​​The visual identity for Demonstra: pela poética def, presented at the Fiesp Cultural Center, seeks to graphically translate a collective territory where artists with disabilities create from their own experiences, shifting the public’s gaze on body, normality, and aesthetics. The exhibition articulates multiple languages ​​around aesthetic accessibility and proposes a constellation of poetics that question hegemonic models of representation and belonging.

The main objective was to develop a visual system capable of expressing the corporeality, sensoriality, and symbolic power present in the exhibition, avoiding normative codes associated with disability. To this end, the identity was structured based on three creative principles – exceptionality, sensoriality, and organicity – that guided typographic, chromatic, and compositional decisions.

Through the use of the Ready Active typeface by Plain Form, the words are composed in distorted figures, creating graphic motifs of low legibility of which the understanding is not immediately grasped. This “universal inaccessibility” initially provokes by suggesting placing the non-disabled reader in the place where the person with a disability would be. The shapes of the letters forming the word “Demonstra” were also used as graphic elements on the vinyl decals over the glass doors. All exhibitions texts and artwork captions were composed in Neue Haas Grotesk.

The palette, which blends vibrant tones with dense colors, intensifies the sensory experience, transforming each piece into an expression that complements the poetics conveyed by the works.

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The “Pussy Wagon” is a Chevrolet Silverado pickup truck that features in Quentin Tarantino’s 2003 film Kill Bill: Volume 1. The pink lettering on its rear – replicated in the keyring pendant – is in a groovy 1960s style that, among other things, was used for cheesy pulp fiction with sexist tropes.

In an act of reframing through affirmation that’s typical of Tarantino, the bright yellow vehicle with the tacky name (and matching license plate) serves Uma Thurman as Beatrix “the Bride” Kiddo to launch her “roaring rampage of revenge” against the men (and women) who did her wrong.

The font in use probably is Action Is, an all-caps freebie from 1998. It was drawn by Jeff Levine based on an application of either Caruso Roxy or its close follower Holiday. The Identifont blog has the font’s origin story:

While working in the recording industry for Steve Alaimo, former singer and co-host of the 1960s TV show Where the Action Is, Jeff noticed an interesting typeface spelling out the show’s title on a photo album Steve kept from those years. Tracing the letters which existed on that page, and creating his own characters for those that were missing, the font was digitized by Brad Nelson of Brain Eaters Fonts and released as freeware under the name Action Is.

The iconic prop was subsequently produced as fan item, in the form of stickers, patches, keyring pendant, model cars, and more.

It has also been quoted more than once: in Tarantino’s Death Proof from 2007, a 1972 Ford Mustang is labeled “Lil’ Pussy Wagon”. The car again serves women to take revenge on a misogynistic murderer. And in 2009, the original Pussy Wagon made a cameo in the music video for Lady Gaga’s 2009 song “Telephone” featuring Beyoncé.

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Quentin Tarantino used to drive the Pussy Wagon himself. Via the Quentin Tarantino Fan Club: “The thing about the Pussy Wagon is, whenever I drove it on the freeway, everyone recognized it’s me. Everyone recognized the Pussy Wagon. And then it would be a chain, because people would drive alongside me and try to talk to me.”

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Embroidered iron-on/sew-on patch

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Box for a Pussy Wagon truck replica in the scale of 1:32

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Mary Elizabeth Winstead in her role as Lee Montgomery, sitting on the “Lil’ Pussy Wagon” in the second segment of Death Proof (2007)

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Stills from the music video to “Telephone”: Lady Gaga leaves prison …

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… and dances with Beyoncé in front of the Pussy Wagon.

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L.A.-based studio Forth+Back have created the new brand identity for Sotheby’s Motorsport (SOMO), pairing Leto (Ornamental & Title Type) with ABC ROM (Dinamo). From the case study:

SOMO is reshaping automotive auctions by pairing its industry expertise with a digital platform built for modern collectors, making the experience more transparent and accessible than ever.

Forth+Back was brought on to refresh SOMO’s identity with a system that feels sleek, modern, and aligned with the platform’s forward-thinking approach.

Our studio introduced a new streamlined wordmark that is low, elongated, and designed to feel sharp and fast even when static. The expanded palette adds a bold hit of orange to a foundation of racing green and gold, supported by a range of tones that allow the brand to shift its voice depending on the moment.

For the style guide, we selected a format inspired by retro driving manuals, offering clear and concise instruction with a functional, on-the-go sensibility.

SOMO’s updated foundation extends into a flexible layout system that uses the physicality of the mark and strong blocks of color to frame logos, imagery, and key information across the brand.

Formed by three Vancouver breweries—Boombox, Slow Hand, and Temporal—Threefold is a new collective brewery and shared taproom located in the former Andina Brewing space on Powell Street. Together, the breweries operate under one roof while maintaining their individual voices, creating a space built around collaboration, experimentation, and independence.

