Source: piafleischmann.com License: All Rights Reserved.

What served as workwear for postal employees for over 20 years is now getting a new life. Together with the committed and open-minded team at Swiss Post, I had the pleasure of designing the special stamp “Upcycling – from Postal Uniform to Postage Stamp.”

Typography plays an essential role as well. The stamp features MZ OTR Grotesk by Marc Zenhäusern – a contemporary workhorse typeface rooted in Swiss design, combining legibility, precision, and character. A perfect complement to the theme.

At the heart of the project was the idea of creating a tribute to the recognizable look and strong sense of belonging among employees. The fabric of the familiar light-yellow shirt is now setting off on another journey – this time as a postage stamp. The design incorporates characteristic elements of the postal uniform: the print recalls the anthracite-colored blazers that were once part of the outfit and celebrates the diversity of the people who wore them with pride every day.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

Source: piafleischmann.com License: All Rights Reserved.

A new special stamp was issued in October 2024 to mark the 150th anniversary of the Universal Postal Union. The design won the competition because it combines the idea of stylized envelopes and national flags, creating a colorful surface that vividly integrates the stamp lettering. In addition, the triangular flaps of the envelopes can also be read as arrows, which illustrate the transportation of the letters through the Universal Postal Union. The envelopes also reappear in the margin of the sheet of ten stamps and in the two corresponding first day postmarks. The stamp is available in Deutsche Post branches and online. The typeface Helvetica complements the minimalist style of the stamp.

Tierra Ignota organizes immersive expeditions to remote locations. In less than a year, it has become one of the key references in its sector. What’s surprising is that from day one, they already had the hardest part: a clear narrative, a defined ethos, an active community, and a powerful visual archive.

The art direction was guided by a very clear principle: don’t compete with the content. Tierra Ignota already had a strong visual and narrative presence. What it needed was a framework, not a stage set.

Within that delicate balance – finding a visual language that felt distinct but didn’t compete, that wasn’t overly minimal or too trendy – typography played a key role. It gave warmth and clarity to the brand without adding noise or relying on decorative tricks.

We combined three typefaces to build this structure. Romie, by Margot Lévêque, brings subtle warmth and a reference to editorial design that supports the project’s narrative voice. Neue Montreal, by Pangram Pangram, provides visual clarity, structure, and a rational foundation that balances Romie’s softness. And to add a technical layer, Nitti, the monospaced typeface by Bold Monday, brings in visual cues from mapping and field note systems. Its 19th-century grotesque heritage introduces a different texture, activating a secondary voice without disrupting the overall cohesion.

We consciously distanced the design from the usual codes of the sector – no NGO greens, no lofty templates, no “ethnic” elements, no handwritten type – and moved toward a set of references that felt more editorial, documentary, and technical. The inspiration wasn’t a travel portal, but a field desk: a place to lay out maps, photos, notes, and records, not in rigid order, but with inner logic.

The color palette followed that same principle. We avoided sterile whites and harsh blacks to prevent unnecessary contrast, letting the photography, the true protagonist on the page, breathe and rise above the brand.

The result is a living visual system, capable of holding the story without interfering. A clear, flexible framework that doesn’t need to be rebuilt with every update – just unfold, like the project it supports.

Slowhop provides unique holiday destinations for authentic experiences. The company has multilingual teams supporting guests and hosts from various corners of Europe.

Third What helped the startup that was already beloved by many to be loved by most.

Our tasks included all aspects of brand personality, brand language, and brand appearance. The objective was to design a visual identity system that organises the existing materials and authentically represents the company, its culture, and the values it upholds. This was achieved through the development of a cohesive visual identity system that harmoniously merges nostalgia-driven design elements with contemporary branding needs. By incorporating visual references to traditional travel ephemera—postcards, stamps, and postmarks—the system creates an authentic connection with the audience while maintaining a fresh, modern appeal. This approach not only organizes existing materials under a unified aesthetic but also effectively communicates the company’s core values, particularly its environmental commitment, as evidenced by the deliberate selection of eco-friendly materials for all printed collateral.

The typography pairs Joanna Angulska’s Havana with Jan Estrada-Osmycki’s Pretty. Originally, the handwritten w in the logo was meant to symbolise a smooth transition between tranquillity and sensations.

Website detail

Website detail

Campari Bold is a bespoke typeface for Campari Group. It was developed in 2018 by Out of the Dark in a single style in collaboration with Landor Milan. Campari Bold can here be seen a wild mix of applications.

Alternate swashed characters together with superior and inferior characters provide possibilities for playful designs. In terms of the space required for the text, they offer more typographic flexibility.

The accompanying sans is GT Eesti Display.

160th anniversary stamp designed by Francesco Poroli

Excerpt from the Type Manual (PDF)

In collaboration with the Lucerne University of Applied Sciences and Arts – Design, Film and Art, Swiss Post launched a competition that challenged students in graphic design. Swiss Post aimed to pique young people’s interest in the Swiss Post of today and have them share their thoughts on the subject.

