Atelier Bulk is a French boutique printer specialising in high-quality embellishments – hotfoil, embossing, debossing, and bespoke print finishes for luxury brands. Originally known simply as Bulk, the company faced a perception gap: a name that suggested mass production for a business built on craft and precision.

Bordeaux-based studio Abmo led the rebrand, drawing inspiration from luxury fashion houses to position the printer as a leader in its category. The new designation incorporates the term “Atelier” to signal artisanal character and distance the brand from industrial associations, supported by the descriptive line State of the Art Printing. The visual system pairs an elegant minimalist monogram with a powerful, timeless wordmark – clean and disruptive within a traditionally conservative industry. A unified website replaced the previous fragmented digital presence, integrating all services under a single identity.

Coat is a British interiors brand centered on curated paint and a broader decorating universe of tools, supplies and accessories.

Alongside its made-to-order, climate-positive paints, the brand offers primers, brushes, rollers, trays, tape and prep products, making it feel closer to a complete painting system than a paint label alone.

Since the launch in 2020, the identity combines Grand Slang by Nikolas Type, set in uppercase for the logo, with Roobert by Displaay for the wider text communication.

As a category leader in automotive surface repair, Evercoat’s sprawling portfolio had created a chaotic brand. Hyperquake consolidated the architecture into a tighter, more intuitive structure and streamlined the visual identity through a refreshed packaging system. The transformation was accelerated by a strategic marketing plan powered by social and influencer-led content, performance-driven initiatives, and updated traditional collateral. Together, we brought clarity to complexity—ushering in a more cohesive era for the Evercoat brand.

Set in all uppercase, the modified logotype uses Neue Montreal Medium, a versatile grotesque font that felt right at home in the auto body repair industry for its hard working and understated qualities. The custom O is based on the catalyzation process—the precise filler-to-hardener ratio that activates the product. We refined the mark to highlight this signature detail and reinforce its leadership in the category.

To complement the logo, the packaging system combines multiple weights of Neue Montreal and Transducer—each bringing a strong and no-nonsense vibe to the collateral. Transducer provides strong category cues that was inspired by vintage car ads and livery and speaks to Evercoat’s heritage. Neue Montreal becomes the straightforward, utility font that allows for important detail information to be clearly communicated.

Clean Plate Society is a club and catering venture that develops and serves seasonal menus. Its services include private dining events and catering. The identity was designed by James Mudd and is set in Romie Regular, designed by Margot Lévêque.

The script used for “inaugural” is yet unidentified. Young Gallant is similar.

Contemporary music venue Le Moloco wanted to set up a new festival in its region, the Pays de Montbéliard. With small venues, brownfield sites and unusual locations, BO District festival is designed to be itinerant, reaching out to audiences. The event's program gives pride of place to rap and electronic music, while also leaving room for more pop and folk artists. The programme bridges the gap between the different components of this unique region, which is made up of urban centres marked by industry, but also vast rural areas.

We designed the identity around this idea of travelling around the region. For a festival, occupying a variety of venues means making its universe immediately recognisable, for example through signage. We therefore designed a system of customised paper adhesive tape based on the principle of identity: a line running through the BO District territory. This tape makes it easy to materialise spaces, typography and signage.

Baked stands for ‘less but better’. This attitude is reflected in the design. At the Isemarkt in Hamburg-Eppendorf, Baked sells handmade cookies which are produced with a focus on a few but high-quality ingredients.

Designer used Maroni Condensed in a bold way and big size for the logo, combined with Helvetica Now for other text. Her goal was to develop a confident look that conveys effortless elegance. Kraft paper meets stainless steel elements – natural warmth meets high-quality precision.

Albra Book from Ultra Kuhl is used together with Messapia Bold and Coconat Bold Extended by Collletttivo in They That Do’s identity for Seedfolk, inspired by vintage botanicals and vegetable wood carvings. With an earthy look for the home startup, the studio set out to connect people with the colourful joys of growing their own. The website additionally uses Grilli Type’s GT Walsheim.

From Ellis Tree’s article for It’s Nice That:

Inspired by the shift in a desire to be outdoors and connecting with nature in the tough and isolating times of national lockdowns, Seedfolk was born out of a moment when many had time to slow down and reflect on the smaller things – in Gemma’s case this was growing veggies in her own back garden. The seed subscription and grow club started from Gemma’s own family’s journey with gardening and her desire to share this joy with others. “I thought this was a wonderful story and ultimately it's where the name came from – folk coming together to grow from the humble seed”, shares Vincent.

MUAS is a boutique ceramic atelier (and also a cafe), with products present worldwide, known for beautiful, yet bold and out-of-the-ordinary creations.

