Entrance to the company’s location in Civita Castellana, Italy. The accompanying handwriting font is PT Script Fog.

The.Artceram is an Italian manufacturer renowned for its bathroom furnishings. TheMix, designed by LucasFonts, is used in its logo. Introduced in 2014 as part of a major overhaul of the whole brand, the logo has become an integral part of the company’s identity.

The typeface blends in well with the vibrant yet elegant exhibition stands on which the products are displayed. The company successfully combines traditional craftsmanship with a modern, fresh aesthetic.

the.artceram exhibiting at Cersaie, the international exhibition of ceramic tiles and bathroom furnishings

2013 product catalog ft. Helvetica Condensed and ITC Avant Garde Gothic

Exhibition stand

Exhibition stand

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Show room at Cersaie

The logo displayed in front of the factory in Civita Castellana

The completion of the Moynihan Train Hall created a world-class transit gateway for New York City. Located across the street from Penn Station in the landmarked James A. Farley Building designed by McKim, Mead & White in 1913, the new train hall expands the capacity of Penn Station by providing additional concourse space and access to the existing nine train platforms and 17 tracks that run below it.

Branding was done by Watson & Company utilizing both Empirica and Mallory by Frere-Jones Type.

From World-Architects:

When Moynihan Train Hall opened on New Year’s Day, it marked the completion of what had been a long-held dream for New York City. It is one of the most monumental civic projects undertaken in the city in a generation, and transforms the way millions of people will interact with the city. The project extends Penn Station with a 255,000-square-foot rail hub that services the Long Island Rail Road and Amtrak. It also connects directly with the Eighth Avenue Subway, and plans are in the works to connect it to MetroNorth and AirTrain JFK. For every traveler who passes through the space, the architecture will restore the grandeur of train travel at Penn Station.

A sleek collaboration between Timex and Ghostly International, this 38mm Navi model features a stainless-steel case with a black aluminum bezel etched with city names in Michael Cina’s Ghostly Gothic—highlighting Ann Arbor in Ghostly’s signature purple as a nod to the brand’s roots.

The black dial, protected by a beveled mineral glass crystal, includes luminous hands, co-branded logos at 12 o’clock, and bold purple numerals at 3, 6, and 9. Inside, a precise quartz movement keeps time, backed by 100m water resistance, a crown guard, and an engraved caseback reading “Everywhere, Nowhere” set in Carta Nueva by My-Lan Thuong.

Best Made is an independent, designer-led product company at the intersection of work, adventure, and reinvention. Since 2009, they’ve made quality apparel and tools – products integral to work and adventure. They source the highest quality materials and partner with some of the finest makers to create fewer products, better. For products like their limited-edition hand-forged Old Gold No. 1 axe and the Selvedge Natural Denim Ball Cap, they used LL Brown alongside Selva Script. For the website, LL Brown is paired with BB Modern.

The Baugewerbliche Berufsschule Zürich (BBZ, “Zurich Construction Vocational School”) trains young people who will plan, draw, construct, and install buildings in the future.

Swiss design studio mdbuero applied Maxeville Bold and Construct throughout the building. The signage reflects the educational program of the training center and finds a creative response. The construction of the lettering was not hidden, but intentionally left visible or staged. The signage elements, in terms of material and color, are in dialectical interaction with the architecture. The lettering elements are made of raw, natural materials and contrast with the support system, which has been refined with a powder coating and colored accents.

The individual letters of the exterior signage are deconstructed and located in individual parts on different levels. This playful solution subtly focuses on the lettering technique without compromising the communication of information.

The (fictional) planning office TIEFPLAN develops subterranean living as a response to global challenges. With a focus on the crises and issues of our time, plans and simulations for underground living spaces are designed. Model experiments are used to test and analyze various implementation approaches.

This student project was made by Luis Bullinger and Laurin Stemmann at the Faculty of Design of the University of Applied Sciences Würzburg-Schweinfurt.

Serene Industries’ Icebreaker is a meticulously crafted full-metal keyboard. Milled from a solid block of aluminum, the piece amalgates a brutalist aesthetic with precise typing performance.

A culmination of thoughtful design and expert craftsmanship, the Icebreaker has been in development for over a year.

Grand Slang from Nikolas Type is used for the engraved Icebreaker name on the aluminium body.

Pablo Desportes’ first Lineto release, LL DMT, is used for the keys themselves, and is paired with JetBrains Mono by Konstantin Bulenkov and Philipp Nurullin for the technical information that is engraved on the tool itself.

The back of the keyboard is branded with Serene Industries’ company logo, set in Optimum Compress, designed by Simon Bent.

