Loksin (justfont) to convey their deep connection to nature and faith, while revealing a more introspective side of their character.

To maintain readability across three languages—Chinese, English, and Amis—the lyric book features a thoughtful combination of Wotfard (Atipo), Utopia (Adobe), GenRyu Mincho, and GenSeki Gothic (ButTaiwan). This typographic blend was chosen to present a sense of warmth and humanistic emotion.

The folded accordion-style lyrics booklet mimics the rhythmic rise and fall of ocean waves.

Austin Clarke was one of Ireland’s leading writers. Though he wrote novels, plays, and memoirs and was a cofounder of Belfast’s Lyric Theatre, he’s best known for poems that employ complex patterns of assonance and half rhyme, techniques he drew from his deep knowledge of classical Irish language poetry. An Post issued this stamp to mark the fiftieth anniversary of his death in 1974. Designed by David Pakenham at So Studio using Ballinger Mono; first day cover (not shown) also features An Post Sans, the Irish post office’s proprietary typeface.

Beer mats

For this project, Another Kind Studio wanted to craft an identity that felt fitting for a site with such a massive legacy. Situated on the grounds of what was once the largest brewery in the world, we designed a new pub brand for Ninety One to honour that heritage while carving out its own modern space on Brick Lane in East London.

From the deep greens and warm oranges to the period inspired typography, we designed the brand to live and breathe in physical spaces and feel totally at home in its surroundings. Explore the new visual identity in action below across tactile menus, custom tap badges, wayfinding signage, and matchboxes.

For the full project please visit the Ninety One project page on our website.

Stacked logo

Logo animation

Drinks menu

Heavy weight team T-shirts and branded pint glasses

Branded matchboxes

Custom beer tap badges for the Ninety One house lager

Hand-painted wayfinding signage by Rayment Signs

In-house poster templates

Brand guidelines

Ninety One website

Built in 1921, Florette is a tall ship and one of the last operational wooden brigantines in the world. It has been to more than 30 countries and has made multiple journeys across the Atlantic. It is captained by Ron Haynes, who grew up on the ship, and run by his family and a small crew. Visitors can book passage on a leg of its journey and get hands-on experience being a part of a working crew.

Daniil Sergeev designed a new identity for the ship, and says about the design:

The brand idea draws from the meaning of Florette—“flower” in Italian—using a floral motif as the foundation for the new symbol. This form is combined with a wind rose, linking growth and beauty with journey, navigation, and direction at sea. The color palette balances deep navy blue, inspired by open water, with the light, sail-like tones of canvas and wind-filled cloth, creating an identity that feels both poetic and purposeful.

The new identity uses Roslindale for titles and Graphik for text throughout. This has to be one of my favorite uses of Roslindale’s Deck styles at large sizes. It feels solid and unshowy in a way that Roslindale’s Display wouldn’t have, but still carries a lot of style and a sense of history.