From design studio Everyday Practice:

Aqua Paradiso, hosted by the Asia Culture Center, is an exhibition that imagines a positive future through life, birth, healing, regeneration, and recovery under the theme of ocean and ecology.

Everyday Practice has tried to visualize the concept of healing and recovery of water in a mythical/religious sense. We designed the key visual by borrowing the phenomenon of anthropocene and the landscape of climate crisis that it causes as a graphic motif.

The title is composed of Voyage and Neue Haas Grotesk Display. Voyage is also used in the interior, paired with GT America, Sandoll GothicNeo and Suisse Works.

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.

Protest Grotesk is the typeface used by Seasonal Fruit for Wir wollen baden! (“We want to go swimming!”), published by Neckarinsel Stuttgart in collaboration with Prima Publikationen. Additional display typefaces used in the book include Sometimes Times and Blocus.

From the publisher (translated):

This water guide is a handy companion for getting into cool waters on hot days. Even in the Stuttgart metropolitan area, temperatures are rising. At the same time, Stuttgart and the surrounding region aren’t exactly known for nearby lakes for swimming. That’s why we went searching for you—and we found them: from river swimming spots to hidden waterfalls and refreshing forest baths, here are the islands for cooling off.

On 14 tours through the region, we give you insights into the many ways to swim and cool down, sprinkled with information and facts about the waters, because water is much more than just fun in the pool: it’s our drinking water, wastewater, a habitat for flora and fauna, and even a means of transport. Easily accessible by public transport, the tours invite you to stroll, walk, hike, cycle, or paddle—alone or with friends and family.

And the best part: each tour comes with a postcard as a keepsake, to send, or to share, featuring scenes from your swimming adventure.

Shortlisted for the Most Beautiful German Books 2025.

Postcard with all-caps Blocus on the back

Spread featuring all-caps Sometimes Times, rotated and with overlapping glyphs

More Water Than the Eye Could See is a photographic project that sits between documentary practice and a sensitive exploration of place, developed around Lake Lanier, located in the southern United States (Georgia). By closely observing this artificial lake created in 1957 and walking along its shoreline, French-American photographer Tempé Storm Cole searches for traces of the painful history it submerged. The landscape resists, revealing little.

The publication by Bluff Books comes with a copy of map of the dam as published by the U.S. Army in 1970. For a closer look at the map, see a 1975 edition using the same design (also using Balloon Extra Bold as the main font).

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

Koalicje wody / Coalition of Waters is an exhibition presenting works and actions by contemporary artists that address environmental issues. The participating artists share their visions across three locations under the Baltic Gallery of Contemporary Art in the Słupsk region.

Curated by Agnieszka Kilian and Romuald Demidenko, the exhibition focuses on observing our surroundings in the face of climate change, taking the River Słupia and the Baltic Sea as its points of departure. The reflection on water – as a force that transcends borders and fosters symbiotic relations – is inspired by Édouard Glissant’s concept of Tout-monde.

The exhibition identity was designed by Karolina Pietrzyk and Tobias Wenig. All typography is set in KTF Prima by Kyiv Type Foundry.

Located in a historic district within Fremont, California, Fremont Springs Conference Center is a modern facility for churches to conduct conferences and regional events. After the property was purchased and renovations to the existing building were nearing completion, they recognized the need for a logo and identity to properly represent the conference center. Fremont Springs partnered with Eric Axelson Studio to develop a visual identity system to help the facility come alive.

The visual identity was thoughtfully crafted after extensive research into the history of the city of Fremont, particularly the Warm Springs district. We soon discovered that it was once home to renowned hot springs, which quickly became the conference center’s theme. In the 1800s, many flocked to the springs to bathe in the healing waters to find rest and relief. Our hope was that the center would also carry the same sentiment.

Springs are also significant in the Bible and are used as a metaphor to represent salvation, satisfaction, and refreshment. John 4:14 says, “But whoever drinks of the water that I will give him shall by no means thirst forever, but the water that I will give him will become in him a fountain of water springing up into eternal life.” With all of this before us, we knew this would be an integral part of the center’s visual identity.

In addition, we found that some of the city’s most important landmarks are trees cultivated by its early pioneers, including the olive trees that lived near the conference center. These trees provide a rich heritage and a vital link to the city’s past. They reference a point in time, especially for the younger generation, on “where we’ve been, where we are, and where we’re going.” Today, these trees play a significant role in providing and maintaining a future identity with the community, making it an appropriate and fitting direction for the logo.

After hundreds of sketches, we landed on a simple yet iconic design concept that pointed to the name – a tree representing the city of Fremont and the depiction of water portraying a spring.

