Maldita Envidia (meaning “Damn Envy”) is a Mexican dressing brand whose visual identity, crafted by Guadalajara-based Estudio Cariño, playfully subverts the concept of envy, framing it as a positive drive for culinary discovery. The branding is designed to stand out on crowded retail shelves, drawing inspiration from the high-contrast, hand-painted cardboard signs found in traditional Mexican street markets.

For its brand identity, the studio says:

The graphic identity was developed the same way a dressing is prepared: with small touches—sometimes just a pinch, sometimes bold and dominant.

In order to do that, the wordmark uses Pouler by Alexandre Créquer, with some custom ligatures and a variation on the A for the logotype. In addition, they used Balacar from The Designers Foundry, GT Haptik from Grilli Type, and Quick Writers by Letterhead Studio. GT Alpina carries longer texts.

Magical Athlete is a chaotic racing game that's fast, dumb, and without a doubt, the only game where you can race a baby versus a banana. The original version of the game, designed by Takashi Ishida in 2003, was beloved by serious gamers for its fantastic gameplay, but a bit lost when it came to aesthetic direction; not only was the board difficult to read, but it didn't reflect the joyous energy of the game.

For this new edition, the mechanisms of the game were expertly updated by Richard Garfield, game designer and creator of Magic: The Gathering—but that still left a big question mark as to how the game should look and feel. To help evoke the simultaneously simple and wacky nature of the game, I decided to lean on simple shapes and primary colors for the graphic design.

Our team knew from the start that the game had to be profusely illustrated, and our interest in 1970s illustration like Richard Hefter’s Shufflebook and Sweet Pickles series, Heinz Edelmann’s work for The Beatles’ Yellow Submarine, and Peter Max’s psychedelic color, led us to work with the exceptional Angela Kirkwood on the artwork.

The game is predominantly set in Grilli Type’s Flaire. Its “Extra” and “Basic” variations meant we could dial up pizazz when needed, as on the character names on cards, while also relying on the Basic as a heavy-lifting sans serif in spots with dense amounts of text like the rulebook. The external box follows the system devised by SMLXL, which exclusively uses the book weight of Lineto’s Supreme. The logo and board typography is hand-lettered by illustrator Angela Kirkwood.

A neighborhood neo-brasserie and festive bar, Boucan reinterprets the traditional codes of the bistro through a contemporary lens. The branding is built on a dialogue between visual heritage and modernity, conceived as a graphic reinterpretation of classic bistro references, turning the venue into a full experience rather than a simple destination.

The logo is developed through multiple variations, set in Ohno Blazeface by OH no Type Co. and Enfilade by JTD Type, reflecting the many facets of the space. The visual identity embraces bold graphic decisions, driven by expressive, sometimes playful type choices, most notably Grilli Type’s GT Haptik Rotalic, Animo by Heavyweight, and Roca by Elena Genova, which bring rhythm, movement, and character to the overall visual system.

The News Movement is a social-first newsroom created for a generation that encounters news incidentally rather than intentionally. Founded to serve audiences who care about what’s happening in the world but no longer engage with traditional news formats, TNM sits at the intersection of journalism, culture and platform behaviour.

Rebranded in 2025 by 20Something, the design uses GT Alpina, Brik (Mike Hill) and GT America.

Founded by Filipa Alves in 2022, Flórida Studio brings to life a cross-pollination of ideas between designers and makers, hosting a collection of handmade objects, home goods, apparel, vintage and art, alongside offerings in floral design installation and events. The brand reminds us that the creative spirit comes to life when you follow your heart while believing in the strength of collaboration.

Having known Filipa for over a decade, we were honored to help bring her vision to life — developing the brand from the ground up with a new identity, signage, creative direction, printed materials, and a custom e-commerce platform that captures the studio’s soulful, intuitive spirit.

Maison Solide developed a lively and colourful graphic language for La Locale, a social and solidarity grocery store situated in the 17th district of Paris. The identity is embodied by veggie-shaped characters drawn by the studio, cheerful colours, and the bold use of Malamocco and GT Alpina Typewriter.

Brnjsmin returns with his long-awaited second album on Verydeeprecords, blending leftfield electronic(a) with bass-driven ambient and not not jazz. A tripping brain dance with a wink for fans of dreamy synths and early Four Tet.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combined line drawings by the artist himself with found images, typographic elements and glossy 3D graphics, creating a unique visual world reflecting the playful approach of the music.

