Photographer Nanine Renninger’s book Mementos | Erinnerungsstücke brings together personal narratives and visual fragments in a restrained editorial framework. Renninger approaches her material with a measured, poetic stance.

Designed by Vivian Förster of RoomArt, the book gives typography a central role. Easy Grotesk, designed by Alexander Rütten and Olivia Wood of Ligature Type (distributed by the TypeMates), is combined with Relais by the same designers (distributed by Blaze Type), creating a contrast in character and supporting the bilingual layout.

As Renninger notes on her website, the project “collects traces of memory in both text and image,” and a theoretical section at the end reflects on the nature of memory.

Bålder Quartet is a Finnish string quartet playing classical music together since their launch in 2018. In January 2026 they revealed a new visual identity, designed by David Matos / Shutupandance using Poppins throughout, plus Bloyd for the logo.

The stacked lines symbolise the core composition of a string quartet. It alludes to the two violins, the viola and the cello (and, by extension, the four musicians). Each line can also be seen as representing the four strings, common to all instruments in the quartet.

The logotype can take on different shapes by shifting characters, together or individually, along their vertical axis (i.e. baseline), evoking the sensation of sound, music, and rhythm. It can be animated in several ways — for example, reacting to sound as a backdrop projection in live settings.

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London-based studio Anagram has redesigned Transfapay, a money transfer service founded in Sierra Leone,. The new brand, Jaudi, now facilitates the worldwide transfer of goods, assets, and funds. Despite a competitive market, Jaudi aimed to stand out by showcasing its expanded offerings and its West African heritage.

Anagram on the new strategic orientation:

We revealed that many transactions were driven by powerful emotions, not just financial needs. Stories emerged of children supporting families back home from new countries, and charities and businesses investing in their local communities. To capture these narratives, we developed the concept of ‘Changing Money.’ This phrase cleverly references the business’s origins in money transfers while highlighting the human benefits and transformative impact of its services.

The branding and typography reflect this positive vision. The three weights of Easy Grotesk used throughout the branding and UI embody warmth and clarity, mirroring Jaudi’s commitment to transformation and empowerment. Alongside, Akkurat Mono is used for minor text and navigation, providing a balanced technical flair.

Investment and real estate company Künzel Group received a rebranding from Munich based agency Pixelperfektion. Creating an aura of quality and tradition was particularly important. Pixelperfection says:

The new branding was intended to give the young company Künzel Group the character of “Heritage”. This concept stands for tradition, excellence and a touch of luxury that the brand wants to embody. This was achieved by color selection, logo design and typography, capturing a feeling and reflecting values ​​that are usually found in established companies. Despite its young age, the brand creates a connection to a high-quality, classic and elegant style.

The company’s new logo integrates a signet out of the initials of the company's founder. The symmetrical and mirrored design symbolizes balance and trust, while the use of the initials adds a personal touch that speaks of accountability.

Relais Display, designed by Alexander Rütten and Olivia Wood from Ligature Type, contributes to the elegance and value that radiates from the logo. Relais Display is used as the primary headline font on the Künzel Group website and also in other media. It’s supported by Montserrat, Helvetica Now, and Künstler-Schreibschrift.

Lobby of the LAPO venue in Geneva

LAPO is a new business in Geneva offering a wide range of aesthetic medical treatments in an unconventional atmosphere.

Design and advertising agency Wow created a specific graphic language in collaboration with artist Asa Ariyoshi-Pope, visually supporting an overt, accessible and playful attitude towards aesthetic treatments.

The interior design of the first location in Geneva was designed in collaboration with Coral Studio, who also designed Lapo’s logo. The resulting interior is highly compliant with the corporate design style guide, featuring strong color accents and an obvious reference to flowing, clear lines and rounded shapes.

This reference is also visible in the choice of the corporate font. Relais Display, designed by Alexander Rütten and Olivia Wood from Ligature Type, is used in the logo, and also for headlines and text in all media (web, print, social media) in various styles.

Relais Display supports clarity and adds elegance, accentuating a ‘French touch’ in the general appearance of the corporate design.

Mobile optimized web experience

Brochure and business cards

Treatment and waiting area

Website

Illuminated Logo on the storefront window

A consulting company for private health insurance has to convince with a trustworthy web design.

safe:on is an independent insurance broker that specializes in advising civil servants, teachers, and students. They offer advice on private health insurance, disability insurance and pension plans. In partnership with Planted, they are committed to sustainability and planting a tree for every new policy taken out.

Their fresh graphic design is supported by the friendly and optimistic Easy Grotesk for the logo and headlines, as well as Inter for body text.

The fresh interface design of Amigo & Amigo mirrors the lightness, playfulness and empathy of the interactive light art studio, which specialises in installations for public spaces.

