The VIVE (Vittoriano e Palazzo Venezia) is a national museum institute in Rome, established in 2019 and active since 2020, under the Italian Ministry of Culture. It brings together two iconic landmarks in the heart of the city: the Vittoriano, also known as the Altare della Patria, and Palazzo Venezia, along with the Central Museum of the Risorgimento, the panoramic terrace, and the Library of Archaeology and Art History. Dedicated to preserving and showcasing architecture, artworks, and collections central to Italy’s history and identity, VIVE combines research, conservation, and public engagement through exhibitions and educational activities.

From its establishment, VIVE has adopted a clear visual identity developed by the Trieste-based studio TassinariVetta. The logo and overall visual language favor a minimalist approach that evokes modernity and a sort of architectural precision. These values are reflected in the consistent use of the Suisse font family, beginning with the logotype, which combines Suisse Int’l Bold and Suisse Neue Medium.

This typographic choice is extended across the monuments’ visual system. Suisse Int’l is used for signage, ephemera, and public-facing communication, both online and in the street. A notable example is the long-running lecture series “VIVE al Centro di Roma”, whose first posters and subway ads showcased the new identity throughout the city.

On the website, designed by the agency Vergani&Gasco, Suisse Int’l is paired with Suisse Works rather than Suisse Neue. While all three belong to the same family, the choice introduces a functional distinction: Suisse Neue remains tied to the identity mark, whereas Suisse Works serves as a dedicated text serif. The shift preserves typographic continuity while separating symbolic branding from editorial usability, allowing the digital content to prioritize clarity without altering the core visual language.

The visual identity is here seen applied to the monuments' entrance tickets. Same typesetting, five different color codes for each of the five museums making up VIVE.

bronchify. License: All Rights Reserved.

Like a good ride, it’s all in the spacing: bronchify breathes easy, Kit sets easy.

The German company that’s concerned with “all things related to your horse’s respiratory health” recently rebranded. The newly introduced logo combines Kit Sans and Kit Rounded by Darden Studio. Being cut from the same cloth, the two typeface styles naturally go together well.

The Sans is more formal and ensures the reliability expected of a medical brand. The Rounded – which, quite unusually, came first in Kit’s design process – adds a good deal of approachability. The notch in the y works as extra eye-catcher. The last two letters are additionally highlighted through color. Consequently, they stand out from the wordmark, and can also be read as addressing the customer: “fy” as in “for you”.

Source: www.instagram.com bronchify. License: All Rights Reserved.

Source: www.instagram.com bronchify. License: All Rights Reserved.

Source: shopde.bronchify.com bronchify. License: All Rights Reserved.

The compact version of the logo as seen for the favicon retains the combination of Kit Sans and Kit Round.

Kit is also used for other touchpoints. Shown below are the “Bronchies”, a team of brand ambassadors in the form of cute characters related to horses and their lungs. Names in bold caps from Kit Rounded are supported by copy in Proxima Nova.

Source: www.instagram.com bronchify. License: All Rights Reserved.

Source: www.instagram.com bronchify. License: All Rights Reserved.

Source: www.instagram.com bronchify. License: All Rights Reserved.

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Ambiant Sans by Laura Csocsán is paired with the curly Carlos Walter by Clémentine Desmenez in the visual communication of Journées du Matrimoine (Matrimony Days).

Organized in Brussels since 2019, these days highlight, on the one hand, Brussels' historical heritage – architectural, sculptural, urbanistic, social; on the other hand, they are also an opportunity to discover today's heritage – artistic, political, and feminist.

From The Matrimony Days (translated from French):

Behind our print and digital communication are hours of discussion and care at every stage of the project. Quality collaborations, choice of fonts (...), printing techniques with the Lézard Graphique print shop near Strasbourg, unrivalled know-how, humor and seriousness in happy cohabitation, real political commitment through graphic design and the pleasure of creating collectively: this office is all this at once.

What a joy, then, to see the muses drawn by the talented Olga Prader dancing proudly in the streets of Brussels in a disco ball effect that we love ?????
Working as a feminist is also all this. And much more. ?

