Fundiciones de Ódena, S.A., or Funosa for short, is a Spanish foundry that produces cast iron components. Founded in 1916 and based in Òdena, Barcelona, the company manufactures parts for multiple sectors, including automotive, agriculture, construction, machinery, and railway infrastructure.

Their new website combines Scope with Inter. The logo is based on Futura Black.

Hålogaland Revisjon is a long-standing audit firm in Northern Norway with an updated visual identity and website designed by Riktig Spor. The redesign centres on a simple equals sign as the main symbol, used as a mark of balance and as a visual shorthand for “two lines under the answer”.

The identity extends into a communication concept built around small “equations”, and it is applied across a compact one-page website and a separate recruitment page.

The typeface used is Store Norske Ja from Skriftkompani.

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.

For its branding, Nomad uses Sagace by Alexandre Créquer for titles and DM Sans by Colophon for texts. This branding takes place from the app to the website and global communication across social media.

The company describes itself as follows:

Nomad is a Brazilian fintech that offers opening of an international account, an international debit card and the possibility of making investments in the US market, in addition to other financial services and products in the USA for Brazilians. Its mission is to offer these services through a simple digital experience with transparent and fair rates.

Under the name Festival hrane za možgane (“Food for the Brain Festival”), the University of Ljubljana organises cycle of events which, through workshops, exhibitions, and roundtable discussions, aims to open a dialogue on the biodiversity crisis and sustainable development. The festival brings together researchers, students, and the wider public, and highlights the importance of knowledge, collaboration, and concrete actions for nature conservation – including in urban environments. Shown here are the designs for the 2024 and 2025 editions.

In 2024, the festival menu has a strong sustainability focus and brings together researchers, UL alumni, and students at a shared table to address current societal issues and the challenges of establishing sustainable food systems.

The 2025 program focuses on the biodiversity crisis and responses to it with scientists. The festival menu is sustainability-oriented and brings researchers, students, and external participants together at a shared table to discuss current societal issues and reflect on the biodiversity crisis and our relationship to it.

Graphic design by Jernej Kejžar, using Univerza Sans designed by Alja Herlah and published by Type Salon.

In June 2025, MAN Energy Solutions – a titan of German engineering with roots dating back to 1758 – underwent a massive strategic and visual transformation, rebranding as Everllence. This shift marks the company’s evolution from a traditional manufacturer of large-scale diesel engines and turbomachinery into a frontrunner of industrial decarbonization. The name is a portmanteau of “Ever” (signifying historical continuity and pioneering “first-ever” innovations like the original diesel engine) and “Excellence”.

Developed by design agency Strichpunkt, the new visual identity is built around the motto “Moving Big Things to Zero”. It ditches the heavy, industrial legacy of the MAN logo in favor of a modular, future-proof design system intended to bridge the gap between heavy engineering and high-tech sustainability.

The choice of Nexa by Fontfabric as the primary typeface is central to this new aesthetic. Nexa’s geometric construction provides a clean, optimistic, and modern feel that aligns with the company’s focus on hydrogen technology, carbon capture, and large-scale heat pumps. At the same time, the font’s sturdy architecture and excellent legibility retain a sense of the ‘industrial muscle’ required for a company that powers nearly 50% of global trade via its maritime engines. The typeface is used across all digital touchpoints, corporate communications, and global signage, successfully humanizing a 250-year-old engineering giant for the net-zero era.

Factory International commissions, produces and presents a year-round programme of original creative work and special events. It also stages the city-wide biannual Manchester International Festival. Since 2018, North have been working with Peter Saville on the visual identity development of both the Manchester International Festival and Factory International.

In October 2023, Factory International presented its first official public performance. This event also marked the official opening of its landmark new architecture in Manchester: Aviva Studios, designed by OMA (Office for Metropolitan Architecture).

In an interview, Ellen van Loon, OMA Partner and Lead Architect describes the building:

This will be a new type of performance space – a unique crossover between a fixed theatre and flexible warehouse. Super-sized moveable walls enable endless configurations within a large space, allowing audiences unexpected vistas of performers. I hope that whenever people come to visit they always experience something different, as if with each visit they encounter a different building.

