Wilkinson & Rivera is a London-based duo, formed by Grant Wilkinson and Teresa Rivera in 2020. Their collaboration extends to fine art, design, and furniture making. They strive to build long lasting pieces with a high level of craftmanship. The communication matters, designed by Thoughtful Standard, are set in Self Modern and Messina Sans, along with a logotype that’s either custom drawn or in an unidentified typeface.

HOMI (Christian Hofer & Lea Nathalie Michel) used James Stencil to design the visual identity for the Gib Stoff! exhibition, including poster, flyers and booklet. Gib Stoff! showcases recent textile works by Swiss designers Stéphanie Baechler, Christoph Hefti and Sonnhild Kestler. The exhibition is on view at the Gewerbemuseum Winterthur. The accompanying sans is the museum’s standard typeface, Messina Sans.

Marquand Books is a small design studio based in Seattle and specialized in making beautiful art books, bringing creative projects to life for arts institutions of all kinds.

For this publication about portrait painter Don Bachardy, the studio used Moulin from Commercial Type for titles. The text typeface is Messina Sans by Luzi Type.

The catalog was published on the occasion of an exhibition at the Huntington. It has 168 pages and measuers 10×12 inches.

World-famous concert venue Carnegie Hall, located in Manhattan, New York City, got a rebrand in 2021, after more than two years of (pandemic-interrupted) work by Champions Design and their own in-house team. Champions wrote this about the logo/wordmark, which was made with support from Frere-Jones Type:

In 1919, Carnegie Hall’s architect, William Burnet Tuthill, engineered the iconic facade that makes the Hall what it is today, including the large poster cases around the building’s perimeter featuring “electrically lit stained glass canopies.” The Hall’s most recognizable asset is its name. A wordmark – this wordmark – was the only logo solution that made sense.

The typography combines Typofonderie’s Fournier revival PS Fournier with the sans-serif Cádiz by Luzi Type. Champions comments on the pairing:

Fournier is a classic serif typeface that delivers what people expect from Carnegie Hall. In contrast, Cadiz is simple and modern, but shares a handful of similarities with Fournier, such as the “W.” The combination of these two typefaces in the wide variety of weights available supports the diversity of programming put forth by the Hall. Together they can talk about classical music, jazz, hip hop, music education, and social impact programs, and all that the Hall presents.

Homepage with logo and menu

Website detail

Carnegie Hall's new wordmark

The lettering the wordmark is based on

Scottish studio Freytag Anderson write about the packaging and brand identity they designed for Woven Whisky:

Visually, we stripped away the clichés. The custom frosted brown apothecary-style bottle is tactile and unexpected. Labels are minimal, each release numbered, named, and paired with its own distinctive graphic—an expression of the blend itself. The core range stands apart with a more pared-back identity, anchoring the brand while the limited editions build intrigue and momentum.

Luzi Type’s Spezia is used on the front of the packaging in all caps, with some details on the back in lowercase. On the website, Spezia also appears in its SemiMono form.

Universal Favourite partnered with QuiteLike who are on a mission to help Australians bite into a better meal kit. But this isn’t just about what's on the plate. QuiteLike is reimagining the category by turning mealtimes into meaningful, memorable moments—full of flavour, flexibility, and just a little pinch of pzazz.

From brand strategy and tone of voice to visual identity, packaging and beyond, UF refreshed every element of the QuiteLike experience. The new brand identity captures the rhythm of cooking through warm photography, expressive illustrations, bold typography, and a punchy colour palette that balances foodie sophistication with playful zest.

QuiteLike’s typography system was built to flex between expressive and functional, premium and approachable. The core typefaces, Neue Montreal, Spezia, and Spezia Serif, work together to create dynamic and eyecatching hierarchy. Neue Montreal leads with bold, confident energy, bringing a contemporary edge to headlines. Spezia, used across serif and sans cuts, introduces warmth, clarity, and a subtle editorial feel.

The book xylo sheds light on the essential role of deadwood as a habitat for numerous insect and plant species in German forests. Deadwood, which consists of dead trees, forms important ecosystems that provide food, shelter and habitat for many creatures. Despite its ecological importance, deadwood is often perceived as unsightly and disturbs the image of a “well-tended” forest.

Tozi Superfoods is a family-founded, Mexican-American food and beverage company inspired by heritage and the spirit of Toci, the Aztec goddess of health.

Tozi brings ancient wisdom into the modern world. At its core, the identity embraces bold, symmetrical shapes and vibrant colors, echoing the geometric details of Aztec stone carvings and architecture. The logomark, embodying Tozi, is a dynamic element that adapts to highlight key aspects of the brand story—whether through sacred ingredients or symbolic icons. Just as health is multifaceted, so too is Tozi's visual language, weaving together ancient influences with a modern sensibility to create a timeless and contemporary system.

Strategy by If Only Creative, design by Sofia Llaguno.

WNTI is a new digital city magazine for Winterthur, dedicated to reporting on what matters in the Swiss city – well-founded, independent and approachable.

