Volksans is used in several of its weights for the identity of Torngat Metals. From their About page:

Based in Montreal, Torngat Metals is a privately held Canadian company that aims to become a supplier of rare earth elements that are responsibly, traceably, and safely produced.

Round Condensed and Plus Jakarta Sans are used for 9-9bis.

From Studio Paul Andali (translated and adjusted):

Visual identity for 9-9bis, an Établissement Public de Coopération Culturelle (“Public cultural cooperation establishment”) located on a former mining site in Pas-de-Calais, recognized as a UNESCO World Heritage site. Dedicated to artistic creation, cultural programming, and heritage preservation, 9-9bis is a vibrant cultural hub.

The identity plays on the duality of the two nines—9-9—to evoke a space of convergence, where disciplines, audiences, and creative energies intersect. This concept is expressed through a modular and evolving graphic system: a stable, grounded wordmark interacts with a range of dynamic visual elements, reflecting the diversity and vitality of the site's programming.

Emeric Desgranges provided the motion design. See the full case study on the website of Studio Paul Andali.

Visual identity for the exhibition Révéler l’impact, shown in the Salle des Douches du 9-9bis (Oignies, France) from April 5 to December 7, 2025.

Through a dialogue between contemporary artworks and heritage archives, the exhibition Révéler l’impact attempts to make visible the repercussions that mining still has on our landscapes and territories today.

Curated by Sophie Huck. With works by Jérôme Bailly, Hicham Berrada, Tiphaine Calmette, Claude Como, Cléa Coudsi & Eric Herbin, Safia Hijos, Zhenqian Huang, Hideyuki Ishibashi, Caroline Le Méhauté, Dillon Marsh, Vincent Mauger and Catherine Zgorecki.

CD Capital is an international private equity fund manager focused on “developing critical mineral projects for a sustainable future”. For the complete identity of the website, they used Moulin for titles and headlines and Manrope for all the text.

The Panic Table is a dynamic tabletop roleplaying game show produced by Failure Island, a NYC-based creative agency and production company. The futuristic branding is anchored by a space-age wordmark and symbol, designed by Natalie Saldivar, using a modified version of Nguyen Gobber’s expressive and geometric Monopol. Supporting text is rendered in the science fiction-inspired Zen Dots by Yoshimichi Ohira and Space Grotesk by Florian Karsten, with the show’s theme, “Unaccompanied Miners,” styled in Game of Squids by Darrell Flood.

The Panic Table is New York City’s most electrifying blend of comedy, sci-fi, and horror, presented as a dynamic tabletop roleplaying game show. Featuring five talented actors, each episode immerses viewers in kooky, spooky, edge-of-your-seat storytelling and spontaneous humour. In its first season, The Panic Table explores the tense, cosmic depths of Mothership, a sci-fi horror RPG that challenges the cast to survive in an unforgiving universe filled with danger and mystery. It’s a must-watch for fans of tabletop games and gripping, genre-blurring entertainment.

For a full list of credits, see the show on YouTube.

Lying at the head of Van Mijenfjord in the Norwegian archipelago of Svalbard, Sveagruva was one of the largest underground coal mines in Europe. In 2017, after almost 100 years of coal production, Store Norske Spitsbergen Kulkompani embarked on one of the most ambitious environmental projects in Norwegian history. Their goal was to end mining operations, remove all traces of mining activity and return the area to its natural state. In 2022 Artica Svalbard collaborated with LPO Arkitekter and UiT (The Arctic University of Norway, Academy of Arts, landscape architecture programme) to commission four new essays by leading experts from the Nordics to discuss the Svea project and its related issues. This essay collection is part of Artica Writings, a curated series of disparate texts around a central theme. Some relating to the polar regions and their global influence, others looking at climate change, cultural history and personal perspectives.

The book cover is printed using coal from Sveagruva in Svalbard. It was ground down to a particle size below 100μm and mixed with a transparent ink base which was then used to print the covers on a Heidelberg press by The Letterpress Collective in Bristol, UK.

The titles are set in a few layered styles of Q Project and Q Project Mechanic by Typotheque, and aim to represent the recolonisation of industrial matter by natural elements and the transition from an industrial landscape to a natural one. The variable version of Isola – a recent release by Luzi Type – is used throughout for all reading text, partially backslanted as a further nod to things returning, or going back, to how they were before the mine was established. The subtitle on the cover, “The Transformation of a Post-Coal Mining Landscape”, is set in Kommuna 400 by The Temporary State.

The text pages were printed by Taylor Brothers Bristol Ltd in yellow and black plus a Pantone spot color that matched the coal ink used on the covers.

The business card of Sylvester A. Mitchell (1828–1915), who was a mica miner and farmer in Alstead, New Hampshire.