Photography: Philippe Braquenier
Design: Le Roy Cleeremans (Esther Le Roy & Sarah Cleeremans)
Illustration: Olga Prader
Print: Lézard Graphique

Bella triste is a German literary magazine that showcases the work of emerging and established authors. The 65th issue explores the fusion of contemporary literature and minimalist aesthetics and indulges in a fairy-tale theme.

Designed by Handina Murandu and Vivien Sorrentino, the magazine uses Romie Regular and Italic (designed by Margot Lévêque). The title combines the sans serif ABC Monument Grotesk (designed by Larissa Kasper and Rosario Florio) with Dan Rhatigan’s Astloch. In the latter, the S was modified to be more symmetrical.

The issue number on the cover is based on UnifrakturMaguntia, with customized numerals. Inside the magazine, there’s also Spencerio (by Jérémie Hornus and Julie Soudanne), JAF Herb (by Tim Ahrens), as well as more of the other typefaces.

Back cover with the names of the contributing authors

Detail with bevelled golden caps from Romie

Editorial with a headline in Romie and a stray D from UnifrakturMaguntia. The initial is based on Astloch.

All-caps Romie with byline in Spencerio

Running titles (here “Libido Lucid”) are set in Monument Grotesk.

UnifrakturMaguntia and all-caps Spencerio, paired with Romie featuring a nested CI pair.

Outlined JAF Herb overlaps with negatively tracked Spencerio.

A title in Spencerio is combined with Romie and Astloch for the author’s name.

More Romie with interspersed caps from Astloch

Astloch, Romie, JAF Herb, and Monument Grotesk were also used for the merch items, a tote bag and a cap.

A poster with an enlarged version of the magazine cover, in front of the Bella triste office in Hildesheim

Founded in 1998 in Laufenburg (Swiss Canton Aargau), Energiedienst is an energy supplier that offers electricity and energy-related services in southern Baden, north western Switzerland and Valais. At the end of 2023, the group restructured its brand strategy, which led to its renaming in 2024 to naturenergie, with the sub-brands enalpin (active in the Upper Valais market area), tritec (Swiss photovoltaic market) and naturenergie netze (the grid operator for South Baden).

The new visual identity was developed by Tonic, a Swiss agency from Upper Valais. According to their website, “Many people call us marketing specialists or creative agencies. We call ourselves design activists”.

With this in mind, Sebastian Bonani and his team created the brand kit for naturenergie with colorful, partly animated pictograms (“glyphicons”), a turquoise-yellow color scheme and Pangea as the new corporate font. A slightly modified Pangea is also used in the logo for the word “energie”, while “natur” appears to be set in (modified) Söhne Leicht.

“Energy transition is a major goal. Anything is possible if we join forces. If everyone pulls together, the future can become greener and more colorful at the same time,” says Bonani as he sums up his team’s motivation on the project page. With this in mind, Pangea is a good fit. 25 percent of Christoph Koeberlin’s designer royalties from Pangea go towards rainforest conservation and large-scale reforestation projects.

In terms of design, the font also supports the sustainable transformation of the naturenergie brand, under the motto “Welcome to the We & Now”. Pangea is modern, compact and cohesive. The striking “pince-nez glasses” g, the double storey a and the l with a curved end give the otherwise neutral typeface a humanistic touch. Diagonal terminals and round dots ensure a friendly appearance.

TT Supermolot Neue is the signature font of Sunorder.

Sunorder is an experienced dealer for photovoltaic systems. The company has a wide range of high-performance solar modules, batteries, inverters, mounting systems and other accessories.

Taken from Wikipedia:

The Crew Motorfest is a 2023 racing video game developed by Ubisoft Ivory Tower and published by Ubisoft for PlayStation 4, PlayStation 5, Windows, Xbox One, and Xbox Series X/S. It is the sequel to 2018's The Crew 2 and the third game in The Crew series, and was released on September 14, 2023.

“The Crew” logotype appears to be set in Ezra Black Italic, with modifications to R and E and adjusted spacing.