Your Majesty is an Amsterdam-based strategy-led design and technology agency that powers brands and digital products for fashion and technology pioneers. The website uses IvyPresto for headlines and quotes, Messina Sans and DM Mono for secondary texts.

Atlas is a blockchain Layer 2 designed to provide high-performance De-Fi applications with the performance of Solana at Ethereum scale. By combining the performance of traditional finance with the transparency of De-Fi, Atlas is bringing about a new financial world.

To bring the feeling of possibility from Atlas’ brand strategy to the brand identity and web design, Slope Agency created illustrations of a world of exploration and boundlessness. Atlas is moving toward the future of decentralized finance, with the tools and guidance to get there. Slope reflected this concept in Atlas’ new logo, its design helping to balance the more futuristic illustrations. The wordmark uses a humanistic serif, and their submark, a circular compass embedded with a star has historical roots; its globe-like shape is a nod to Atlas of Greek mythology, and its details an allusion to guidance tools like atlases and the North Star. In this way, this visual system brings in historical representations of agency with relation to uncharted landscapes, and pairs them with a sense of innovation.

The brand typefaces are Messina Sans and Messina Serif. The wordmark is a custom design.

See the full case study on Slope Agency’s website.

Letterpress printed Weltformat poster (89.5×128 cm / 35.2×50.4 in) produced in 13 printing passes from hand-cut linoleum and a complicated large format linoleum etching. Watch the video.

The fonts in use are a completely distorted LL Ruder Plakat by Lineto for the three words “Werk-Statt-Schau” and Messina Sans by Luzi Type for the smaller information and the museum logo. Through the etching process, there is not much left from the original Ruder Plakat face… Also the smaller info and the logo in the top left corner are hand-cut linoleum, which is not an absolutely accurate reproduction of the font.

Exclusive Construction Group are specialists in construction and renovation for high-end residential London properties. They manage the whole process, from hardcore structural work to extremely refined finishes and interiors.

F37 Zagma Book and Beirut Display Regular are used in combination throughout the brand to add hierarchical levels to the logo and headline messages.

Emotional Utility Beverages claims to “boost native nutrients in the brain while adding powerful external nutrients to optimize the body's chemical messaging to improve mood, reduce stress, and increase mental performance.” Their brand system and packaging was designed by Day Job using BallPill (drawn by Benoît Bodhuin) and Recife Text by Luzi Gantenbein. The tag line “Feelings can be acquired” uses Romie by Margot Lévêque.

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 3 focuses on lifestyle proposing articles about the #MeToo movement, aesthetic surgery, plants surviving in big cities, and how you can't forget to wear a hat to complete your outfit.

Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The “Please, make me beautiful” article combines Suisse Int’l and Spencerio by Indian Type Foundry.

This issue counts 100 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 2’s lead article is a moving story about how devastating AIDS was to families and communities in the 1980s, while the lead photojournal takes a look back at the infamous 1978 mass murder-suicide in Jonestown.

The logo is based on Tiny by Velvetyne. Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The article “Every temple needs its sacrifices” additionally uses Armag by Blaze Type, and “How to raise your kids and their followers” adds Compagnon Light Italic by Velvetyne.

Beside the mentioned typography, in the Index spread we featured Boogy Brut by Bureau Brut, GoodDog New by Ethan Paul Dunham, Cooper Black by Oswald Bruce Cooper, Modula Ribbed by Zuzana Licko, and ITC American Typewriter by Joel Kaden.

This issue counts 104 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 1 sets the tone of the magazine proposing many articles about science and nature, but also lighthearted contents like “how to choose the best sex toy?” or “why the heck kids are birthdays becoming so expensive?”

The logo is set in Airaz by Javier Unknos. Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The article “Opening up to parasites” additionally uses PicNic by Mariel Nils, and “A body inside a body: Maternidad” adds CirrusCumulus by Clara Sambot.

This issue counts 96 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

The Butterfield brand uses ABC Arizona Serif & Text from Dinamo and Cádiz from Luzi Type equally. Chosen for their professional yet approachable qualities, the font pairing allows Butterfield to communicate from two perspectives.

Building on a traditionally heritage brand, we were asked to create a digital personality for Butterfield reflecting the values of your local bank. The identity draws influence from Butterfield’s origins in Bermuda, with a colour palette and animated patterns inspired by the Caribbean landscape and local architecture.

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.

53 is a contemporary Asian fine dining restaurant in New York City that draws its creative essence from its iconic location. Nestled next to the Museum of Modern Art (MoMA) in a tower designed by prominent architect Jean Nouvel, the restaurant name is an homage to its physical location at 53 West 53rd Street.

Inspired by the interior of the space, the logomark and visual identity feature an intricate, architecturally structured icon with the numbers five and three intertwined, fitting together as seamlessly as the restaurant’s three dining levels.

The identity designed by Emily Oberman's Team of Pentagram uses a pair of complimentary typefaces: Grand Slang, a sleek, calligraphy-inspired typeface by Nikolas Type, and Yport by Luzi Type.