The Japan Pavilion at Expo 2025 Osaka, Kansai, is centered on the theme “Between Lives”, exploring the the concept of junkan (circulation of life) through a life relay where waste becomes the foundation for future generations. The pavilion’s entire communication framework, spanning visual identity, signage systems, digital platforms, and film, was designed by Nippon Design Center in collaboration with nendo.

The visual system is conceived as a form of life itself – a breathing, growing organism that evolves across all media. To communicate this complex concept to a global audience, the design team utilized Code Next by Fontfabric as the primary English typeface.

Code Next was selected for its clean, geometric forms that harmonize with the pavilion's floating typography layouts and minimalist architecture. By integrating the typeface into spatial feeling experiences and unassuming video content, Nippon Design Center ensured a cohesive visual unity. The font’s modern, simplified structure mirrors the pavilion’s focus on small cycles and transformation, providing high legibility while maintaining the visceral, organic atmosphere of the exhibition.

The bold serif used alongside Code Next is Mastadoni. The typeface used for Japanese text is Hiragino Kaku Gothic.

A Land Once Magic is a tabletop role-playing game written by Viditya Voleti, edited by Charu Chandni Patel, and published by moreblueberries. The cover and interior feature the art of John Gagne and graphic design by Luna P.

During gameplay, the players get together to create a fantasy world, by drawing from a poker card deck and answering questions about the land.

Viditya tasked me with capturing the game's focus on unconventional, postmodern fantasy with the book's design. Along with Viditya, Charu and Elliot, we each contributed a bit of our cultures to the iconography for the game, which features in the covers and in the chapters, forming a flower-shaped mandala.

As a nod to a previous edition of the game (which used a font with romanesque characteristics), the font Forevs by OH no Type Co. was chosen for its alternate A inspired by Weiß-Initialen, and its flared serifs which echo the flower pattern used in the mandala. Different weights are used through out the book in titles.

Additionally, Fern by DJR is used for body text, along with Underware’s Zeitung Micro in tables and page numbers, and Dave Rowland’s Margot for its poker suit symbols.

Bolt homepage

Gamay serves as the brand typeface for Bolt and Plenty.

Bolt is a Belgian supplier of green and locally sourced energy. In 2025, the company launched their new cooperative, Plenty. On this occasion, Bolt commissioned design studio WeWantMore from Antwerp with a new visual identity that encompasses both enterprises.

The clear-cut sans by Darden Studio plays a center role in it: Gamay is often used in all caps from one of its bolder weights, for example in billboards and online campaigns. On the two websites, boltenergie.be and plenty.be, it features in various styles, from the Book Italic to the ExtraBold. Gamay makes for impactful headlines as well as for crisp body text, and looks good in both the French and Flemish language versions. It’s supported by italic styles from Dave Rowland’s Gelica.

“Know where your electricity is coming from”

Video ad for the Plenty cooperative

Selection of social media posts by Plenty

Flemish version of the Plenty website

French version of the Plenty website

Transferts / Glossaire is an exhibition highlighting the convergences and dissonances in the work of thirty artists who have developed their practice within the workshops of Césure, a space supported by Plateau Urbain in collaboration with Yes We Camp, Aurore, and Emmaüs Campüs.

The graphic design and signage of the exhibition was made by Emma Kaleta, using Large (roman and italic) from Alexandre Créquer together with Margot by Dave Rowland.

Header

The Kitchen Is A Place is a solo exhibition by artist Ann Yan (闫安), held at SxS Gallery, Shanghai. The exhibition was curated by Zhang Yehong (张业鸿). Graphic design by Xiaoyuan Gao, using Elliott’s Blue Eyeshadow and Yink for headlines; the secondary type is a combination of Metallophile Sp8, Resource Han Rounded and the ornaments found in Looking Flowers Deco. Latin alphabet elements in the body copy are set in NotCourierSans.

From SxS Gallery (auto-translated from the Chinese):

For artist Ann Yan, growing up near the Freud Museum in North West London inspired her interest in psychoanalysis and the human mind, especially the subconscious mind, which is deeply embedded in the universal human experience. As a second-generation immigrant, Ann Yan has consciously looked back and tapped into her own cultural collective memory. Citing images from numerous 80s cookbooks, she focuses on recipes that are full of East Asian flavor and flips this nostalgia into a personal and surreal narrative style.