The text is mostly set in Samara Keller’s Tempos Mono. In addition, some glyphs from ABC Maxi Round and LL Fiat77 can be found and the back cover features some customized bits and pieces from CirrusCumulus and GT Alpina.

[More info on Discogs]

Trafarett in use for the exhibition To mold, To hold. Currents in Estonian ceramics at ARS Art Factory in Tallinn, curated by Kati Saarits, Raili Keiv, Laura Põld. Graphic design by Jaan Evart.

About the exhibition:

A selection of works from the collections of the Estonian Artists Association and the Estonian Museum of Applied Arts and Design, as well as from contemporary artists, is accompanied by Kati Saarits’ diary-like snapshots of publications from the second half of the last century on ceramic art and binders compiled by Leo Rohlin, both from the ETDM archive.

The exhibition will also include a revised version of Raili Keiv’s table installation from the exhibition ‘ROOM’ at the Estonian Museum of Applied Arts and Design, which highlighted the ceramicists who made their mark in Estonian ceramic companies in the 1960s and 1980s, as well as some more recent outstanding finds.

The exhibition is part of the 100th anniversary of the ceramics department of EKA.

Participating artists: Anu Rank Soans, Ingrid Allik, Leo Rohlin, Velda Soidla, Anne Keek, Laine Sisa, Henriette Tugi Nuusberg, Annika Teder, Haidi Ratas, Tiina Lõhmus, Viive Väljaots, Helle Videvik, Juss Heinsalu, Kris Lemsalu, Mai Järmut, Helene Kuma, Urmas Puhkan, Lauri Kilusk, Laura Põld, Luule Kormašova, Naima Uustalu, Raili Keiv, Mariana Laan, Ene Raud and a selection of EKA student projects.

Curators: Kati Saarits, Raili Keiv, Laura Põld
Exhibition design: Kadri Villand
Graphic design: Jaan Evart
Poem: Katrin Väli

From Éditions Pyramyd (translated from the French):

In this optimistic and inspiring essay, Valérie Belmokhtar invites the reader to think about art in today's world. How can we respond to the multiple challenges of the climate crisis? How can we include all creators in the art world?

By tracing the history of art, the author shows that the preservation of resources and the transmission of know-how have been present in the work of many artists for centuries. She draws up an enthusiastic panorama of contemporary creation, presenting the work of men and women whose art can be defined as ecological. Land art, materials recovery, collaborative work: the avenues for reflection are numerous and stimulating.

Titles are set in Sud and body copy in GT Alpina.

Işıl Gün is a Turkish stylist and set designer based in Milan. Each of her projects reflects a sophisticated, eclectic, and irreverent eye, shaped by a unique style that blends retro influences, surrealist elements, bold textures, and strong contrasts—always with an elegant and unmistakable touch.

She partnered with DilloStudio who designed the new identity directly from this coexistence of opposites: a vibrant and varied palette creates unexpected and lively combinations; geometric patterns echo the aesthetics of the 1970s, while surreal compositions mix illustrations, classical busts, animals, and natural stones in a dreamlike, personal language.

The logo features Blackest by Zetafonts, a typeface that merge radical design references with nods to Turkish visual culture. GT Alpina Condensed by Grilli Type and Fragment Mono by Wei Huang are used respectively for headlines and paragraphs.

Design by Mattia Finardi with direction from Marco Fogaccia. Web design and development by Daniele Capelli.

Design between yesterday and tomorrow – branding for the Museum Bezau.

A new chapter for an old building: the former Bezau Local History Museum has been completely redesigned, both architecturally and in terms of content. Past and present now meet in the historic Bregenzerwald farmhouse dating from 1555. A modern extension, designed by Innauer Matt Architects, complements the listed building with great sensitivity. A bridge to the present day has also been built in terms of communication.

Super BfG worked closely with the Bezau Museum Association to develop the new name, image and all communication materials for the museum. The new look is not a loud break with the past, but a quiet opening – respectful of history, but with a clear view to the future. The design picks up on the architectural language: sections, corners and curves of the new wooden façade become a graphic principle. The lettering remains functional and calm – carried by two typographic voices that combine history and modernity. GT Alpina adds narrative depth, while the neutral NN Nouvelle Grotesk lends clarity and simplicity to the overall picture.