From Japan House:

The exhibition Japan effect: fashion in 15 acts shines a spotlight on the impact and influences of Japanese fashion on the global stage. Through 15 outfits curated from significant Japanese designers, the exhibition aims to unveil the influential nature of Japanese design. It showcases how Japanese fashion assimilates global trends and transforms them into new ones with a unique sensitivity.

Designer Tereza Bettinardi chose Alias AnoStencil for title and headline graphics, supported by Ano, both available from Alias. Styrene from Commercial Type is used for text.

Abracadabra was designed by Colin Banks for Robert Norton’s Photoscript Ltd. Here it can be seen in use for a Banks and Miles Christmas tin, circa 1970.

The two weights of Abracadabra as shown in the 1969 edition of Modern Publicity

As an Armenian resistance fighter during World War II, Missak Manouchian received France’s highest honor when entering the Panthéon in Paris in February 2024, on the 80th anniversary of his execution, accompanied by his wife Mélinée Manouchian. This ceremony was also a commemoration of the 23 foreign resistants of the Francs-tireurs et partisans – main-d’œuvre immigrée (FTP-MOI) who sacrificed their lives for freedom.

The public commission Infini has been chosen and cast in bronze to compose its symbolic inscription in the Panthéon.

Slavutych is the youngest city in Ukraine, which was established after the Chernobyl explosion.

In 2019, Ukrainian designer Kateryna Korolevtseva designed the Misto typeface, as a love letter to Slavutych — the city where she was born. “Misto” means “city” in Ukrainian.

In 2021, the city authorities of Slavutych used Misto for an art installation in the central park to mark the 35th anniversary of the Chernobyl disaster. The clock stopped and always shows the time of the explosion.

Source: www.kyivtypefoundry.com Matvii Masliukov. License: All Rights Reserved.

Palats Sportu (Палац Спорту) is a station on Kyiv Metro’s “green line”, officially known as the Syretsko-Pecherska Line. It was designed by architect Mykola Alyoshkin and opened in 1989. The sign on the station wall comprises brass letters cast in Novohrad-Volynsky stating the name in Cyrillic capitals: “ПАЛАЦ СПОРТУ”. There is an image depicting an old version “ДВОРЕЦ СПОРТА” in Russian that was dismantled in the course of derussification. The authorship of these curios letterforms remained unknown for a long time, then attributed to the architect Alyoshkin himself, until Kyiv Type Foundry’s team found out the original (thanks to Florian Hardwig) during their Kyiv Metro Fonts project.

Matvii Masliukov. License: All Rights Reserved.

Detail of the letters “ПОР”

It’s typefaces called New York 30 and was made by Dutch designer Leo Meuffels for Mecanorma, a French competitor to Letraset, in 1984. It is likely that the Mecanorma catalog got into Alyoshkin’s hands. Alyoshkin says: “I don't remember where I saw these letters, perhaps it was a catalogue that circulated at the Metroprojekt. I wasn't happy about their size at the wall. They should have been bigger. Bronze was very expensive in the USSR.”

Matvii Masliukov. License: All Rights Reserved.

Further uses of the font are lesser known. One case can be found in the second volume of Yasaburo Kuwayama’s book International Logotypes from 1990, where “MEGAVIDEO” appears in the “dotted” logotype genre showcase as no. 2428.

Source: drive.google.com License: All Rights Reserved.

The discovery of the Megavideo logo in the second volume of Yasaburo Kuwayama’s book International Logotypes from 1990 suggested that the letterforms in the metro stations are not custom, but come from a typeface.

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 :

The site of the crime becomes a place of remembrance, solidarity, and prevention: FRAU* schafft Raum is the first feminist art space against violence against women*. On March 5, 2021, a 35-year-old woman was killed by her ex-partner in her tobacco shop in Vienna. In 2023, this location was renovated through the initiative of the district administration (Alsergrund) and the Human Rights Office of the City of Vienna, and has since served as a place of remembrance for all femicides, as well as an information space for empowerment, solidarity, and prevention. The emancipatory art project aims to contribute to breaking the cycle of violence in society. For this purpose, an interdisciplinary platform has been created, providing female* artists with an exhibition opportunity to engage with the topic, while also digitally providing information and referral services. FRAU* schafft Raum thus offers free, low-threshold access to artistic engagement with the topic of violence against women*.

The guiding idea for the communication design evolved from the two essential aspects of the space: the culture of remembrance, commemorating what has happened, and the work of prevention and empowerment. Visually, these two levels were translated into an interplay of the circle through a custom logo. The circle is also a strong architectural element of the FRAU* schafft Raum space. In addition to the custom logo, Helvetica is used as the main typography. According to EU Tobacco Product Directives, Helvetica is the typeface that must be used for the warning labels, thus reflecting a relic of the former tobacco shop.