“Motor” is set in FF DIN’s Condensed Black Italic style with a modified R. The game website uses additional styles from the FF DIN family.

“Fest” is set in a custom-made font called Motorfest, or Motorfest DeskScript. It’s only available inside Motorfest’s Fan Kit that can be accessed through Ubisoft's Rewards Page.

Puff is a children’s book by author-designer William Wondriska that tells the story of an old-fashioned steam engine who dreams of adventures outside his freight yard. It was originally published in 1960 by Pantheon books, and reprinted in 2015 by Universe Publishing (also available for borrowing from the Internet Archive).

The book is printed entirely in red and black ink. The story’s text, set mostly in Century Schoolbook, includes some expressive spacing and formatting, including a variety of typefaces integrated with the illustrations.

The concept of everydayness took on a new dimension over the course of 2021. Under the influence of the advancing global pandemic and constantly changing measures, most of us were forced to significantly adjust our lifestyles in order to adapt to the new situation.

This new reality was the subject of Všednost (“The everydayness”), held at Muzeum umění a designu Benešov: the Museum of Art and Design in Benešov, or in short MUD*.

The catalogue and exhibition pair Mabry – the museum’s brand typeface – with Danzante. Design by Jan Košátko, Ewa Chodzicka, Anežka Rozehnalová from studio Košátko. The exhibition itself was designed by architect Michael Kohut.

Brownie Points is Black-owned and operated outlet for the goods designed by Texas-born, LA-based artist/comedian Rinny Perkins. It creates identity-reflective art through retro advertising to take up space and give voice to those who feel unheard. From the website:

What started out as Rinny’s 70s-inspired collages and self-published zines in 2017 turned into this fully fleshed out shop where we celebrate showing up as we are and that means not holding our tongue when it comes to dating, sexuality and mental health.

In 2022, graphic design sudio and Brazilian creative duo Monga Design were asked to create their new visual identity, which needed to be retro but at the same time contemporary.

The main fonts in use are Rabbit Hole Display by Tomasz Pawluk (@boafff) and Perfectly Nineties by Jen Wagner. The shown tote bag and labels additionally feature a range of other fonts, including Bookmania, Lazybones, Cooper Black, and Sloop Script.

HUMAN is an electronic party that was born in Brescia, Italy, in 2018 at Vinile 45. The project is completely self-produced and organized by six artists, DJs and music lovers, who come together trying to make a significant contribution to the local nightlife.

These are some flyers made for events in winter 2022.

Front cover of the 42°19′07.6N 3°18′53.6″E EP

PlayaNorte (“North Beach”) is a band from Barcelona, with Artur Muñoz on guitar and vocals, Oriol Rosell on bass, and Javier Orenes on drums. They describe their musical style as “somewhere between punk rock and hard pop”, with influences ranging from Sebadoh, Dinosaur Jr, and Fugazi to domestic bands like Nueva Vulcano, Cala Vento, and Sr. Chinarro.

Gemma Villegas designed the band’s visual identity, in black and white, and with photography by Alberto Polo. For the typography, she worked with Mars, Alaric Garnier’s reimagination of Venus, published in 2018 with Production Type. Villegas playfully alternates between the two extreme widths, Mars Extended and Mars Condensed, always using the fonts exclusively in uppercase characters.

On PlayaNorte’s debut release, the band name is shown in Mars Condensed, with the N inserted from the Extended. The wide style is also used for the title: 42°19′07.6N 3°18′53.6″E are the geographical coordinates of Cap de Creus, the easternmost place in mainland Spain, at the coast north of Girona, Catalonia, close to the French border.

Stills from a promotional video clip announcing the EP release on July 10, 2020

Band merch: the T-shirt again combines Mars Condensed with an N from the Extended.

Lyrics (in Castilian Spanish)

Band merch: On the tote bag, the widths are reversed, with a single condensed N amidst extended letters.

Still from the music video for “La primera vez que viste el mar”

End credits from the music video for “La primera vez que viste el mar” (in Catalan)

The logo mixes ABC Maxi Sharp (S L T) and ABC Maxi Round (N G) – O and I are identical between the two.