Two typefaces were selected for the brand – Verlag and Archer (not shown here). Verlag is a friendly and approachable sans serif that retains some of the same organic shapes found in the logomark, making it a suitable complement. Archer’s rolling ball terminals lend the typeface much warmth and character.

I have been afraid of chains underwater my whole life. I realised this when I was a child, while watching a cartoon polar bear climb a buoy. This zine and the essay within it attempt to identify the reasons for and thresholds of this very specific fear.

This project was started in the sixth semester at DHBW Ravensburg | Mediendesign [MdRV] and continued as a free project after completing the Bachelor’s degree.

The hand-bound booklet has 16 pages and measures 90×170 mm. It was Riso-printed with two colors at Risofort Hamburg, on Fedrigoni Arena White Rough 120g/m². Limited edition of 75 prints.

Supervision by Florian Tscharf. Proofreading and conceptional support by Marie-Luise Weier. For the typography, I used HAL Timezone.

The publication Flowing Streams consists of eight brochures wrapped in a dustcover, which also functions as a map of water flows in Romania. It was designed by Karolina Pietrzyk and Tobias Wenig, set in HAL Timezone and HAL Timezone Mono, published by HAL Typefaces. The publication was coordinated and curated by Nicoleta Moise and Adelina Luft and printed by Fabrik in Romania in an edition of 500 copies. The brochures are the result of a series of two-week residencies in different locations all over Romania.

More information on the residency program from EUNIC Romania, the organizing body:

FLOWING STREAMS is a multi-residency project in rural areas of Romania exploring local approaches to the cultural ecology of water, designed and developed by EUNIC Romania. It involves seven cultural institutions operating in Romania – the British Council, the Czech Centre, the Embassy of the Netherlands, the Goethe-Institut, the Italian Institute for Culture, the Polish Institute and Fundația9, each engaged in supporting one residency. The project was framed by this consortium of European partners, in collaboration with curator Adelina Luft.

In the context of the climate emergency and shrinking mobility opportunities for pan-european exchange, FLOWING STREAMS aims to harbour meaningful collaborations between artists, architects, anthropologists, hydrologists or community organisers and the local partnering organisations from Romania. The programme intends to create space for co-learning, mutual listening and exchange of knowledge and practices, centred around the theme of water – the cultural embeddedness of local or traditional approaches to water management and water conservation, the social and environmental sustainability of these practices, and their adaptability to changing environmental, political and economic circumstances.

Romania’s rural landscape represents 90% of the country’s territory, with diverse climates and natural resources. Lack of investment in rural areas has generated scarcity and limited opportunities for inhabitants, but it has also left nature to survive on its own, with many areas still holding old forests, wetlands and rich biodiversity. Sadly, corruption and poor policies to protect the natural environment, connected with lack of ecological education, are threatening the sustainable development of these areas.

The seven European practitioners selected will have the opportunity to immerse themselves in the daily life of the Romanian village and explore the context of water specific to each location, hosted and mediated by a partnering organisation. Located in different rural areas of Romania, the host organisations have been running dedicated programmes around notions and practices that recontextualize the rural space and the natural environment through a reorientation of sensibilities and from a new paradigm of ecological knowledge. Through the residencies, participants are encouraged to explore local cosmovisions and practices around water, its relationship with customs, traditions, or occupations, by listening, sharing and exchanging with the spaces as sites of interpellation. These encounters are intended to open up new possibilities of reclaiming knowledge linked to a territory, historical memory and ecology, and to map a network of existing or potential socio-ecological practices that restore our relationship with water.

The Hydraulic Heritage Interpretation Center of the Colony “Claritas Iulia Ucubi” – Casa del Agua was created to highlight the historical connection between the town of Espejo and water.

Designed by Revel Studio, the visual identity inspired by the peak period of hydraulic system development: the Roman era. Typography, textures, inscriptions, columns, vaults, and capitals shape a unique and versatile visual universe that adapts seamlessly to different formats while maintaining its identity.

The exhibition is housed in the town’s former water reservoir. The design approach focused on adapting panels and display areas to the circular layout, optimizing the limited space for a balanced, accessible, and easy-to-understand experience.

Typography is set in Romie Regular and Italic (designed by Margot Lévêque).

Interactive exhibition design

Waterdicht is an exhibition for contemporary art. Ten artists created specific works that relate to the exhibition’s immediate surroundings, namely Fort Maarsseveen. The fort and the landscape around it are part of the New Dutch Waterline.

We found the given topic of water an interesting one to design with. In abstract form for the identity and in a literal form where visitors could use watering cans (filled with the water from the moat around the fort) to read the information on the signs near the works of art – because it appeared only after spraying the signs.