The Canadian studio Post Projects was asked to develop the visual identity for the new venture. The goal was to create a system that could reflect the collective nature of the project while offering enough flexibility for each brewery’s unique character to come through. The result is a modular identity centred around a three-part wordmark created in Vroum Gti (from lift-type) supported by a bold typographic system and minimal colour palette. Denim INK (from Displaay) is used for details, body text, addresses, and captions.

Located in Brussels' Marolles district, Gimic is a bar and radio station whose mission is to foster the electronic music scene of the city. On their Instagram page, which has amassed over 23k followers as of January 2026, they chose to use DOSS Exaflop from the Doss Collection by Marc Rouault, available at Sharp Type. The typeface was also used for their main wordmark, often paired with an abstract purple icon. Emulating the futuristic soundscape of electronic music and infectious DJ sets, their team uses the typeface for promoting in-person events such as holiday markets, workshops, and new release events.

Gimic’s website, designed by Ozon Studio, also features GT Planar by Dominik Huber, available at Grilli Type.

The News Movement is a social-first newsroom created for a generation that encounters news incidentally rather than intentionally. Founded to serve audiences who care about what’s happening in the world but no longer engage with traditional news formats, TNM sits at the intersection of journalism, culture and platform behaviour.

Rebranded in 2025 by 20Something, the design uses GT Alpina, Brik (Mike Hill) and GT America.

Rayon Vert is a design studio for bold and playful objects and luminaires based in Bordeaux, France. The visual identity was created by the French studio Forme Brute and features EE Rajola, designed by Luismi Gómez. EE Rajola is used in its Plena version, slightly modified to give the logotype a unique touch. It is paired with Auger Mono designed by Max Phillips and Seán Mongey from the type foundry Signal, which is used as the corporate typeface.

In 2024, the Hongik University Visual Communication Design Club Festival Week: SISO presented Our Index, a group exhibition.

We were nine students participating, each categorized into a distinct “index” based on our area of interest. While our directions may seem different, we all began from the same starting point: design.The nine clubs are classified according to indexes that reflect their respective areas of interest. Although we may seem to move in different directions, we all share the same point of departure—design. Through this exhibition, we bring together these indexes of our perspectives and interests under the title Our Index. The indexes formed at this origin embody the shared identity we create together. What began as separate focuses becomes a collective identity grounded in our common origin.

The identity makes prominent use of Megazoid for its titles, supported by a trio of sans serifs that share the heavy lifting: ABC Rom Condensed, Neue Haas Grotesk, and SD Gothic Neo 1.

The visuals were designed by Juhyeon Kim and Woosung Jung.

With great attention to detail and a gentle blend of natural elements, Nordic vibes, and warmth, Harzverbunden has created a truly special place of well-being with Waldquartier. If you're longing for unique experiences that give you a sense of freedom, vitality, and self-determination, you’ll find exactly that in the ten holiday apartments.

The chosen typefaces—Karla for body text and Brice for headings—perfectly complement the identity of Waldquartier.

Karla, a grotesque sans-serif with a humanist touch, provides clarity and readability while maintaining a soft, friendly tone. Its subtle curves and balanced proportions evoke a sense of simplicity and calmness, making it ideal for conveying warmth and approachability in longer texts—just like the cozy, grounded atmosphere of the forest retreat.

Brice, on the other hand, adds a bold, character-rich contrast. With its distinctive, slightly quirky details and robust presence, it captures the individuality and expressive spirit of Harzverbunden. Brice’s confident yet organic design lends visual strength to headlines, evoking the raw textures and untamed beauty of the Harz region—making it a fitting typographic voice for a brand rooted in nature and self-exploration.

The logo uses all-caps Vinyl.

The script font is Sweet Apricot.

The room numbers on the key fobs are in Footlight.

Belafonte is a workspace designed to feel like home. Inspired by The Life Aquatic’s iconic research vessel and the warmth and charisma of Harry Belafonte, the visual identity strikes a balance between minimalism and comfort.

At the heart of the design is a subtle yet distinctive logo set in ALT Riviera, a symbol that shelters like a house, reinforcing the idea of a welcoming and personal space. The visual language is integrated into the architecture and interior design to create a serene and inspiring atmosphere for work and creativity.

The identity embraces a monochromatic approach in its core applications, enhancing the sense of cohesion and tranquility within the space. In contrast, ephemeral elements such as gift postcards introduce bold, vibrant colors, injecting energy and playfulness into everyday interactions. This thoughtful contrast ensures that while the brand remains elegant and understated in its daily presence, it also has moments of warmth and spontaneity that make it feel alive.

Concept and visual identity by Lucía Boiani and María Carmona

Description of the project by Métier:

Bring a touch of quality and individuality to your everyday routine with one of our alphabet Buffalo Cognac leather and solid brass key rings. Every piece is stitched by hand in Italy by the same artisans who craft our bags – making your Letter Key Ring a tactile pleasure to handle.