Founded in Los Angeles in 2022, and launched in 2023, Songlit is a music platform that allows customers to order custom songs from unique artists worldwide, with the intention of gifting them to their favorite people. The digital platform aims to establish an inclusive and community-driven space that is currently lacking in the online marketplace.

Songlit embodies a youthful brand identity, enabling a diverse range of music genres and backgrounds while increasing relatability. Above all, Songlit thrives on bringing people together through the universal language of music. The brand's primary objective is to utilize music as a tool for celebrating everyday moments by creating custom songs that light up the world of someone special.

Strategy and brand identity: Studio Work
Illustrator: Ty Dale
Website design: Studio Work
Website development and animation: Tomorrow Happens

Megascope interspersed with Ed’s Market Bold Script

Studio Yukiko has created a playful, energetic, and—dare I say—delicious design for Door Dash’s Secret Menu magazine about local food culture. From Studio Yukiko:

This issue dives deep into Miami’s almighty hustle - A food scene boasting one of the wildest most diverse restaurant cultures in America. It follows stories of taco stands morphing into Michelin starred Italian spots, Black-owned vegan restaurants, reinvented Jewish delis, Cuban and Caribbean stalwarts, and so much more…

“Wild” and “diverse” could also be used to describe the issue’s design and typography. The fonts and layouts are playful, colorful, fun, and varied, with each article spread getting its own special typographic treatment. There is no shortage of sunset-like linear gradients, text effects like outlines and glows, and mixing of typefaces on the same line.

The eclectic design is united by a core palette of typefaces: Megascope is used across the issue for headlines, a callout to Miami’s connection to Art Deco. Random letters are replaced by Ed’s Market (both Script and Slant styles), bringing some movement and dynamism into the static, geometric typeface. Text is set in Surt and ITC Bookman, with Mrs Sheppards appearing in supporting text such as bylines. Jackpot Italic and Middleton Brush are featured on the cover, and Goudy Two Shoes, Compagnon (& Compagnon Bold), Promenades, Pipo, Generation September and Marlfield make special appearances in individual spreads. One of my favorite details is how the page numbers—mostly set in Megascope—become such a dominant part of the layout. A few tiny appearances of other guest typefaces (for photo credits, or a single word here and there) are not mentioned here.

The design team for this project included Sebastien Millot, Michelle Phillips, and Kir Nazarov, with production by Mike Teevee. David Amsden and Erin Ruffin are the editors-in-chief of the magazine. According to Phillips, “for the Miami Issue for Secret Menu, we wanted to bring the instantly recognisable world of Iconic Miami’s Mimo and Art Deco style together with its lax small-town scrappiness by combining a geometric sans (Megascope), with a brush script (Ed’s Market) to really bring out Miami’s almighty food culture scene.”

Cover ft. Jackpot and Middleton Brush for the title

Table of contents with Megascope for page numbers and headlines and Goudy Two Shoes for “Issue 02”. “Buzzworthy” is set in Compagnon Bold.

Text in ITC Bookman and Surt

Megascope with stacked glyphs and integrated into an image. The bold serif used for “Greater Miami” is Marlfield from Eliott Grunewald.

Megascope plus Ed’s Market with added stripes, compare Gadget. (The font used for “El Palacio de los jugos” is Balloon.)

Compagnon Bold with glossy effect

Megascope combined with Pipo Medium (“Flame”)

Megascope with staircase glyphs and Compagnon for captions

Megascope mixed with Ed’s Market Narrow Slant (“MM”) and Slant (“57”)

“The Great” and “Little Havana” are in Promenades.

Megascope with glow effect plus Generation September set on angle

Credits in Mrs Sheppards, text in Surt

Vorgestellt und aufgebaut is a special exhibition at the Mühlenhof open-air museum in which the supposed idyll of this very place is critically questioned from a historical perspective. The exhibition shows the research results of Master’s students of cultural anthropology at the University of Münster. These investigations are shown in an exhibition of posters that highlight various themes in the history of the Mühlenhof, with texts and archive material.