The jury selected Svenja Kolly’s and Mia Gujer’s designs from the entries submitted. The result is two interrelated stamp designs that symbolize Swiss Post’s connecting and networking role. The design includes a modified version of the original number 1 in Movement to enhance legibility.

A series of stamps, postcards and envelopes were printed to celebrate Swiss Post’s 175th anniversary.

Description of the project by the designers:

The stamp respresents the theme of movement, as well as focusing on the bonding role of the Post. In regard to the 175 year anniversary bright colors are used to show moderness, classic symbols represent the tradition.

From Monika Rohner’s website:

One year ago (August 2021) Swiss Post contacted me and asked if I would be interested in taking part in a competition for a stamp to celebrate the research station on top of Jungfraujoch. Swiss Post invited three studios for the briefing to the “Top of Europe”. We spent an amazing day at 3’500 meters above sea level and came back with a lot of impressions, information and fotos on our smart phones. After a clearly defined design process, a committee at Swiss Post decided whose stamp design should be produced. I was the lucky winner and, in addition to the stamp, was also allowed to design the sheetlet of 10 stamps and the first day envelope with a special stamp.

The stamp depicts the Sphinx Observatory, one of the highest astronomical observatories in the world, which has a viewing platform at a height of 3,572 metres (11,719 ft). The typeface chosen by Rohner is Steradian.

Affranchissement – Acting for the advancement of Art faber is a book about the Art faber collective project. This programme brings together various types of artworks which take economics, work, and business as a primary or a secondary subject matter.

From the Art faber website:

Art faber engages all forms of artistic expression, including literature (fiction and poetry), graphic novels, fine art, music, photography, cinema, and the performing arts.

Whether laudatory or denunciatory, figurative or abstract, realistic or dystopian/utopian, all these creations take up their rightful place in our promotion of Art faber.

This book was created by Lourdes Arizpe, Jérôme Duval Hamel, Lorie-Anne Rainville and designed by Salomé Macquet. Salomé used Maria and Heneczek Pro by Threedotstype, and Vroum Gti by Lifttype.

To mark the 500th anniversary of the Protestant hymn book, the German postal service published a stamp in January 2024. The stamp shows a stylized illustration of the hymn book and the church of Lutherstadt Wittenberge. I translated the historical theme into a contemporary, modern design , making visual reference to a church window that is illuminated. This effect intensifies when the stamp is arranged in a row with the margin of the sheet of ten stamps. GT Walsheim fits perfectly with the reduced, geometric illustrations and gives the stamp a modern character.

In addition to the stamp, two first issue postmarks were created for Berlin and Bonn, as well as the margin of the sheet of ten, which continues the design of the stamp beyond its format. The stamp is available in all Deutsche Post shops and online. The date of first issue was January 4, 2024.

Visual identity for Molendrift, an organisation of ambitious and optimistic pioneers in healthcare, working in the north of the Netherlands. The rebranding consist of a new website, a brand book, print materials, signage, postage stamps and wayfinding.

Studio6 is used throughout in a single weight. The visual identity was designed by Studio de Ronners with illustrations by Megan de Vos. Slash 2 worked on the website.

October 29, 1923 marks the start of regular entertainment radio program in Germany. For the 100th anniversary a special stamp was released by the German Postal Service.

The stamp features the typographic message “Achtung Aufnahme! Bitte Ruhe” (the German equivalent of the “On Air” sign) on a bright red background. The sign stands as a strong symbol for the radio studio and the recording of a radio show. The typeface Guida is reminiscent of an original illuminated sign that can be found in the Deutschlandradio broadcasting center and served as a model. In addition to the stamp, two postmarks for Berlin and Bonn were created, as well as the border of the sheet of ten stamps. Printed in fluorescent red.

Jana Keppens designed and Thomas Driesen photographed the birth announcement of their own child, Pablo Joseph Driesen, using Kalice by Margot Lévêque and a yet unidentified sans serif.

The Coronation: representing the monarchy, continuity, longevity, heritage, and tradition

Toshi Omagari writes:

Excited to spot Albertus Nova being used for the coronation stamps!

Albertus was designed by Berthold Wolpe, a Jewish German immigrant, and has become one of the quintessential British typefaces. And the revival, Albertus Nova, was designed by a Japanese one (myself). Proud to be part of the British design tradition!

From Royal Mail:

A commemorative stamp issue marking the Coronation of His Majesty King Charles III and Her Majesty The Queen Consort at Westminster Abbey on 6 May 2023.

Four new Miniature Sheet stamps featuring wood engravings by British artist Andrew Davidson. The background design depicts intermingling foliage symbolising the UK’s four nations: the rose, thistle, daffodil and shamrock.

The stamps were designed by Atelier Works and printed by Cartor Security Printers. See also Abbey Bamford’s article for Design Week.