If Dali's grotesque imagery in Carla’s Dinner Party is to be seen as opening a new path for the tradition of table still life painting, Ann Yan has undoubtedly inherited this aesthetic, combining imagery and depictions of food with her own reflections on post-colonialism and cultural relativism through the combined mediums of oil paintings, sculpture, and collage.

Official poster

Exhibition title and introduction displayed on the wall

Exhibition leaflet (back, A4)

Exhibition leaflet (A4)

Close-up: exhibition leaflet (A4)

Folded: exhibition leafLet (A4)

Typographic base

Built on top of their core belief – Our purpose is not something we do, it's who we are – Chetana is a coaching company for entrepreneurs, founders and leaders who are ready to lead more consciously.

Original wholeness, and genius, can be found in the waters of the present moment. Our identity for Chetana is based on the concept of the ‘river of consciousness’: the soft ripple between reality and consciousness, expressed through soft gradients that play together, a dual typographic system pairing Victor Serif and P22 Underground and a chromatic adjacent palette. The logo uses the Medium Italic style of Gelica.

Source: www.impawards.com License: All Rights Reserved.

The necklace numbers use Eurostile Black.

From Wikipedia:

Chicken Run: Dawn of the Nugget is a 2023 British stop-motion animated comedy film directed by Sam Fell and written by Karey Kirkpatrick, John O’Farrell and Rachel Tunnard. A sequel to Chicken Run (2000), the film was produced by Aardman Animations and stars the voices of Thandiwe Newton, Zachary Levi, Bella Ramsey, Romesh Ranganathan, David Bradley, Daniel Mays, Jane Horrocks, Imelda Staunton, Lynn Ferguson, Josie Sedgwick-Davies, Peter Serafinowicz, Nick Mohammed, and Miranda Richardson. It tells the story of Rocky and Ginger who lead a rescue mission when their daughter has been abducted to a highly-advanced poultry farm run by their old enemy Mrs. Tweedy.

The posters were designed by Empire Design, using Revla Sans as the primary typeface, paired with slanted caps from Impact for the logo. On the character posters, Revla Sans is used in all caps, with a drop shadow and set on an angle. The nicknames are added in Astounder Squared BB, with “Introducing” in Brophy Script.

Source: www.impawards.com License: All Rights Reserved.

“This time they’re breaking in!” is in Futura.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Source: www.impawards.com License: All Rights Reserved.

Founded by George Loat, One Another is an English micro-winery in Gloucestershire. George learned the art of winemaking by working around the world with winemakers who eagerly shared their knowledge and became great friends of his. Their wine is from high-quality grapes grown at Clayhill Vineyard in Essex. In George's own words:

My first three years at Central Saint Martins (foundation included) were a struggle; I constantly felt like I was riding a bike through sand. On paper, the university had all the essential ingredients for me to thrive – art, design and like-minded creatives – but I never really found my groove. By the end of the online, Covid-stricken second year, I'd had enough, so I applied for a year of study leave.Fast forward one year, and I was itching to start studying again. Of all things, winemaking was quite bizarrely what kickstarted my renewed studious vigour. Somewhat spontaneously, I worked the grape harvest in France and Argentina before becoming a winemaker myself. The people, places and processes I experienced during my travels inspired me to set up my own micro-winery – One Another Wines – on my return to the UK. So I spent my final year at Central Saint Martins making wine and designing the brand.

The labels and branding are set in a mix of Bastardo Grotesk and Gelica, providing a fun mix of softness and quirkyness. The illustrations are by Finn Orr.

New dog for the new Remotive!

Remotive is the world’s largest remote work community. Established 2014, it helps clients such as Stripe, Shopify, and Zapier to hire remotely. The identity by StudioPaack uses Gelica Semi Bold as the primary typeface. It’s supported by IBM Plex Sans Condensed.

Fronted is a service for spreading the cost of home rental deposits. Gelica is used for headings; logo and body copy are set in Inter.

From PTOT’s Behance presentation:

PTOT is a Turkish film production company founded by Tunay Vural and Şebnem Kitiş. With 20 years of experience, PTOT staff have put their signature on more than 800 commercial films and music videos. It has been a top choice of major international advertising networks and multinational brands for all their motion picture advertising needs. Besides commercials, PTOT Film is producing feature films, branded content and documentaries. The company also has its publishing department. PTOT engages around twenty full time employees, in house local and foreign directors, much more top–notch freelance talents.