To show that the appearance of the Mühlenhof is constructed and presented in a deliberate way, Agentur and Suisse Int’l were chosen to create a contrast. While the broad nib construction of Agentur is meant to represent the old and original state of this place, the grotesque classic Suisse Int’l is used to represent the new, the present and everything that has been added to the appearance of this place to make it shine in a certain way. The shifted superimposition of these two typefaces leads to a subtle clash of two different points in typographic history.

Cash App recently tapped luxury fashion designer LaQuan Smith to collaborate on a clothing capsule collection.

Perhaps it was only a matter of time before the worlds of mobile payment apps and luxury fashion met. The San Francisco based payment service provider has used its “LaQuan Smith for Cash App” with key letters set in Respira Black, Sharp Type’s homage to the Spanish blackletter. The sans serif is FF Infra by Gabriel Richter.

While it has the striking graphic qualities of its forebears, Respira is notable for its balance. Its restraint gives it a unique texture and feel, and this means it plays well with a variety of possible font combinations because it does not demand the same attention that many others of its kind do. The flashiness and gothic drama of the blackletter are condensed into minimal strokes while still evoking quality: the studious calligrapher’s hand and the materiality of ink to paper.

On May 18th 2023, the Los Angeles Times released a checklist of the 101 Best California Experiences. This was also published as a full feature article on their website, Instagram, and in the printed issue from May 21st, 2023. The 26 page guide was also made available for purchase at the LA Times store, which has since sold out of all copies. In their own words:

The 101 Best California Experiences is a guide to the most awe-inspiring, fascinating and delightful things to do across the Golden State — right now in 2023. Stargaze in Borrego Springs. See the shoreline sparkle at Glass Beach. Eat with abandon at Grand Central Market. Written by L.A. Times travel writer Christopher Reynolds, “Cal 101” is packed with history, insider tips, traveler updates and a checklist to mark off your adventures.

The article headline “CAL 101” features Obviously by OH no Type Co (with a custom 1 in the CAL 101 animation). Obviously’s figures are featured throughout, along with some animated text weaving in and out of the scenic imagery, which can be viewed on the website. Body text is rendered in Benton Sans, with FB Kis Display for headlines. Social media graphics also feature Benton Modern Display.

Creative director: Amy King
Design director: Taylor Le
Senior deputy design director: Faith Stafford
Art direction, digital production and motion graphics: Anne Latini
Art direction and print design: Kay Scanlon
Additional print design: Jan Molen
Digital production: Denise Florez, David Lewis
Full credits on the Los Angeles Times website

Megazoid and Nobel (Frere-Jones) Black

Various designs for the Blender Workshop, a regular event running at naund, Leipzig. Participants will learn to create some cool 3D objects using the free and open-source Blender software.

Tiny, Arachne, and Kern Expanded

Kodchasan and Pressio

BVH Anto Plot Mono and BM Hanna Pro

Francesca Girolami Studio provides services of architecture, interior design, product design, preparation, creative direction, artistic direction, styling and consulting. Girolami is a multidisciplinary designer focusing on the process and the care of customers who are sensitive to beauty and practicality and who want to improve themselves.

The concept for the new identity comes from “playing with space” through the union of linearity, cleanliness and order with dynamism, overlaps and reflections, to express the two natures that represent it: elegance and culture, but also fun, freshness and uniqueness.

The "game of space" also takes place through the use of typography. Letters expand and contract in space. The O, the only letter in the Noto Serif font, becomes the "star" of the pictogram.

An early use of Charlottenburg in a music video for the French fashion web magazine Jamais le Mardi. The video promotes the launch of the magazine at a clubbing party at Le Sucre in Lyon. Studio Béguin made use of the Compressed, Circles, and Choices styles of Charlottenburg.

More images and insight can be found on the design studio’s Behance page.

Director: Marty Pourcent
Art direction and production: Studio Béguin
Stylist: Zero Katre
Photographers: Clement Sanna and Briac Durand