Alias AnoStencil is used throughout.

Village Green studio created the brand refresh for L.A-based production company Bob Industries – reflecting their can-do attitude with creative talent across entertainment, advertising and commercials. Baikal variable typeface from newglyph is in use.

A new brand identity designed by Seoul-based studio Rayk for Hotel Chipmunk Suyu, including signs, posters, risograph printed flyers (by Corners), merch, coasters, cups, etcetera. The new look pairs Herbus Pointy, Roslindale Deck and Futura Medium.

From the design studio :

Stationery and goodies for Starville, a resort located in Jeju Island, Korea, designed by Maum Studio. From the designers’ portfolio website (auto-translated from Korean):

We planned, designed and produced goods for Starville, a resort located in Jeju Island.

A night in Starville facing the stars. In order to look at the stars and remember the constellations, we proposed items that can be used to create and keep a character based on the constellation concept.

Logotype and titles are set in Dida, with the zodiac names added in all-caps Futura Extra Bold. The typeface(s) used for secondary information, in English and Korean, is yet to be identified.

Art Direction: Yoonji Lee
Design: Sori Lim, Yoonji Lee

We worked closely with Vision Hospitality Group to establish a story that made sense to personas in and out of Louisville, Kentucky. We also collaborated closely with the interior design firm on the elements and collateral inside of each room and the lobby.

Note: Due to unforeseen circumstances the name was changed from “The Wilder” to “The Grady Hotel” during construction. The images included here hence show applications that eventually remained unused. Our design including the colors, the illustration, as well as the typographic choices with the logo in Fertigo with Termina was maintained, though.

Exterior hotel mural and sign

Pamphlets, waterbottles, a flag pennant, and note paper

The Wilder Hotel business card design

Keychain, envelope, luggage tags, door tag and folder

Hotel magazine

A new brand identity for real estate enterprise Flyp, using Deia (designed by Andrei Robu for Typeverything) as their main typeface. It is paired with DM Sans by Colophon. The identity was designed by How&How:

We were approached by Flyp to create a new strategic position, brand identity, website design and website build which was as dynamic, agile and colorful as they are. The time had come to flip everything on its head. So we did.

Our brand idea, Flip the System, was a call to upend the status quo. flyp’s logo is literally an upside-down house. A tongue-in-cheek tone-of-voice; and a playful design system of rotating 3D walls, expressive licks of typography and a color palette inspired by building materials blew an f-shaped hole through any other conventional property brands.

Ohno Softie Bold used on a header card for acrylic “double dagger” earrings.

Studio Peachy is a Québec, Canada-based shop specializing in creating "Accessories for Everyone".

Designer and Illustrator Katrin Emery uses Ohno Softie by OH no Type Co. throughout the brand to compliment the bright and fun feel of her products. The Studio Peachy online shop also uses two other soft typefaces — Coniferous in the Studio Peachy logo, and Cooper BT for headlines. Rounding it out is sharp and modern Karla for body.

Ohno Softie Regular and Bold used on an acrylic diamond-shaped keychain that says “Self Love Club”.

Ohno Softie Regular etched into a neon green keychain that says “Gender? No Thanks!”

The Studio Peachy website, captured August 2022. Coniferous is used in the logo at the top of the page, Cooper BT is used for headlines, and Karla for body copy.

Katrin Emery with a table full of Studio Peachy acessories; Ohno Softie is used on everything from the shop sign to the price stickers.

Strandbude Morak offers comfortable low-budget rooms, a beach for bathing and relaxing, and a top location in Velden, Austria with countless hot spots in the immediate vicinity to a rather younger target group.

Agentur Lux developed an upbeat and loud visual identity for Strandbude Morak, using bright colours and Farmacia by Nguyen Gobber in combination with Bourrasque 45 Ouest by Bureau Brut for the logo. The diagonally positioned “Strandbude” refers to the stairs that lead into the water. In addition to the aforementioned typefaces, the website uses Athletics from Family Type.

Fashion Kush is a company that produces gadgets and appareal for smokers and weed lovers. All gadgets from their Successful Stoner product line sport a logo pairing the calligraphic Nautica with outlined Harry Obese, creating a sporty/tennis vibe.

Barco Verde Hostel is a cozy hostel on Isla Holbox in Mexico. With comfortable rooms just next to the beach, it offers high-quality service, calm and elegance. The positioning and branding are inspired by slow lifestyle, island vibes and the friendliness of the everyday beach sunset meetings that both locals and travelers enjoy together.

The visual identity design by Celia Grandhomme Agency uses Voyage for the main logo, and Oil Can for alternate versions. Espresso is used for text details.

The design comes with goodies and ephemera, some of them adorned with additional typefaces: the post cards re-use found type from vintage postcards; the business cards feature Metropolis 1920 and Montecatini.