Japanese minimalism provided the foundation, aligning with the owners’ cultural inspiration while establishing luxury associations. Generous white space and editorial layouts created breathing room around products, transforming presentation from catalog merchandising to gallery curation. The simplified palette used warm greys inspired by clay tones, providing subtle backgrounds that enhanced rather than overshadowed the rich product glazes. Typography reinforced premium positioning through deliberate scale – small, spread-out text in English and Japanese added sophisticated detail without competing with photography. The organic, rounded logo softened stark minimalism while referencing clay forms. Despite simplification, the MUAS letterforms retained distinctiveness, demonstrating the thoughtful reduction characteristic of luxury design. This visual strategy positioned MUAS as a ceramics gallery rather than retail shop, fundamentally shifting customer expectations and justifying premium pricing. The identity successfully communicated that MUAS products exist at the intersection of craft, design, and art – transforming purchases from functional decisions to cultural investments.

Throughout printed matter, Neue Haas Grotesk is paired with snippets of Japanese text set in M PLUS 1p; on the bilingual website, text is rendered in Inter.

Tisse is a Marseille-based kombucha brand. Their workshop is both a place of production and a laboratory of experimentation, where they imagine drinks with singular flavors and original aromatic profiles that reflect the region that inspires them. With ingredients sourced as locally and organically as possible, Tisse offers kombucha that is naturally low in sugar, unpasteurized, and delivered sustainably across Marseille.

For the redesign of their brand, Tisse collaborated with Image Format to express both the craft and the contemporary energy that defines Tisse. The visual identity balances grounded qualities with a bold, modern edge, capturing the dual character of kombucha: rooted in tradition yet alive and fresh.

To achieve this, they turned to two typefaces by Marc Rouault available at Sharp Type. Trois Mille, with its high contrast and striking presence, gives the brand a contemporary voice. Tarnac Sans, a slab serif with a historic feel, anchors that energy with authenticity and craft.

Photography by Diane Rigou-Chemin.

Hope, promise, uncertainty—or threat? Are we becoming reluctant to embrace openness? What are we afraid of, and why? What lies behind, between, or beside doorways? And what promises come with doors that open by themselves?

For many years, the Linz University of Art and Design has transformed its downtown campus into an exhibition space for the Ars Electronica Festival. From here, the program moves into the city, transforming it into a laboratory for media art and architecture.

In light of the climate crisis, wars, and the ever-increasing power of tech giants, the Ars Electronica Festival 2025 posed the big question “PANIC – yes/no.” As a possible answer, the campus exhibition at the Art University Linz addressed the agenda with Alles.Immer.Offen:

We all know automatic sliding doors from shopping malls. They promise accessibility, mark a seemingly open threshold – yet lead into a public sphere that ultimately remains a market. But what happens when they no longer regulate the flow of consumption, but instead stage openness as a social practice?

This is precisely where the interactive installation Alles.Immer.Offen (“Everything.Always.Open.”) came in. On Linz’s main square, Paul Eis, curator Prof. Manuela Naveau, and their team erected three oversized sliding doors that communicated with the audience through sounds, noises, and texts. Everyday movements thus transformed into a play with space and perception: Sometimes the doors opened abruptly, sometimes they hesitated – thus engaging in a subtle dialogue with the visitors. Furthermore, the construction deliberately remained light, modular, and transparent. Even the floor rose slightly as soon as someone entered the sensory area, intensifying the moment of passing through. Furthermore, all components are reusable: The doors and their drive units are returned to the manufacturer, while the rest goes to the workshops of the University of Art and Design.

Designed by MOOI, the identity for Alles.Immer.Offen is set in Bastardo Rounded.

Nouvelle idée has crafted a striking new brand identity and website for Le Braquet, a specialist in technical cycling clothing. This visual transformation is designed to support Le Braquet’s international growth and assert its role as a benchmark for high-performance cycling apparel.

Typography plays a pivotal role in the new identity and the pairing of Store Norske Geita and Karrik creates a distinctive visual language. Karrik brings naive charm and personality, though its quirky, irregular letterforms make it best suited for expressive accents rather than extended text. To balance Karrik’s playful spirit, Store Norske Geita steps in as the workhorse—reliable, structured, and trustworthy, yet still carrying an approachable, charming character. Together, these typefaces reflect the duality at the heart of Le Braquet: technical expertise paired with bold, inviting design.

Crosby Studio is a branding and design company based in New York City. In 2022, Crosby was given a fresh look and rebrand designed by Cul De Sac.

The logotype uses the Black weight of Central Type’s Deacon. It’s set in all caps aside from the modified lowercase y.

Headlines are set in both Editorial New as well as various other weights of Deacon. The Crosby Studio website utilizes Simon Mono for body type and other small details.