A special shade of yellow is at the heart of the colour scheme – symbolising the dawn of a new era. Combined with natural tones such as wood, milk and honey, it creates a visual connection between built space and creative expression. The striking recess in the letter M becomes a recurring element: as a support, frame and point of orientation.

The branding has been consistently applied to a wide variety of media – from folders, postcards and envelopes to exhibition sliders, stickers and tea packaging. The new website rounds off the project digitally: it not only makes the stories of the Bregenzerwald visible, but also brings them to life.

The Film Festival Cologne mainly uses two typefaces. The first is GT Cinetype, whose use was explained by the lead designer of the project, Holger Risse, in an email on May 9, 2025 (translated from the German:

We use GT Cintetype and GT Alpina for text. It’s a perfect fit for a film festival because the Swiss company Cinetype specialized in subtitling film reels. GT Cinetype is based on an engineer’s design for such a machine. A laser applied the text directly onto the film by removing the ink layer.

The second typeface is GT Alpina, designed by Reto Moser and released in 2020. The type foundry Grilli Type describes it as follows:

GT Alpina proudly calls itself a workhorse serif, but delights in playing with the very meaning of that concept. It reaches into the grab bag of typographic history to resurrect shapes some may falsely see as too expressive, resulting in a meticulous family melding these distinct shapes with a pragmatic execution.

This unique album was published in a limited run of 500 copies by Layup Galery – the result of a five-year process behind the creation of the Outsiders exhibition, captured in a carefully designed publication. The visual concept was developed by Olek Modzelewski, with editorial work by Cezary Hunkiewicz. The album features photographs of all artworks by invited artists, documentation of the SKM train entering the hall, in-depth interviews, and first-time published materials. Each copy is hand-numbered, making it not only a publication but also a collectible object.

Layup Galery is an exhibition space dedicated to contemporary urban art, located on the post-shipyard grounds of Gdańsk. Established in 2015, it was one of the first alternative cultural institutions to emerge in this post-industrial area. Housed in the giant historic Hall 94b, Layup presents a unique gallery focused on artists rooted in the graffiti scene. The collection includes over 50 works by internationally recognized artists such as Moses & Taps™, Rage, Sabe, Rocco and His Brothers, Sebas Velasco, Sainer, Martí Sawe, Karso, Finer, M-City, Krik, and Sicoer, as well as a fully preserved 24-ton EN71 048 SKM train car.

The book interior (336 pages + a 24-page insert printed with silver spot color) was printed on Arctic Volume White 115 g/m² and Munken Print White 115 g/m² by Arctic Paper. The Swiss-bound hardcover was wrapped in Natural Art Silk Eggshell White paper, with blind embossing on the front and spine.

This book is a monograph on the contemporary American artist Nina Chanel Abney, who lives and works in New York. It features texts by Richard J. Powell, Thelma Golden, and Jazmine Hughes, plus an interview by Jeffrey Deitch.

The book – hardcover, 309×238mm and counting 280 pages – was published by Phaidon:

Combining representation and abstraction, Nina Chanel Abney’s paintings capture the frenetic pace of contemporary culture. Broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history, her works eschew linear storytelling in lieu of disjointed narratives. Through a bracing use of color and unapologetic scale, Abney’s canvases propose a new type of history painting.

The first definitive monograph on this contemporary American artist presents a collection of more than 300 works, including large-scale paintings, works on paper, sculptures, installations, murals, and commercial collaborations, along with a behind-the-scenes look at the artist’s process. Insightful texts from influential art-world figures and writers underscore Abney’s artistic impact.

Strikingly designed, with an eye-catching acetate jacket, vibrant pages, double gatefolds, and curated inserts, Nina Chanel Abney is a celebration of the artist’s distinctively bold style and innovative approach.

The book uses Neureal Mono by Laura Csocsán for titles, display styles, small captions and page numbers. Running texts are set in GT Alpina from Grilli Type.

Wine label, cap and boxes for Lighthand, a winegrower from Euroa, Victoria. The name is set in lowercase letters from Romie Italic, with a sweeping swash on the final d. Complimentary text is set in all-caps GT Alpina (with Typewriter).