Their website, designed by A Friend of Mine, features vibrant images and videos documenting their work. Sans Plomb appears as the logo and headline typeface next to the expressive Easy Grotesk for body text, supported by Quadrant Text Mono in capital letters for navigation.

Since it was founded in 2019, La Maison has come to be considered an institution when it comes to modern, French baked goods in Berlin. In 2023, Yil & Mann rebranded La Maison, moving away from a more traditional typographic approach to a look more suitable for the modern classic La Maison had become.

The new logo was designed featuring Relais by Alex Rütten and Olivia Wood from Ligature Type.

“Using Relais leads to more generous proportions than the previous word mark, enabling the logo to be used more flexibly in different applications without losing its characteristics and visual strength. Relais belongs to the specific classicist Antiqua family called Didone, which was mainly developed in France and became known worldwide. The emphasis on vertical lines and the high contrast gives it a as strong, calm and elegant look”, say the designers.

In addition to the café, there is also the Boutique de La Maison, a store in the immediate vicinity of the bakery .To create a specific logo for this boutique, Relais was paired with an adapted version of the organic, illustrative PicNic by Mariel Nils. The quirky, handcrafted character of the lettering creates a charming contrast to Relais elegant and clear style.

Schick Toikka’s typeface Dia is used throughout all media as a text typeface, offering good legibility with a subtly warm and practical appeal.

The two logos are used on the shop windows, website, business cards, letterhead, poster, packaging und social media.

Window of the shop on Urbanstraße, Berlin

Branded packaging

Employee in a La Maison T-shirt

Invitation to the opening party

The La Maison menu

La Maison Website

The Wombles made their television debut over 50 years ago, bringing with them a strong environmental message long before eco-awareness became mainstream. Their influence led to the creation of ‘wombling’ groups across the country, dedicated to litter-picking and recycling.

Often seen as the original environmentalists, the Wombles’ inventive recycling methods have now been spotlighted in their updated brand identity. This refreshed image positions them as a seal of approval for sustainable businesses, offering a new layer of relevance.

With a fresh chapter ahead, the London-based agency How&How has taken on the task of reimagining the Wombles and their iconic characters, such as Great Uncle Bulgaria, Madame Cholet, Tobermory, and Orinoco. Staying true to the Wombles’ ethos, the agency adopted a reuse and recycle approach, incorporating visual elements from the past, including icons, illustrations, and pictograms.

Each character has been given its own sub-brand, complete with distinct color palettes and patterns, alongside a collection of illustrated icons reflecting their personalities from the original stories. The new verbal identity draws inspiration from the Wombles’ theme song and scripts and is paired with a fresh headline typeface, Kyle by French foundry Blaze Type.

Additionally, the Wombles now feature a redesigned W motif and wordmark. “For the wordmark, we aimed to stay true to the original chunky slab design, selecting Nordvest by Monokrom foundry as our base. We liked the way its horizontals are slightly thicker than its verticals,” says Cat How, the agency’s founder and creative director. Some of the pins and stickers use Fort Foundry’s Alkaline.

“This subtle inversion of traditional stroke weighting adds a quirky, playful quality that felt perfect for the eclectic spirit of the Wombles.”

While the digital illustrations and character icons are a departure from the furry models many remember from TV, these updates reflect the many versions of the Wombles that have appeared since their inception in Elisabeth Beresford’s 1960s books.

How&How’s initiative is focused on promoting brands dedicated to “making less stuff,” but it seems the new identity will also extend to the Wombles’ physical merchandise. It's hoped that this expansion will be handled carefully to preserve the environmental values that have made the Wombles so beloved.

Exdatis is an AI startup that develops solutions for making data accessible using artificial intelligence. The Dresden-based company is specialised in AI-supported searches in complex data structures such as product catalogs in online shops. Exdatis also offers workshops for professionals on AI use.

Berlin-based type and design studio Ligature Type developed the new company’s visual identity. Ligature Type says:

The most important goal was to transport a feeling of accessibility – the whole design had to be friendly, open, rational and easy to understand.
The logo ended up being quite simple. The x-shape turned out to be suitable for playful use while developing patterns as an abstract depiction of data structures. Finding appropriate colours that were vibrant but adult was also an important step in the process.
The colours and patterns were key for transporting the identity into print.

Deciding on the right font turned out to be more difficult than expected. In our concept, type was supposed to play a very important role. But there was simply no font that conveyed exactly what we had in mind: an ultra friendly typeface with warm and sophisticated details. So we suggested designing our own font including a specific icon set for the project.

The developed font Cambio Grotesk radiates a rational feeling, but upon closer inspection it becomes obvious that the proportions are not cool, technical or over-pragmatic, but rather unique and friendly. Subtle playful details and a few individual shapes give the font character. Cambio appears tidy, human, confident and optimistic. In the regular cut it is easy to read, especially on the screen, and in the extreme cuts (light and black) it has headline-qualities. This makes the font an ideal companion for an evolving business.

