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.

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.

Motto by Hilton is a vibrant global hotel brand built for modern explorers who travel intentionally, live smart, and stay connected. Anchored in buzzy neighborhoods across some of the world’s most iconic cities, Motto appeals to travelers through modular room designs that enable flexible, personalized stays. For those seeking an experience-driven stay, the hotel is designed to be a launchpad for energetic neighborhood exploration and cultural immersion.

Watson led the brand’s strategy, positioning, and identity refresh, clarifying Motto’s voice and expression to deliver a cohesive vision—one defined by intentionality, ingenuity, and local connection.

To express Motto’s locally rooted approach to each hotel location, Watson developed a dynamic typographic system that captures the essence of each place through a corresponding typeface. Each hotel’s location logo lockup pairs the existing Motto wordmark with the city name, typeset in its selected typeface. Comprised of eight typefaces that are distinct in style yet unified in proportion, the system forms a cohesive library that reflects the hotel’s collection of unique destinations.

A clear methodology guides how each typeface is applied, ensuring it reflects the distinct energy and character of its neighborhood. An arts district like Chelsea in New York City features a typeface inspired by calligraphic letterforms, echoing its offbeat, idiosyncratic character. In contrast, a tourist hotspot like Times Square adopts a friendlier geometric sans serif to convey the destination’s broader, more universal appeal.

Mielle’s branding and advertising harness the confident presence of F37 Judge to create a bold, unapologetic visual statement. Used prominently across headlines and campaign messaging, the typeface’s strong, expressive character is amplified by a vibrant magenta palette, resulting in striking, high-impact compositions.

Fello is a Swedish mobile phone provider that focuses on simplicity, honesty, and customer care. When Bold was commissioned with the rebranding, the focus was on refreshing the brand identity. The goal was to increase recognition and make Fello’s positive qualities more tangible.

The result is a flexible but consistent design system that relies entirely on Grato Classic for its typography. Bold’s creative director explains the choice as follows:

Grato Classic had the perfect balance of character and simplicity that we were looking to strike with Fello’s rebrand. It’s distinct enough to work nicely as a headline — but hardworking enough to be leveraged across type styles. We saw its playful, conversational, tonality rhyming particularly well with the tone of voice we were looking to land with the Fello mascot, so to us it felt like a perfect fit for the new brand.

Cover pages (detail) of the Switzerland and Norway travel guides by Lonely Planet, set in Pangea SemiBold

The story of the travel publisher Lonely Planet begins in the summer of 1972. The newly married Australian-British couple Maureen and Tony Wheeler had just completed a trip to Asia that lasted several weeks. Black in Melbourne, their circle of friends kept pestering them with questions about their trip, so they decided to write a book about it and publish it themselves. The success of Across Asia on the Cheap laid the foundation for what was to become Lonely Planet.

Today, the Australian publisher claims to be the world’s largest provider of independent travel and language guides. They publish 650 titles with a total print run of around 55 million copies. The company employs over 400 people in its offices in Melbourne, Oakland, London and Paris and has a staff of around 150 authors.

In 2022, Lonely Planet commissioned the New York creative studio Garrett Elizabeth Office with a comprehensive redesign of the brand. The aim was to modernize the travel guides and website and make them more attractive to both long-time users and a new generation of travelers.

Following the relaunch of the brand, the internal design team set out to find a new corporate typeface. They came across Fontwerk’s multilingual Pangea Collection via an internet search and were fascinated by the story of an “adventurous” font that goes on a world tour with extensive language development. Ultimately the decisive factor in the decision was Pangea’s sustainable licensing model: 25 percent of Christoph Koeberlin’s designer royalties go towards rainforest conservation and large-scale reforestation projects.

Shortly afterwards, Lonely Planet began the complete redesign of all printed materials. For this purpose, the publisher licensed Pangea and Pangea Text Regular, Italic, SemiBold and Bold. In order not to delay the new editions of the travel guides, city maps and maps, the design team even received some Pangea Condensed weights before their official publication. The serif used for body copy is Matthew Carter’s Miller. The Lonely Planet website was also refreshed and – until recently – was set in six Pangea styles.

The Lonely Planet travel guides are aimed at individual travelers who want to get off the beaten track.

Lonely Planet’s updated city plans and maps have been using Pangea and Pangea Condensed for years.