Open-disciplinary design opens up new perspectives by breaking down the boundaries between disciplines and positioning designers in a fluid in-between space. This dialogical process fosters new approaches that not only enrich creative practices, but also provide deeper answers to complex societal issues.

Challenging traditional definitions, this Master’s thesis made by Julia Klass and Corinna Gratzl at HTWG Konstanz explores the dynamics of a design practice where disciplines merge. Designers and experts at the intersections of architecture, scenography, product design, craftsmanship, graphic design, art, and science were visited and interviewed in their work environments. Photographs from this process capture details, moods and traces, enhanced by scans of materials and surfaces.

The resulting dialog illustrates how exchanging perspectives reshapes the role of design today. It also examines whether open-disciplinary work today is driven by a new mindset compared to earlier developments.

The design is guided by the central theme of “opening doors”. Metaphorically, it shifts from “in front of” to “behind” the door, combining two perspectives: the external view highlights structural factors, while the internal view delves into personal insights and introspective reflections.

A publication compiles insights from 13 interviews through quotes and visual material—not to portray individual positions, but to highlight overarching ways of thinking and enable connections.

Find more information on the project website at dialogbeyonddisciplines.com.

The fonts used are GT Alpina (with Typewriter) by Reto Moser for Grilli Type and ALT Riviera by Giulia Boggio for ALT.tf.

Andrew Wyeth at Kuerner Farm: The Eye of the Earth is a traveling exhibition centered on American artist Andrew Wyeth (1917–2009) and the Brandywine Valley farm that inspired him to create many of his most iconic works, including Groundhog Day, Winter 1946, and Trodden Weed.

Robin Brunelle designed both the exhibition and its catalog, using Forevs by OH no Type Co as the title font. The title lockup also effectively doubles as the exhibition’s logo. In the catalog’s interior spreads, Brunelle draws on the glut of alternate glyphs available in Forevs for a little bit of variation in chapter titles.

Supporting Forevs in the catalog is Obviously Wide (also by OH no Type Co) for subheads and GT Super Text (Grilli Type) for text. In the exhibition, the text face is replaced by Acumin (Adobe) for use on signage.

Photographs of the exhibition at the Brandywine Museum of Art are provided by the museum. The exhibition is on view at the Reynolda House Museum of American Art from February 15 to May 25, 2025; the Brandywine Museum of Art from June 21 to September 28, 2025; and the Cummer Museum of Art & Gardens from October 25, 2025, to February 15, 2026.

In celebration of the 50th anniversary of Nuremberg’s “Kulturläden”, local design studio Complex Pleasures created a colorful book that brings together stories, images and documents from the rich history of socioculture in the city. The book combines individual anecdotes and interviews in an associative way. In our design, quotes, pictures and comic elements complement each other and ultimately lead to the question of the future of cultural work and participation. The graphic design is playful and collage-like and features illustrations by Alex Mages, free arrangements and classic typesetting, using Grilli Type’s GT Pressura and GT Alpina typefaces.

From Kunsthalle Recklinghausen:

The Danish artist Søren Aagaard (*1980) questions the performative potential of food and art in a wide variety of contexts. Who cooks what, and for whom? A closer look quickly reveals that food is a highly controversial topic. Aagard’s witty and carefully researched exhibition transforms the kitchen, the center of the domestic realm, into a performative-sculptural setting. Who would have thought that cooking and art have so much in common?

Following numerous solo and group exhibitions, including at the Museum of Contemporary Art in Roskilde and at the Performa Biennale in New York, the Kunsthalle Recklinghausen is now showing Søren Aagaard's first solo museum exhibition in Germany as part of the Ruhrfestspiele.

After some retailer and consumer feedback, Sxollie approached Noramble to help refresh the brand for the next phase of brand growth. Tasked with delivering a new 4-pack design for the brand’s new premium retail ventures and a visual identity refresh to help the brand communicate more precisely and more effectively across all their touchpoints.

With retailers and consumers confused by the brand’s artificial look, we set out to help the brand look exactly how it tasted and acted: refreshing, bold, and honest.

We paired a cleaner font family with slightly softer colours to give the brand a more approachable look while retaining the bold appeal people love. We applied this approach to the visual refresh and their new 4-pack design to create a more approachable brand that was true to its direction.