In an article about the project, It’s Nice That quotes North about the visual identity:

The symbol also denotes creative potential, as North describes in a release: “the symbol represents the space, the opportunity, the blank canvas; a new factory where the art of the future will be made”. It comes alive in animations, warping and transforming to adapt to various identities for events and different outputs, “evolving like the building itself” and forming an anchor to most visual content across the identity.

The font used is the same one North deployed for the last three MIFs, a monospace cut of Gräebenbach by Camelot, which the studio says lends a “machine-like functionality” to the information. Meanwhile, Gräebenbach Mono Black uppercase is used for headlines for “maximum standout and personality”.

Peter Saville, Co-founder of Factory Records and Creative Adviser, sees the factory as:

I see Factory International, and its new home, as a two-way portal between Manchester and the world, through the broadest medium of the arts. The world comes in through it and Manchester goes out through it. It is itself a signifier of intent and ambition, so it’s inspiring.

Take a closer look at the archutecture of the studios in a fly-through video on YouTube.

Brand launch film

Ticker tape information system is being used on the website and on the building

Landing page of factoryinternational.org, April 2025

Visual identity launch campaign

The corporate design of the Hochschule für Bildende Künste Dresden (HfBK, University of Arts Dresden) was designed by Roger Lehner and Arne Winter. It is based on a custom version of Futter Grotesk by David Raphael Lüthi, Upset.

The new visual identity of the art school aims to strengthen the institution’s recognition and visibility while maintaining the openness needed to represent its diverse perspectives and positions. The design must be easy to apply in daily use and convey a professional, institution-appropriate appearance.

To achieve this, the identity is based on a few clear, flexible rules that are simple to implement yet allow for creative freedom. The result is a cohesive design framework under which the university’s various roles and actors can come together.

The system is built from modular elements. The only mandatory component is the combination of the three freely arranged logo elements with the wordmark. Other components, such as the grid, are optional. Each element is designed to simplify everyday communication tasks without limiting creative expression when desired.

Goodays (formerly Critizr) is the leading platform in Europe for customer interaction management. Founded in 2012, it set out with a clear mission: to reinvent the shopping experience for both retailers and their customers. Its belief is simple: every interaction matters. To achieve this, Goodays provides retailers with a solution that optimizes the customer experience on a daily basis and at scale. It helps build genuine connections with customers, while freeing up valuable time to focus on the performance indicators that truly drive impact.

As part of its marketing structuring and the streamlining of its communication materials, Goodays entrusted Palantis with the support, design, and deployment of its client-facing communication tools. Building on the branding work carried out by Verve, we developed a range of visual assets that are coherent, accessible, and streamlined.

We also created user guides tailored for project managers, along with clear and pedagogical infographics to help quickly understand, visualize, and interpret the key data provided in the marketing team’s monthly reports. Finally, we designed a newsletter kit, developed on Postcards and synchronized with Hubspot, to strengthen consistency and effectiveness across communications.

In printed materials, text is rendered in Aleo and IBM Plex Sans; on the Goodays website, text is set in the brand font Produkt, supported by IBM Plex Sans for smaller texts. The font for the logo (designed by Verve) is yet to be identified.

From Roadside Picnic:

We worked on an identity design for the EBS Lobby space. Through its identity, the EBS Lobby is visualized as a sensory space infused with time and movement. The flexible flow and visual rhythm of the space are reflected in the wordmark, ensuring that the EBS Lobby is remembered as an experience.

Space Director | Yun-seo Song at EBS Space Design Department
Project Management, Design | Young-sue Cho
Mood Film Management | Chaemin Lee
Illustration | Paca Kim
Mood Film Motiongraphic | Seunghee Chae
Client | EBS

EBS is a South Korean educational public radio and television network.

The logo is set in Onlysans by Daria Cohen distributed via Contemporary Type; the texts are set in Familjen Grotesk by Familjen STHLM AB for English and Pretendard Variable by Kil Hyung-jin for Korean.