Lonely Planet’s international website has also been converted to the Pangea font family.

Bizzy Cold Brew is a cold brew coffee company founded in 2013 with an obsession for cold brew and a commitment to organic beans with maximum flavor and strength.

In 2025, Bizzy Cold Brew collaborated with Day Job for an all-new identity from strategy to art direction; emphasizing quality ingredients, intense attention to detail, and sustainable business practices. The new look uses natural tones of brown, green, and tan as well as a visual ethos built around always pursuing perfection. Dayjob chose Tarnac by Marc Rouault, available from Sharp Type, as their main typeface to unify their overall identity that drew from vintage woodcuts and archival references. The supporting sans is Schick Toikka’s Dia Light, and the scripty logo appears to be custom drawn.

From information on the label of every “Ready-To-Drink” bottle and "Brew-It-Yourself" bags to their web layout, Tarnac brought a timeless look that merged historical visuals and modern coffee culture sensibilities.

Mediapart is a French investigative online newspaper known for exposing numerous political and economic scandals. Its financing model is unique: funded exclusively through subscriptions, Mediapart reports independently without advertising influence.

During the redesign of its website and mobile app by cmjnrvb studio, the visual identity was harmonized across editorial content, the user interface, and the subscriber area (the Mediapart Club). A central challenge was differentiating these spaces while maintaining a coherent overall system.

Pensum Pro was adopted for editorial content, supporting long-form reading with balanced proportions and excellent legibility. Pensum Display provides contrast and presence for special headlines. For the Mediapart Club and interface elements such as author names, dates, and metadata, Atlas Grotesk establishes a clear typographic hierarchy that distinguishes subscriber content from editorial material.

Historically, Mediapart’s typographic wordmark was set in the seriffed Trajan. The redesign shifted to the sans-serif forms of Trajan Sans to improve readability while preserving the essence of the original design.

The redesign also included a refined logotype, a systematic color palette, and a consistent illustration style. These elements were compiled into a comprehensive graphic charter ensuring clarity, consistency, and flexibility across digital and print platforms.

The Haus der Musik is a landmark institution in Vienna, serving as an interactive museum, a concert stage, and a premier event venue. To unify these diverse facets, WEDEL Markenbau (Hubert Wedel) developed a new, homogeneous brand strategy designed to make the identity more tangible both internally and externally.

Working in collaboration with designers Flora Bacher and Stefan Müller, the team created a flexible brand system that acts as a “transporter” for the museum’s story across all channels from print and out-of-home advertising to digital platforms and environmental graphics within the Palais itself. The core of this system is Nexa by Fontfabric. The font’s geometric clarity provides a modern, “scientific” foundation that complements the museum’s focus on acoustics, while its rhythmic versatility allows it to adapt to the emotional world of classical and contemporary music. The result is a dynamic, high-contrast visual language that feels as vibrant as the sound museum it represents.

The museum's updated logo was inspired by their building's chiseled facade lettering and uses Terza Display by Commercial Type. The emblem, inspired by their folk art flower logo from the 1950s and 60s, was custom drawn by Alex Tomlinson.

The Everhart Museum is a non-profit museum founded in 1908 in Scranton, PA, which focuses on natural history, science, and art. It is one of the oldest public museums in Pennsylvania and was established by Dr. Isaiah F. Everhart (1840–1911), a Civil War medic, Scranton physician, and amateur ornithologist.

With this rebrand, I sought to create a visual identity that pulled directly from the museum's collection and building itself. The floral silhouettes are directly taken from Dr. Everhart's pressed flower collection from his world travels and are used throughout the visual identity as patterns and motifs.

These two digital ads were created for the NEPA Philharmonic and WVIA, featuring historic imagery from the collection.

Poster for an upcoming event at the museum, with imagery taken from the museum's collection regarding folk art, floral paintings, and valentines.

Born in 2008 from the side hustle of friends Sarah Thornton and Brooke Johnston, The Finders Keepers has grown into Australia's most-loved design market, each year hosting festival-style markets in Sydney and Melbourne.

The Finders Keepers is where communities come together to shop, explore and discover the very best from designers, makers and entrepreneurs in our country.

The branding by Melbourne-based agency Young Folks uses Maroni’s Regular weight for the logo. “To balance playfulness with clarity”, they “combined Parkinsans for confident headlines with Inclusive Sans for welcoming body copy.”