Exhibition poster

Interactive exhibition design

Motion graphic

Flyer design

Webdesign in Webflow

Visual identity assets designed for the Instituto Guaicuy –

a non-profit entity that emerged from the fight to preserve the Rio das Velhas basin and its activities are dedicated to defending the environment. […] Its actions are guided by popular activism in the search for ways of life that promote socially fair and environmentally sustainable coexistence between people, water and territory.

The campaign graphics were used for an event by the Comissões de Pessoas Atingidas das regiões 4 e 5 (“Committees of affected people from regions 4 and 5” in Southeast Brazil. This meeting took place in December 2024 in Curvelo, Minas Gerais, and was dedicated to the fight for full and effective reparation for people affected by the 2019 Vale dam collapse in Brumadinho, Minas Gerais.

Montserrat Alternates was chosen to write the project titles. Its charismatic design in letters like E, M, and A, along with the mix of uppercase and lowercase characters, added personality to the pieces while aligning with Guaicuy’s branding.

See also the previous post about a series of related maps and infographics.

The motto on the tote bag is adapted from a quote by the artist and researcher Isabela Frade. It reads “Em água de peixe grande, é necessário ser cardume”, which translates to something like “When in waters with big fish, it is necessary to form a school”.

The cardume (school of fish) is comprised of various native fish species which are depicted with the Portuguese and Latin names.

“Access to information, access to participation, access to reparations”

Map design for Baixo Paraopeba, Três Marias Reservoir, and São Francisco River, made as part of a series of infographics for the Instituto Guaicuy.

Roboto Condensed proved highly effective for long names. For titles and highlighted lists, I selected Montserrat.

The We Are Water Foundation is an initiative by Roca. For their 2020–2023 activity report, we combined black-and-white photographs of the intervened locations with watercolor illustrations to create a dramatic and vibrant visual effect. This visual treatment highlighted the impact of the projects through the contrast between the sobriety of the images and the dynamic color of the illustrations. The modern layout complemented the aesthetic, while the use of recyclable materials underscored the commitment to sustainability, offering an attractive and coherent report that aligned with the foundation's values.

The report uses Playfair Display and Inter throughout; the foundation logo is set in Gotham.

Highland Spring, a well-established water brand in the UK, launched a month-long campaign in August 2023, featuring ads on buses, tube and train stations. Design agency Juice developed a clean and impactful design, combining JAF Bernino Sans with beautiful photographs of Scotland’s natural landscapes. The font is used also on the brand’s website, where it’s supported by Inter.

Flavored seamoss water

Self-care company Get Well used F37 Bella in their branding. F37 Bella Bold primarily features in the logo, which is used across the packaging in large sizes and vibrant colours.

Organic lip balms

Studio Andrew Howard and André Cruz Studio designed the graphic identity for the 2023 edition of the Porto Design Biennale, which opened in October.

A visual identity animated on multiple media, based on Baste (from lift type), 3D water shapes and a background color that evolves in gradients.

From their Instagram post:

The first item we conceived for the 2023 edition was the digital poster. From the outset, rather than designing for print, we were set on first designing for digital animation with the idea that all printed/static materials would flow from this. The printed posters are stills from the animations.

Baste A Black is supported by Klim Type Foundry’s Untitled Sans.

TT Norms Pro is branding font of 8 The Thalasso U.

8 The Thalasso U is a new brand with the concept of rethinking hair as skin. The product hydrates both the scalp and hair thoroughly as if it’s skin by repairing at the cellular level.

Thalasso comes from the Greek word thálassa, meaning sea. This brands uses beneficial marine ingredients with skin care ingredients to repair and plump hair at the molecular level.

Results of the workshop week at ECAL between first and second year Master Photography students “to introduce them to our lovely city and the surrounding area”. Assisted by Giacomo Bastianelli, Mahalia Taje Giotto and Clément Lambelet.

The typophoto posters, postcards and the booklet presenting the results of the workshop were set by Giacomo Bastianelli in AL Linea Medium and Bold, a revival started by Alex Lescieux in 2020 at the ECAL Master Type Design. AL Linea is a lengthy restoration project that aims to be as close as possible to the original FTC Linea by Umberto Fenocchio launched in the sixties, using very precise scans of all the characters shown in the original specimens. AL Linea is available on request, and the complete original collection (including condensed version) is currently under development.

LIFEBLNC’s purpose is to mitigate water scarcity by providing an alternative solution to water-stressed nations. In order to highlight certain statements, they use Grato Grotesk all over their website. TT Hoves serves as body text.

LIFEBLNC is the first large-scale global exporter of high-quality water in bulk shipments. Water scarcity is an intergovernmental problem, which is defined by the quantitative lack of fresh water resources. The UN General Assembly established the Sustainable Development Goal 6 to achieve universal and equitable access to safe and affordable drinking water for all by 2030.