Design: Lisa Eder
Programming: Left Studio
Architecture: Laura Frediani
Curation: Anna Valentina Ennemoser
Photos: Batja Ferch, Christoph Kleinsasser
Initiators: District Administration Alsergrund, Human Rights Office of the City of Vienna

Sesztina Gallery, the chamber hall of MODEM Centre for Modern and Contemporary Arts, opened its doors with a refreshed contemporary art concept and a renewed look in Debrecen’s downtown.

The main guidelines of the image change that followed the building renovation was to preserve the major characters of the building’s original atmosphere, the space organization and the iron structures while transforming it into a scene of art. The choice of letters was determined by the important aspect to use a typography that is remarkable not only printed on paper, but on the steel facade and on large metal plates, too—in more extensive sizes; a typography which fits into the contemporary, industrial and minimal design that stands out at the same time, and which is less dominant than the exhibited works, but highlights their diversity. This is why TT Mussel was chosen.

More details of the project can be found on my portfolio website.

For the signage of Ritterstraße 12–14 in Berlin, Studio Gourdin customised Plaak by Damien Gautier, distributed by 205TF. On their website, we can read:

When bits and bytes meet industrial charm: the industrial complex at Ritterstraße 12–14 (Berlin-Kreuzberg). Where once gas lamps and taps were manufactured, today it is primarily digital products that are developed. The new Berlin will soon be even more visible here.

From Design Week:

Bath & Barley’s offering includes submerging yourself in a traditional oak bubble bath filled with fresh water, hops, barley and yeast, all essential beer ingredients. The idea is that the bioactive nutrients are absorbed through the skin while the visitor is submerged in the bath, whereas drinking the locally brewed beverage promotes mental relaxation.

Antwerp-based design studio WeWantMore was brought in from the project’s inception to work on the naming, branding and interior design, tasked with designing a high-end experience that promotes “a sense of relaxation and intimacy” while seamlessly integrating beer, bathing and Belgium’s beer heritage.

WeWantMore sought to reinforce Bath & Barley’s connection to Belgian beer culture by taking cues from vintage beer packaging design for the wordmark, using a calligraphic typeface called Harbour that combines Latin and Germanic typestyles.

Joaomglhs is Lisbon designer João Magalhães’ fashion persona / brand. Joaomglhs positions himself as a micro label dropping two collections a year and selling unique hand-made pieces only. He explores and mixes together traditional crafts with new technologies, in a continuous re-invention of the way of building garments.

For the creation of Joaomglhs’ identity, Studio Triple drew a custom wordmark, organic and shape-shifting like the brand’s pieces. The wordmark was later on created as an oversized piece of jewelry / bag accessory by a metal artist. To double down on the organic notes of an identity making an outrageous use of gradients, chrome and glowing effects, as a quote to and oil stain on a puddle, Studio Triple used their own (at this point not yet released) NaN Success Text and Sans families, for what represent their first use ever.

This typographic stair screen was made to celebrate local history in Poole, Dorset, UK.

It is part of an interactive public art and wayfinding project, designed by architects Dallas–Pierce–Quintero and graphic designer Stephen Barrett, in West Quay, an evolving area in Poole. A variety of interventions take inspiration from the told and documented stories of the local area, signposting local landmarks and amplifying the area’s rich heritage.

The typographic stair balustrade marks the entrance to a Georgian graveyard, now a public park. Made locally in Poole from laser-cut COR-TEN steel, in reference to local shipyards and weathered harbour walls, the text is both decorative and informative, telling a story of the area’s past whilst offering a view to the park beyond and casting poetic shadows on the surrounding ground. The monolinear typeface Standard by Benoît Bodhuin was used as the basis for the design.

Photography by Jamie James

Digestive

Maple is a Canadian jewelry company specialized in recycled sterling silver, either as such or plated with 14k gold. A distinctive trait of this brand is their recurring use of type as an ornament through the years. The fonts are either embossed (and oxidized) or debossed in the surface of the jewelry, or can even serve as a full 3D object for the base of some pieces, like the M or Freak rings and bracelet. Note that the Freak ring is not a simple extrudation of Cheee but a properly sculpted inflation of the letter shapes.

Among the fonts they used, we can name a few occurrences of Digestive by Jérémy Landes, Cheee by James Edmondson (both released through OH no Type Co.), Victor Moscoso by Keith Bates, Hendrix by David Nalle, Blackmoor by David Quay, Collegiate FLF by Casady & Greene, and at least two more unidentified ones.

Digestive

Digestive

Victor Moscoso

Digestive

Digestive

Cheee

Cheee

Cheee

Cheee

An unidentified slab serif with similarities to City

Hendrix (outlined)

Collegiate

Blackmoor

Unidentified typeface