For Unrivaled Basketball, Wheelhouse built a bold, cohesive identity grounded by a single typographic voice: Sequel Sans. The typeface appears everywhere – starting with the league logo and extending seamlessly across merchandise, advertising, marketing materials, and an extensive social media presence.

Designed by Oliver Jeschke for OGJ Type, the typeface brings the same level of clarity and authority as the players in the league. While its range of weights and widths would allow any system to flex effortlessly across formats, Unrivaled appears to only use a single style: Sequel Sans Extended Bold. This keeps the typographic palette tight and focussed. Set large, fast, and often in motion, the type reinforces Unrivaled's competitive energy and modern, culture-forward positioning.

The result is a typographic system that doesn’t just support the brand – it is the brand. Consistent, confident, and unmistakably current, Sequel Sans gives Unrivaled Basketball a visual identity that holds up at every scale.

Read more about Wheelhouse and their Unrivaled Basket project.

Misty Mynx, a social-first fashion brand, was completely rebranded by Design Army to embody the power and confidence of modern seduction. The new visual system combines an extra-wide sans-serif logo, a high-contrast palette of black, charcoal, and white, and a flexible typographic system designed to keep pace with evolving fashion collections. The identity radiates unapologetic femme energy, balancing boldness with sophistication.

The rebrand launched alongside a social-first campaign aimed at reconnecting the brand with Thai audiences and beyond. Captured in New York, the visuals convey the Misty Mynx persona: magnetic, confident, and effortlessly sexy, while remaining globally aspirational and commercially relevant. Sleek silhouettes, luxe tailoring, and versatile pieces underscore the brand’s assertive and adaptable character.

At the heart of this identity, Blaze Type’s Quadro reinforces the visual language. The all-lowercase logo uses a bold wide style with omitted i dot and a straightened y descender.

Galeries Lafayette’s 2026 New Year’s wishes campaign, featured on the Haussmann Paris flagship storefront, including a video and a greeting card. Solæ is in use throughout the visual communication system.

Poster campaign in 2025 to find new staff

The Berliner Wasserbetriebe is Berlin’s municipal utility company, responsible for managing the city’s water supply, wastewater, and rainwater infrastructure. Through its subsidiary, Berliner Stadtwerke, it also provides electricity. The company has used TheSans, designed by LucasFonts, as its corporate typeface for many years, and continues to do so to this day. The font family is used consistently in advertising, on the website, and on signage. The italic font choice for the logo is perfect for a company that works with water, conveying a sense of dynamism.

The long-established Berliner Wasserbetriebe logo

A new drill is inaugurated. The logo of be Berlin is displayed using TheMix.

Service car with siren

A public tap to cool off in summer

Huge letters on a new Berliner Stadtwerke wind turbine

An identity designed to speak the language of mindful movement. A brand that transforms movement into visual balance, capturing harmony and dynamism in a single mark.

The brand concept stems from a reflection on a series of key words. From these ideas a visual system takes shape, expressing the dual nature of Gaia Andrenacci’s work: the precision of technical practice and the fluidity of natural motion. The goal was to translate these sensations into a graphic language that is simple, clean, and contemporary—able to convey well-being, professionalism, and presence, without sacrificing lightness or elegance.

The mark is born from the union of Gaia’s initials, G and A, interpreted as a single circular gesture. Its primary form is a modulated circle: circularity symbolizes cycles, breath, and the perfection of movement. The symbol is the brand’s core identifying element. Inspired by the body’s movements in Pilates, it is built entirely from the circle, which gives it harmonious proportions and a sense of visual balance. The two initials merge fluidly, without interruption, creating a sign that suggests the idea of continuous motion. It is a dynamic yet stable symbol, able to embody energy, dynamism, and control at once.

The payoff is conceived as an oxymoron—an encounter between two opposing concepts that together perfectly express Gaia’s philosophy. “Balance” represents stability, awareness, and bodily control; “movement,” on the other hand, evokes fluidity, adaptability, and growth. The word movement is written in italics to convey dynamism and progression, while balance retains a static, orderly form, symbolizing solidity. Together, they create a visual and conceptual contrast that becomes the heart of the brand message.

The fonts used are Telegraf for the logo and Mori for the payoff “Balanca in motion” and secondary typography.

