Oogwereld – Campagne Januari 2026 is a campaign for Oogwereld, the group of high-end opticians in the Netherlands and Belgium. Designed by Studio Busser, the campaign uses close-up eyewear photography, cropped portraits and warm-toned social media graphics to promote up to 50% off selected frames.

Typography pairs Store Norske Skandia from Skriftkompani with Martina Plantijn from Klim Type Foundry. The sans-serif and serif combination gives the campaign both clarity and softness, balancing promotional messaging with a more fashion-led tone.

Per vederci chiaro – Gli occhiali e l'inventore inesistente (“Seeing clearly – Glasses and the non-existent inventor”) is an essay published by Nomos Edizioni. It investigates the origins of one of the most common objects in everyday life: glasses. The author, Renzo Dionigi, reconstructs the history of an invention that responded to a need for social and economic progress, revealing its multiple and sometimes controversial origins.

From the history of reading to the first lenses, from frames to the lexicography of the term “eyeglass”, the volume spans centuries of inventions, disputes and symbolic representations. With a preface by Luciano Perondi and Raimonda Riccini , the theme of legibility is intertwined with that of reading tools, while engravings and prints from 1400 to 1700 bring to light what was invisible or forgotten, between utility, art and memory.

The graphic design focuses on a typographic composition rich in detail and peculiarities, enhanced by the characteristics of the Sorella font – designed by Luis Castellón and published by CAST – which recalls the writing of the 18th-century calligrapher Angela Baroni. Scotus Sans, designed by Giulio Galli, Riccardo Olocco and Luciano Perondi, is used for footnotes and a few other minor details.

The brand Ace & Tate is using Waldenburg Condensed and Condensed Black for its 2025 Autumn/Winter print and web campaign, “Serious about Eyewear”. From the Ace & Tate website:

Everyone’s got that one thing they care a little too much about. For us, it’s eyewear. This season, we’re celebrating the obsessions that make people tick. Welcome to our show-and-tell of the quiet fixations, niche talents, and not-so-secret passions that say more than meets the eye.

Secondary text is set in Ace & Tate’s custom typeface Amper Sans.

Peridot is used for the identity of Athens-based eyewear brand Universe 25. From the designers of Paperlocs:

Straightforward and timeless, the logotype for U25 isn't just static, it moves like the eye itself.

Inspired by saccades, the tiny jumps our vision makes to stitch fragments into a complete image. A path in constant motion, just like the way we see.

Branding language is extended with visuals that were born from the light itself. Cyanotype captures vision through the pure imprint of sunlight. Every shade, every form reflects a dialogue between clarity and shadow, between perception and presence. […]

Digital printing combined with clear ink on Inspira Nero and Inspira Bianco at MACART.

Product imagery art direction by Dennis Moya Razafimandimby in collaboration with photographer Charlotte Favre for Nardi Lunetier, a Lausanne-based duo of artisan eyewear creators.

The graphics features Baikal, a variable typeface by Newglyph (used here are its Extended styles), complementing the previously designed logotype by Clay Studio in OT Rima.

Identity and branding of YŌ (yō [陽] means “sunlight” in Japanese), a Japanese glassware brand by designer Yosuke Shimano. OO Arketa by Outline Online is the Latin typeface in use as the main font throughout. It is paired with Hiragino Kaku Gothic where Japanese characters need to be displayed.

From Yosuke Shimano:

YŌ is a brand that expresses this essence through its products. Delicate forms born from the hands of artisans, the unique textures of materials, the interplay of light and shadow. These stimulate the senses, awakening the aesthetic sense that lies dormant deep within our hearts. YŌ is not bound by fixed concepts. It is ever-changing, drifting at the boundaries. It is an eternal quest for beauty, bringing new awareness to your everyday life.

The logotype design and art direction is by Laura Csocsán.

BonTemps designed the visual identity for Kelfred Optical, a Hong Kong-based eyewear manufacturer, in 2023, drawing inspiration from industrial standards and specifications. The Mexico City-based studio emphasized Kelfred’s technical expertise and product quality, using Slussen from Blaze Type to reflect the brand’s industrial and contemporary aesthetics. Their approach aimed to balance aesthetics with functionality, while reinforcing the company's story and values through its visual identity.

The identity is characterized by the use of lines as a key graphic element, inspired by the precision tools used in Kelfred’s manufacturing processes. These lines form a functional grid that organizes other graphic elements. BonTemps also reworked the logo by modifying certain letters and adding ink traps to enhance expressiveness and functionality.

In terms of art direction, BonTemps opted for a neutral color palette, primarily featuring warm gray and black, with a bright orange gradient added to inject energy into the design. These choices bring character to the visual identity, creating a balance between technical precision and modern attitude, while reinforcing Kelfred Optical’s image as a high-end brand.

The Chinese typeface is yet unidentified.

Promotional T-shirt designed by Dennis Moya Razafimandimby for the Swiss eyewear artisans and designers Nardi Lunetier. It was set in Atacama typeface from newglyph on top of the brand identity for nardi lunetier. The logotype is set in OT Rima from Omnitype and was designed by Clay Studio in 2021.

Vitamiin in use by Jaan Evart for the exhibition Eesti Disainiauhinnad 2012–2022. Vahekokkuvõte / Estonian Design Awards 2012–2022: A Retrospective at the Estonian Museum of Applied Art and Design (ETDM).