A minimalist corporate design was created for Galerie Kaufmann in Hamburg that leaves enough space for the exhibited art. The main element of the design is a fine grid of lines based on the gallery's shop window front. The typeface International Edition complements this minimalist design with its rounded edges and sleek, modern look.

For the wine series “Handled with Care” by Felix and Alex, Studio Freude developed a visual identity centered around sustainability and individuality. Instead of using traditional wine labels, each bottle is wrapped with a strip of printed tape—making every unit unique and emphasizing the handcrafted nature of the product.

The typographic centerpiece of this design is Brubeck, a bold, condensed sans-serif. Set in tight, headline-sized arrangements, Brubeck adds powerful presence without overflow. Its compact proportions and strong graphic presence are ideal for the narrow, linear format of the tape. Brubeck’s retro-inspired forms evoke a tactile, analog feel that aligns with the project’s emphasis on care, craft, and minimal intervention.

The typeface Aconchego found its perfect home in studio Molde’s project for Regalo Casa, where the fluid curves translate the essence of a brand that gathers sophistication and affection. The font contributes to a visual identity that transitions naturally between refinement and comfort – precisely reflecting the brand’s proposal to be “present in your home” through its special curation for the household, from everyday moments to special occasions.

Tooth & Nail is a queer, artist-run ceramics studio and gallery based in Milwaukee. Designed by TART NYC, the visual identity reflects the studio’s grassroots, collaborative ethos, drawing inspiration from zine culture, punk ephemera, and analog collage.

Typography is central to the system’s voice. The primary logotype usesArial Bold, with each letter individually set and distressed to create an intentionally handmade feel. Choosing a default system font like Arial nods to accessibility, DIY tools, and “anti-design” traditions.

The supporting type palette adds expressive contrast. Broke Grotesk contributes compressed, angular energy in headlines. Mono Total introduces mechanical irregularity through its monospace rhythm, while LFT Etica Mono offers a clean, humanist counterpoint for body text and smaller applications. Lo Fi Copy brings a photocopied texture reminiscent of activist flyers and homemade zines.

Designed to work across signage, printed materials, and the website, the typography stretches between rawness and order. Decorative halftones, hand-drawn elements, and scanner artifacts layer over structured layouts, reinforcing a collective, community-first spirit.

Photographer: Kat Schleicher

Description of the project by the designer Nikola Matošević, who used ALT Riviera throughout the identity:

Bithoot is a newly established digital agency, driven by a passionate team dedicated to building tailored digital solutions. They approached me to create their entire visual identity from the ground up, setting the stage for their brand as they step into the industry.

At the heart of Bithoot's identity design is a fresh logo featuring an owl—a symbol of wisdom that speaks to their strategic approach. This is complemented by a defining graphic element: a line with a loop.

The straight line represents established, mainstream methods, while the loop represents young minds in tech that bring disruptive and innovative ideas to established and mainstream methods. Bithoot's team aims to challenge convention and inspire change.

With a fresh logo and cohesive brand elements, I worked closely with the client to define a bold identity that reflects their mission: to deliver impactful, customized digital experiences. This comprehensive branding captures their commitment to innovation and collaboration, positioning them as a trusted partner in the digital space.

Tilearoundtown is a creative tile consultancy specialising in crafting bespoke ceramic tile solutions for architects and interior designers. Based in Valencia, Spain, and the Cotswolds, UK, they work closely with artisan factories, seamlessly blending design, functionality, and craftsmanship.

The typography uses two typefaces inspired by early grotesks from the 1800s. The logo is set in JL Pirelli, and refers to the sans serif lettering often used by brick manufacturers to stamp the maker’s name into the clay. Body copy is set in Founders Grotesk. The colour palette reflects the earthy tones found in different clays.

The visual style of the new collection BLURR by Czech fashion brand LEEDA was designed by Marius Corradini

Urbane Künste Ruhr redefines the role of contemporary art in the post-industrial Ruhr region. With a mission to engage audiences from all walks of life, the initiative creates connections between public art, local narratives and global discussions, seeking to redefine art’s impact in transforming public spaces and promoting sustainable cultural networks.

The new identity is designed by Studio Yukiko:

With their local and polycentric approach, we wanted the new identity to be direct, accessible, easily adaptable and highly recognisable, whilst offering a playful design space that invites people who are keen to make new discoveries. A decentralised place to visit, but also highlight UKR as an institution interwoven into society.

The main fonts in use for the identity are Tokyto by Benoît Bodhuin and Bandit by AllCaps. The Urbane Künste Ruhr logo uses their custom UKR, designed by Florian Lamm and Elias Hanzer with Dinamo. The temporary website for the Grand Snail Tour 2024–2027 additionally uses KH Type’s KH Giga.