Ligature Type later continued working on the typeface. It was licensed with the TypeMates in 2023 under the name Easy Grotesk.

Tablet view of the website

The developed custom typeface, later licensed as Easy Grotesk

The Kay is a boutique Pilates studio right outside of Antwerp, Belgium.

On their website, Off-The-Grid mentions:

We created a brand that’s minimal yet different. Built around the idea of movement and alignment. The logo can be split up to add important pieces of text in between or it can be used on one line.

For the brand assets, Off-The-Grid usually worked with the logo as the main focus. They made the logo large and bold so there’s immediate brand recognition.

The typeface used for the logo is Relais with a modified A and Y. It is paired with Sofia for texts.

This publication is the annual report for the Althingi Ombudsman. Althingi is Iceland’s parliament (and the oldest ongoing parliament in the world). The role of the Althingi Ombudsman is to monitor the administration of the State and local authorities and safeguard the rights of the citizens vis-à-vis the authorities.

Once a year they publish their annual report, which is a public document, but is mostly used by the government, listing the outcomes of the closed cases from last year.

Reykjavík-based design studio Kolofon was tasked with creating a design language for this report and others Althingi Ombudsman produces. Some are laid out by Kolofon, some done in-house via a template – but always true to the design language.

Kolofon comments:

While the report might not look that complicated at first, the need for a diverse typographic layout was important, to convey the different types of information, references to laws, sections and more – which called for the use of a well-designed typeface as the main font. We found the Tuna family while browsing online and it fit the bill perfectly. Both in the ways of being a robust family that could handle our needs well – but also visually. It is paired with Trade Gothic.

Pistor AG is a leading and independent trading and service company in the bakery and confectionery industry as well as for gastronomy and care in Switzerland.

The company sharpened its brand story, revitalised its corporate design and completely relaunched its website. St.Gallen-based agency Die Botschafter have designed and implemented internal and external measures that encourage activity.

Among other things, Tuna is now used for headlines and slogans, in all media. It’s supported by Myriad.

Juridika is the only Norwegian legal service to offer legal textbooks, updated legal commentary, news, podcasts and articles – all in one place. Juridika also offers digital access to Universitetsforlaget’s legal commentaries and literature, in journals dating back to 1962. The logo is based on Tuna, with a customized ri pair, an omitted dot on the second i, and Tuna Italic for the subline. The website design combines the Tuna family with Source Sans.

Cover of the exhibition journal, French language, 24 pages.

From 9 October 2019 to 27 January 2020, the Grand Palais in Paris showed a huge exhibition of works by French painter Toulouse-Lautrec. It was the first major retrospective in the artist’s home country in decades. The show was accompanied by a number of publications, including an illustrated exhibition journal, a bilingual paperback edition with reproductions of all featured images, and a full-featured hardback catalog edited by Stéphane Guégan.

The display typeface used for all these publications is Zangezi. Started in 2018, Daria Cohen’s in-progress design is inspired by Salem, a metal typeface first cast by the Keystone foundry in 1901 – the year of Toulouse-Lautrec’s death. It’s used for headings and quotes, occasionally featuring its italics, too. Zangezi is also used for the exhibition logo that shows the artist’s double name in two stacked lines. The initial letters here touch each other, with unilaterally clipped serifs.

Zangezi is paired with Stanley for text. With its sharp details, Ludovic Balland’s reimagination of Times New Roman is a good fit for the eccentric Zangezi. Captions are set in Aidos. The “semi-proportional typewriter” face by Alexander Rütten nicely blends into the mix, echoing Zangezi’s “Latin” wedge-shaped serifs.

Spread from the exhibition journal with Danièle Devynck’s text about Lautrec and women.

Cover of the exhibition catalog, French language, 352 pages. Zangezi Italic is used for the quote by Thadée Natanson on the banderole.

Title page of the exhibition catalog.

Opening spread for Stéphane Guégan’s biography.

Chronology of Lautrec’s life, set in Stanley Regular and Italic, featuring its oldstyle numerals.

Spread from the catalog, with Zangezi for the quote and Aidos for the source and the image captions.

Tote bag showing the logo in Zangezi with modified serifs for the capital letters.

Tuna is used for text and logo (with some altered glyphs) as the typographic backbone of the identity that John Pepe designed for Zancada.

Zancada have been organizing and directing activities for children and young people from all over Spain for more than 20 years, always with the philosophy of offering fun first and foremost, but also personal growth, convinced that in the society of the 21st century living in nature and making new friends are still unique experiences.

The people from Zancada have had the luck to be able to enjoy the camps and leisure activities in nature since they were very young, and we are aware of how important that training has been for us. That is why we dedicate ourselves to this with the passion of those who have lived it in their own flesh, and with the vocation of transmitting those same values: Coexistence, respect for nature, dialogue