As a trusted agency partner of PepsiCo since 2020, JD&Co. Creative collaborated with this iconic brand to develop the official ten-year anniversary publication. This meticulously crafted book pays tribute to PepsiCo’s evolution as a global creative powerhouse, reflecting its unwavering dedication to innovative design across its renowned portfolio of food and beverage brands.

The PepsiCo design team envisioned an anniversary book that honors a decade of creative excellence in brand design. Each page showcases revolutionary products and services brought to life through dynamic cropping, thoughtful composition, and a vibrant color palette, capturing PepsiCo’s bold and influential presence over the past ten years.

The typefaces used for this publication are Pano and Ivar. The thoughtful combination of these two distinctly different styles – Pano being extensively extended and Ivar being elegantly condensed – symbolizes the flow of time in all directions, both vertically and horizontally. This conceptual approach metaphorically celebrates a remarkable journey of creativity spanning the past decade while looking ahead to the next ten years with renewed ambition and vision. Brut Grotesque is used for the title and for text.

Good Design Is for Everyone: The First 10 Years of PepsiCo Design + Innovation was published by Rizzoli.

NorthMed is paving the way for the Arab community in the digital health industry. It strives to be a highly influential organization in the Arab world, bringing together top-notch professionals from medicine and technology. The organization operates the NorthMed Innovation Center, hosting events, courses, and meetings related to digital health and medical technology.

Developing a strong brand identity for NorthMed was a real challenge. Despite their integrated activities and relevance, the only visual asset they had was their logo. They wanted to keep it while building an entire brand identity, including various collateral designs for both print and digital mediums.

I deconstructed and reimagined the brand’s concept and evolved into more than just a logo. It became a vision, a foundational structure for a cohesive identity system, including a set of twelve custom icons and a flexible framework for dynamic sub-logos, tailored to different sections of NorthMed’s ecosystem.

The brand identity was further reinforced by integrating medical and tech imagery, aligning with the client’s innovative mission. Elements of the logo were repurposed as subtle accents and teasers throughout the presentation, creating a seamless visual language. The primary colour palette was carefully applied to enhance brand coherence, ensuring a strong, unified presence across all mediums.

Flogaus, the expert in beverage production and bottling, works with both small start-ups and major brand manufacturers. Branding agency arndtteunissen developed a distinctive branding that focuses on precision and creativity and emphasizes the uniqueness of the company as a specialist supplier.

The illustrative brand world reflects the bottling process in a modern and playful way. Drops, beverage crates and crown corks – symbols that represent the stages of bottling – are depicted in clear, minimalist forms. This graphic world combines lightness with precision and shows how ideas become high-quality products.

The color scheme combines shades of blue for professionalism with fresh, fruit-inspired pastel tones. This harmonious blend creates a modern, lively identity that is used in a variety of ways: on stationary, packaging, delivery vans, merchandise and a mobile trade fair stand.

The website picks up on the corporate design and uses the illustrations in animated form to visualize production processes. Images and videos, colored in the corporate colors in duplex style, underline the dynamic of the machines. The result is a clear, consistent visual language that combines professionalism and recognizability.

Flogaus combines precision and passion for beverages with a creative vision – with branding that is just as exceptional as the products. Cheers!

clearvise stands for environmentally friendly energy production through wind and solar parks as well as a biogas plant in Europe, combining sustainable values with attractive returns. As part of a strategic reorientation, a new brand name, an independent corporate design and an innovative website were created to meet the highest visual and technical standards.

The new logo, inspired by a stylized wind turbine, symbolizes movement, energy and innovation. The brand name clearvise combines clarity and consulting, reflecting the commitment to sustainable projects with vision, expertise and long-term success. Dynamic arrow elements, inspired by natural forces such as wind and sun as well as the dynamics of the financial world, create a lively and energetic brand identity.

The site combines modern design with innovative web technology: fast load times ensure a seamless user experience, while dynamic content is delivered flexibly and efficiently. The result is a platform that is both visually appealing and functionally optimized, tailored to the needs of investors and stakeholders.