After rebranding in 2019, the logo and titles are set in Strelka Ultra, with supporting text in Bergen Mono.

Svalbard Fangst (“Svalbard Catch“) is a Norwegian fishing and hunting family business. The products range from simple, tasty reindeer sausages to exclusive down duvets.

The identity by Tank Tromsø features Brag Stencil, with Aperçu and Aperçu Mono for text.

We wanted to create an identity that with simple, unobtrusive and functional grips that places Svalbard Fangst in its right element, without taking away the authenticity and rawness.

3.33 Body is a black woman owned beauty brand based in Philadelphia. The logo and product names are set in Capsule, and supporting text on the website and the jars is Bembo Book.

Mile is a (children’s) clothing company, based in Slovakia. Tchig Mono is used extensively on the website. It’s a somewhat unusual choice for the subject matter, but it does work well. The Mile logo seems to be based on a rounded monospaced font, but I can't find an exact match.

The Extraordinary Time-Travelling Adventures of Baron Munchausen was made for Oh So Funny Comedy as part of the Leicester Comedy Festival 2021. Designed and animated by Jason Guest in just three weeks, this short animation turns the hilarious family friendly improvised storytelling show into a lively cartoon.

The title typography pairs Balter Serif with Revla Slab. For the main title, the former is used with its alternates, in a multicolored setting featuring the Regular, Shadow and Hatch styles.

The single artwork for Majid Jordan’s “Waves of Blue” features Capsule with an outline effect and DraftWerk. It could almost class as an LTypI, using Capsule on what looks like some sort of NFT office capsule.

Creative Direction: Adrian Martinez
Art Direction: Jabba
3D Design: Bazz Bros.
Text & Add’l Design: Clayborne Bujorian

The letter O with the inward curl in Columbus can be used not only for alluding to the opulence of Baroque art. It’s also a perfect typographic miniature for symbolizing tasty spreads, as demonstrated by the wordmark of Alpenhain’s Obazda packaging. A good example how a single glyph can make all the difference!

This line of soft cheese products is one of the few contemporary applications of Columbus (1890) that I’m aware of. Alpenhain has been using Herman Ihlenburg’s typeface for at least a couple of years now, initially unmodified and later adjusted with an upright a and a more left-leaning z, in combination with varying secondary fonts. The current choice is the non-connecting variant of Fineday (Mika Melvas, 2018), together with Bellfort Press (Bartek Nowak, 2015) for the flavor.

International variant with English text. Fineday is here used in its Style Two, i.e. with restrained capitals.

A special “Wiesn dahoam” edition sold during the Oktoberfest season additionally uses Quayside (Dave Rowland Type, 2013) for the script lettering on the gingerbread hearts.

In a previous version, the wordmark in unmodified Columbus suffered from too loose letterspacing. “Original” is in caps from Otari (Vectro, 2010).

Savage was a lobster restaurant in Antwerp which has now closed down. The branding was done by Pinkeye Studio (now known as WeWantMore), and features a modified Brag Stencil, overlaid on attractive illustrations. Bulo Rounded is used for all supporting text.

Air is a content management platform for creatives. Gelica Semibold is used for headlines, with spacing loosened and the single storey alternates engaged for a, g and y. It is a good fit with the ‘Corporate Memphis’ design elements. On the website, smaller text is rendered in Inter.

Three rounded fonts in use for Chip cookies: Rodger (Central Type), Duckie (Eclectotype), and Milk (Hubert Jocham Type).

From design studio My Creative:

Chip NYC is a Queens-originated cookie shop known for large gooey cookies & creative flavours that led them to go viral. ⁣With their first Manhattan project on the horizon, we were tasked with rebranding them from their current homemade, aesthetic to a more exciting brand that reflected their young social-media driven audience and creative offerings. ⁣They now have 5 stores and counting located around New York City. They have just launched a delivery system of box fresh cookies that can be baked at home.

⁣Their unique shaped gooey centered cookies were a direct influence on the logo mark design. With a vintage touch to represent a nostalgia for cookies shared by everyone from all generations. ⁣
⁣
Once that was decided, we expanded on a world of Chip City Cookies, animating the illustrations of clouds to rain chocolate chips and rainbow sprinkles. ⁣

Find more images and animations on the studio website.