Diversity and Community: reflecting a multi-faith community, cohesion and the people of modern Britain

The Commonwealth: depicting an outward-looking Britain, global trade, cooperation, democracy and peace

Sustainability and Biodiversity: highlighting the importance of conservation, biodiversity and a society that works with nature

Miniature sheet

The 2020 Kwanzaa forever stamp designed by Antonio Alcalá and Andrea Pippins

The 2020 Kwanzaa forever stamp, art-directed by Antonio Alcalá and illustrated by Andrea Pippins, took first place in the invitations/announcements category of the 2022 Print Awards, held at the One Club for Creativity in New York in 2022. Alcalá used Tungsten Medium to set the words “KWANZAA/FOREVER/USA” and what appears to be Univers Condensed for the year.

Sheet of self-adhesive Kwanzaa forever stamps

The Kwanzaa forever stamp as it appears on an envelope

Detail of the self-adhesive pane of Kwanzaa stamps designed by Synthia Saint James

Kwanzaa is a celebration of African-American culture that occurs every year between December 26 and January 1. Created by activist Maulana Karenga, it was first celebrated in 1966. The US Postal Service issued a 32-cent Kwanzaa stamp for the first time on October 22, 1997, in Los Angeles, California. Designed by Synthia Saint James, the stamp features the seven symbols used to celebrate the principles that serve as the foundation of Kwanzaa: umoja (unity), kujichagulia (self-determination), ujima (collective work and responsibility), ujamaa (cooperative economics), nia (purpose), kuumba (creativity), and imani (faith).

Many Kwanzaa stamps have followed since 1997. This inaugural design uses Koch’s Neuland for the word KWANZAA, and Carol Twombly’s Lithos to set the country of origin (USA) and stamp value. The National Postal Museum notes that “the stamps were issued in self-adhesive panes of fifty and self-adhesive vendible booklets of fifteen.”

The Question can be put simply: How did these two typefaces come to signify Africans and African-Americans, regardless of how a designer uses them, and regardless of the purpose for which their creators originally intended them?

—Rob Giampietro, “New Black Face: Neuland and Lithos as Stereotypography,” Lined & Unlined, 2004

Swiss Post invited Jane Gebel and Michael Lüthi of Orkan to design a stamp for the canton of Zurich, to be included in a special sheet.

The Zurich stamp shows a digitally networked world. Thematically chosen because the canton of Zurich has the largest education locations and the most start-ups in Switzerland. The canton of Zurich is therefore strongly networked: within the canton, with Switzerland and the world. The QR code is a symbol for the global density of information and provides the transfer from the analogue to the digital world.

The special sheet “My canton – our Switzerland” with 27 stamps shows the diversity of Switzerland. It has one stamp for each of the 26 cantons, plus one showing of the Haus der Kantone, all designed by different designers.

On 24 March, the stamp designs were projected onto the facade of the Federal Palace of Switzerland in Bern.

A series of stamps issued by An Post to celebrate great Irish woman athletes, including the new world lightweight boxing champion Katie Taylor. Designed by Unthink. Samples photographed by Johnny Savage.

Graphic design studio Paprika has designed a new commemorative stamp for Canada Post to mark the 70th anniversary of the reign of Her Majesty Queen Elizabeth II.

Love is used as the main typeface, paired with a yet unidentified typeface [It’s Mirador, see comments].

The monarch is represented under her iconic profile, created by sculptor Arnold Machin and used by the Royal Mail since 1967. The composition is full of elegance. It offers a delicate play of overlapping typography combined with a platinum finish that gives the whole the pomp of a great celebration.

Dutch graphic designer Wout de Vringer chose BVH Baldinger to typeset the text on this set of stamps titled 175 jaar spoorwegen in Nederland. He comments:

In September 2014 PostNL published ten unique stamps to commemorate 175 years of railways in the Netherlands. According to Simone Bel, Corporate Communications director at PostNL, it is an important accomplishment that PostNL has now immortalised the train and the railway as iconic elements in Dutch society. “I am convinced that these stamps will evoke warm and happy memories of railways for many people.” The stamps portray the rich history of railways in the Netherlands. The ‘175 years of Dutch railways’ stamps comprise a collage of images including trains, locomotives, old and new NS logos, station clocks and old and new railway stations. Each individual stamp is a collage of several images. History, future and dynamic development are key. The stamps were chosen as the most beautiful Dutch stamps of 2014.

This unconventionally shaped “Wollhaube” (“wooly hat”) stamp was issued by Die Post, the Austrian postal service in February 2022, as the second in a series of winter-themed novelty stamps. Like the first one titled “Fäustling” (“mitten”) which used special transfer printing technology, it was designed by David Gruber and produced by Joh. Enschedé Stamps B.V.

The font in use is Fruktur, a modernized blackletter, or more accurately, an upright italic dressed like a blackletter. I applaud David Gruber’s choice: Fruktur sits at the sweet spot between rustic alpine and hip contemporary. It would have looked better in mixed case, though: most blackletter-flavored typefaces aren’t particularly well-suited for the use in all caps. Fruktur is an early design by Viktoriya Grabowska, which she finalized after graduating from the Academy of Fine Arts in Poznań, Poland in 2010. Together with the related Kavoon and other designs, Fruktur was released with Sorkin Type and made available via Google Fonts in 2013.

Viktoriya was born in 1988 in Simferopol (Ukrainian: Сімферополь), the second-largest city on the Crimean Peninsula.