Professional brand communication is reinforced by the typography in TWK Everett, which blends organic forms with a clean, technical aesthetic. The color palette – with bold shades of dark blue complemented by vibrant accents of yellow, green and blue – creates trust and emphasizes the focus on renewable energy sources. In this way, clearvise combines high-quality design with sustainable energy and a clear vision for the future.

The legal start-up LCA (Legal Compliance Automation) provides a platform for legal services for SMEs. We created the corporate design, a headlining system and the web design.

The Bichacho Dental Clinic from Israel has a highly qualified team of professionals dedicated to the individualised care of each patient. With extensive experience and a passion for the art and science of dentistry, Prof. Bichacho and his team bring a wealth of knowledge and a commitment to excellence that defines their practice.

The visual identity for Bichacho was designed by Ark Visual using Apparat in Light, Book, and Medium. Hebrew text uses Fontef’s version of Narkiss Block.

Unique’s goal is sustainable and resource-conserving land use. With its work, Unique provides impulses that shape the way we treat our environment worldwide. We have bundled this ambition with the client in a claim and made it visible in a unique corporate design.

Klinikverbund Südwest (KVSW) is one of the largest municipal healthcare providers in southern Germany and unites six hospitals across different locations. In order to establish a clear, uniform identity, a comprehensive rebrand was carried out. The aim of the project was to promote a strong community and a sense of belonging for the approximately 6,000 employees who are responsible for the care of 550,000 people in the Böblingen and Calw districts.

The new brand strategy was developed in a workshop together with Sarah Laprell, Christina Scheib and Michelle Weber from Studio Oskud and brand strategist Nadja Hogl. This involved defining target groups, analyzing the existing brand personality and formulating a new mission and vision. The central message is: The hospital group sees itself not only as an association of its locations, but also as a community characterized by professional excellence and humanity.

A central aspect of the rebranding is the typography, in which the Pangea font family by Christoph Koeberlin (Fontwerk) plays an essential role. This clear, geometric yet softly formed font design reflects the modern values ​​of the clinic group and is used in both the logo and as the primary font. It is used in the orientation system of the new administration building as well as all forms of communication.

Pangea is complemented by the serif font Torrent by type designer Manushi Parikh (Indian Type Foundry). The secondary font creates a down-to-earth and elegant effect thanks to its differences in line thickness and forms a harmonious contrast to Pangea.

Pangea also forms the basis for the key motif, which visually emphasizes KVSW’s local identity by integrating the initials K, V, S and W. The multicolored presentation and flexible design scope of the key image reflect the versatility of the association and ensures adaptation to different media formats.

A new color palette was also developed and offers a broad spectrum that allows for flexible and easy application. It characterizes KVSW’s lively image and ensures consistency and accessibility across all media. The furniture in the new buildings was also changed in line with the new scheme. The new brand colors are dark blue, light blue, beige and red and the colors of the figurative motif are orange, yellow and green.

The final result is a consistent brand identity that positions KVSW as a uniform and trustworthy healthcare association.

Entrance area in the Sindelfingen Clinic

Concept Development Report 2023

Concept Development Report 2023

Notebooks

Web design

Orientation system in the new “Hochpunkt” central administration building in Sindelfingen

Concept Development Report 2023

Lanyards

View of several assets

In 2021, we developed a comprehensive corporate design program for the Deutsches Schloss- und Beschlägemuseum (“German lock and fittings museum”) in Velbert, ranging from a permanent exhibition and website to advertising materials.

A lock connects inside and outside – this is exactly the principle behind the new layout system. One part of the objects on display remains concealed within the form, while the other part protrudes beyond the form. In this way, the design allows maximum flexibility with a high recognition value.

A good notary's office is not just the notary, it consists of a good team and it involves the client with their individual needs. The ‘&’ is at the heart of the clear image of the notaries Ohnezat & Link in Emmendingen near Freiburg.

The brand typefaces are Suisse Int’l and SangBleu Kingdom, both available from Swiss Typefaces.