S. A. Mitchell,
Miner of & Dealer in Mica,
Alstead, New Hampshire

The first two lines appear to be set in two widths of a Celtic. “MICA” is in caps from Antique Tuscan Extended. The place name combines Antique Extended (light) (precursor of Hellenic Wide) with what looks like a less wide variant of the big type, that is Antique Tuscan (see also Antique Pointed).

The card is undated. Judging from the typefaces and Mitchell’s life span, it might be from the 1870s or 1880s.

Ciutadella is the brand typeface of Quebec Iron Ore / Minerai de fer Québec. From their website:

Founded in 2015 through the mining development company Champion Iron, Quebec Iron Ore is a 100% Quebec-based entity managed by experts from Quebec. The company was mandated to direct the relaunch of the Bloom Lake Mine, a Champion Iron flagship project in Fermont, in northern Quebec.

This fictional identity for the National Mining Museum in Leadville, Colorado, was created by Minjun Choi in 2021 as a student project at RISD.

National Mining Museum sheds light on the foreign underground world in a contemporary fashion. Through immersive activities such as scavenger hunt or escape room, the museum offers an enjoyable yet informative experience to visitors of all ages!

Choi used Mineral by Benoît Bodhuin.

This book, which retraces three years of archaeological research and was produced within the context of the Interreg Regio Mineralia project, attempts to tell the story of the origins of industrial culture in the Upper Rhine, specifically linked to mining activity in the Middle Ages.

The book is divided into a research part, mainly theoretical and textual, and a catalog part, presenting a selection of archaeological objects related to mining and the life surrounding it. The photographic and photo-engraving work, sublimated by a fifth layer of direct metal tone and the work of the printer, underlines the role of the catalog as an extension of the exhibitions of the research program.

The main typefaces are Sarah Kremer’s Bartok (205TF) and Work Sans by Wei Huang. Abbreviations that indicate archeological findings use Minuscule by Thomas Huot-Marchand (205TF).

From Champion Iron:

Champion Iron is an iron ore exploration and development company with major projects in the southern Labrador Trough, Canada’s largest iron ore producing region. Champion Iron, through its wholly owned subsidiary Champion Iron Mines Limited, is developing eight iron rich projects in a 707 km² area. Each project is strategically located close to the electrical grid, all-season roads and railway lines. This infrastructure connects the projects to a terminal located in water that does not freeze, on the north shore of the Gulf of St. Lawrence.

Nikiszowiec is a historical district in Katowice (Poland). Initially it was a coal miners’ settlement of the Giesche mine built on the land of Gieschewald manor (Giszowiec) between 1908 and 1918 on the mining–metallurgical concern initiative. The remnants of the original workers’ housing estate familoks (specialized multi-family residences) comprise one of Poland’s official national historic monuments and are tracked by the National Heritage Board of Poland.

We had the great opportunity to design a wayfinding system for a walking route in this place. Our role was to fit in the mood of the buildings. They were all built using brick (now in the brownish tone). And what’s characteristic – every inhabitant painted their window bay
in bright red colour. That’s why we have chosen a narrow range of colours: red, brown and white.

Each point on the walking route got a unique pictogram. They make the sights more recognizable and give a pleasant look to all information carriers. We also paid a lot of attention to the typeface choice – and decided on FF Chambers Sans by Verena Gerlach. In our opinion it looks great in large point sizes and has a unique look which emphasises the extraordinary character of the space.

Stuttgart-based studio SPACE4 chose typeface Basetica, created by Matthieu Cortat, for the graphic design of the exhibition Zeitalter der Kohle: Eine europäische Geschichte. The exhibition is organized by the Ruhr Museum together with the Deutsches Bergbau-Museum Bochum and shown at Kokerei Zollverein in Essen from April 27 to November 11, 2018.

The Halemba coal mine is a large mine in Ruda Śląska, Silesia, in southern Poland. Its name sadly made the headlines in November 2006, when an explosion resulted in 23 fatalities.

The photo above shows the office building in 2004, with a large green logo in New Zelek on its facade. By June 2012 (see Google Maps), this logo has been replaced with a more generic sign by Kompania Węglowa S.A., Europe’s largest coal mining company founded in 2003. However, there are still a few other vestiges in Bronisław Zelek’s idiosyncratic 1970s typeface, see below.

“[KWK] Halemba” — this sign on the roof of an adjacent building can still be seen on a Google snapshot from May 2013. Considering that New Zelek was specifically designed with a tight fit in mind, featuring diagonally sheared terminals for interlocking pairs, it is ironic that the letters have been tracked out so much here.

New Zelek in a beveled version on the other side of the road.

“Biuro Przepustek” [gate]

The now vanished sign at the office building, illuminated at night (c. 2006).