Barkas has designed the identity for Amundsen Sports’ latest campaign, “Hero’s Hide”, which reinvents the merino baselayer for a new generation of adventurers. The campaign celebrates Amundsen Sports’ philosophy of merging traditional craftsmanship with modern innovation—an approach reflected in both their products and visual language.

For “Hero’s Hide”, the unique Dual-Surface SkipStitch Knit technology creates an ultra-light base with a distinctive openwork pattern, combining warmth and breathability. This design pays homage to the refined Norwegian mountain lifestyle, reimagined for those who embrace adventure year-round.

The campaign’s visual identity is set in Store Norske Leif Mono, Store Norske Magi Mono, and Store Norske Magi from Skriftkompani. These typefaces introduce a utilitarian, contemporary edge, echoing the technical sophistication and rugged quality of Amundsen’s garments. The pairing of these helps solidify a brand narrative that is both rooted in tradition and built for the future.

Brands&People developed the complete identity system for Mutt, a modern pet wellness brand that produces high-quality food for life companions. The logotype is set in Taxi (by Typeverything), whose distinctive personality gave the brand its confident and friendly tone. It is paired with ITC Garamond, Fragment Mono and Libre Caslon Text.

Hugup is innovative supportwear designed to keep expecting mothers comfortable, confident, and moving freely throughout their pregnancy. Founded by a mother who experienced health difficulties during her own pregnancy, Hugup was born from firsthand understanding of the challenges women face during this transformative time. As a women-led company dedicated to women's health, Hugup is committed to developing solutions that truly serve the needs of expecting mothers.

Hugup successfully created an identity that transforms pregnancy branding by embedding the experience itself into the visual language. The dynamic logotype, set in Moulin, serves as the conceptual foundation, where five letters orbit in circular motion to mirror the cyclical nature of pregnancy and fetal development. This movement directly references birth calendars, with expanding letter spacing that visualizes gestational progression – creating an immediate emotional connection between the brand mark using and the user's lived experience. Most text is set in all-caps Founders Grotesk Condensed.

The logo’s dual nature addresses both the emotional and practical aspects of pregnancy support. In motion, it represents growth and transformation; at rest, the half-circle formation suggests the protective embrace of a womb while simultaneously referencing the Hugup device itself. This visual metaphor extends the brand's core promise of support into every touchpoint, creating consistency between product function and brand expression.

The identity system breaks conventional pregnancy aesthetics through playful verbal patterns that inject rebellion and empowerment into a category often dominated by overly precious or clinical approaches. These fluid yet simple patterns maintain scalability across digital and physical applications, ensuring the brand can adapt to various contexts without losing impact or becoming overly complex in execution.

The circular motif becomes a unifying element that “wraps” content throughout the identity system, reinforcing the supportive gesture concept. This creates a cohesive brand world where every element, from packaging that literally hugs products to digital interfaces, communicates care and protection through visual form rather than just messaging.

The result positions Hugup as both empathetic and fashion-forward, striking a balance between emotional resonance and contemporary design sensibility. The identity successfully communicates the brand's core promise through elegant visual metaphors that make abstract concepts like support and empowerment tangible and immediately recognizable. The adaptable system ensures consistent brand expression whether animated or static, creating a vibrant yet practical brand ecosystem that scales across all customer touchpoints.

An advert for the Frankfurt am Main type foundry of D. Stempel, set in the then newly issued Helga-Antiqua, with corresponding decorative borders and/or ornaments, as designed by Prof. F.W. Kleukens of Darmstadt. The copy reads (translated):

In collaboration with leading graphic artists, we have created a rich selection of new products in typefaces and decoration for advertising and commercial printing. Samples of our products are available to interested parties at any time. In our own modern brass line factory, we manufacture all types of brass material for all letterpress printing purposes, placing particular emphasis on first-class raw materials. Our electrotyping plant supplies ready-to-print electrotypes in copper or nickel steel deposits. * Highest awards

Friedrich Wilhelm Kleukens (1878–1956) was a noted German artist, book and graphic designer much involved in the Darmstadt Colony, printing and teaching and was the brother of the equally noted printer Christian Heinrich Kleukens.

In: Die Kunst in Industrie und Handel: Jahrbuch des Deutschen Werkbundes 1913, Jena 1913.