The exhibition brings together award-winning design projects, designers, professional associations, clients and many others who have been featured and recognised over the history of the Estonian Design Awards. The competition, held every other year for a decade, is constantly changing, reflecting the activities and organisation of associations and parties such as the Estonian Design Centre, the Estonian Association of Designers, Estonian Art Directors Club (ADC*E), the Estonian Academy of Arts, and the Estonian Service Industry Association, as well as the trends and developments in Estonian design.

Box collection for boutique eyewear brand Eyepetizer for the Winter Collection 2023. Each box visually explores a narration linked to the shape and style of the glasses.
Pritzious was used in the 5th Avenue pack, conveying the fashion allure of New York City.

The Vada brand was launched in 2013 by Katie Caplener who serves as creative director and chief designer ever since. The name is a tribute to Caplener’s maternal grandmother; in fact both her grandmothers had a preference for jewelry. Vada jewelry is produced in small batches in Austin, Texas. Apart from original designer pieces Vada also sells carefully curated vintage jewelry. In 2020, the brand extended its scope to highbrow eyewear crafted in Japan, with each model displaying it-piece quality.

Katie Caplener describes her inspirations as ranging from ancient art to modern dance and from neoclassicism to New Wave. Equally eclectic is the appeal of the website. Appropriate for the business, the design is driven by fashion photography to which colorful backdrops are added that display a gradient and slowly change their color. As a third element, four different typefaces are used on the website that each have a distinct tone to them and in their combination underscore the magazine-like approach.

There is Matthieu Salvaggio’s spiky condensed roman Apoc (Blaze Type) and Berton Hasebe’s extended sans serif Druk Wide (Commercial Type), both used for display and headlines. Then there is Toshi Omagari’s Neue Haas Unica, Linotype’s tribute to Swiss style, used for the reading texts. And last but not least you will see the geometric grotesque Stratos, designed by Yoann Minet and released by Production Type, which is used for the navigation elements.

As Stratos is exclusively used in caps on this site, you won’t be able to see one of its most interesting features: while its capital letters are of condensed proportion, its minuscules display normal width and a strongly geometric flavor.

The concept of this unique optician is to accommodate customers' busy schedules while ensuring accessibility to eyewear for everyone. Based near Nantes, Lunettologie selects its eyewear from passionate French and local spectacle and glass makers and distributes them at affordable prices.

A modern and eccentric graphic universe has been ingeniously crafted through meticulous illustration work and innovative creative decisions. This offbeat approach clashes with the traditional brand image of retailers in this industry. Also, it enhances and nurtures the core principles of this optician's quest for authenticity.

We have chosen to employ TT Trailers, a typeface created by Typetype in Pennsylvania, USA. Originally designed to cater to the film industry, TT Trailers was our primary choice. Our secondary selection is Acumin Condensed, developed by Robert Slimbach, also hailing from the United States. As for our paragraph text, we have opted for the Montserrat typeface, expertly crafted by Julieta Ulanovsky, a renowned type designer based in Buenos Aires, Argentina.

See more images on Behance.

Clavisto is a career network for law graduates and young law professionals in Germany. The company primarily focuses on talent placement and mentoring programs. For their new slogan “lawyers weekend squad”, Before Paris Semibold by Azuliq Type is combined with three icons in a rectangular shape. LL Akkurat by Lineto is used for the company logo and the URL. While the backpack is a goodie for members, the tote bags will be handed out in promotional activities.

Cover for Technology and Human Affairs edited by Larry Hickman and Azizah al-Hibri, published in 1981 by the C.V. Mosby Company.

Title is set in Corporate. Author’s names are set in Eurostile.

Designer/s currently unknown.

Poster for an aftermovie about an artistic event in an exceptional setting, the Villa Georges in Rochefort, Belgium.

Specially designed for the occasion, a new collection of eyewear by vetementsoleil* was presented to bewitching sounds of the Esquisse artists. I also had the opportunity to present my artistic photographs.

The aftermovie directed by Nathan Slembrouck is available on YouTube.

Founded in 1996, Chilli Beans grew to become Latin America's biggest sunglasses producer. With more than 700 franchises, mostly based in Brazil, the brand is now present throughout Latin America and beyond, in countries such as Mexico, Colombia, Peru, Bolivia, the USA, and the UAE.

In 2020, the company went through a rebranding, coordinated by AlmapBBDO. In the process, their ‘chili pepper’ symbol was subtly redrawn, and separated from their wordmark. The typography in their logo went from a bold lowercase italic sans to a slightly altered version of Graúna, set in all caps.

The most predominant typeface in their redesign is Druk, used in both the Wide and Condensed versions, and starring in their first post-rebrand campaign titled Olho no Olho (“Eye to Eye”), as well as in other places, such as their Instagram account and the website.

Creative direction: Marcus Sulzbacher
Logo: Dandara Hahn
Design direction: Dandara Hahn, Paulo Altieri, Johann Vernizzi
Art direction: Dandara Hahn, Paulo Altieri, Johann Vernizzi
Rebrand agency: AlmapBBDO, EnergyBBDO

Campaign Olho no Olho: Enzo Giacomin (Agency: Purple Cow)
Animations: Sailor Studio

Source: dan-hahn.com License: All Rights Reserved.


Source: www.behance.net License: All Rights Reserved.


Source: www.behance.net License: All Rights Reserved.


Source: www.behance.net License: All Rights Reserved.

This post was originally published at Fonts In Use

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