Born in Melbourne, MAAP builds performance cycling gear with a sharp eye for style, function and detail. Since 2014, the brand has fused fashion, graphic design and technical expertise to push the culture of riding forward—on and off the road.

The visual identity reflects this hybrid DNA. TWK Everett and TWK Everett Mono, designed by Nolan Paparelli and published by WELTKERN®, form the foundation of MAAP’s typographic system. These two utilitarian grotesks offer clarity, rhythm and modern restraint, whether used for bold headlines or technical specs. They are paired with Rhymes, a confident serif by Jakub Samek (Maxitype), which adds tonal contrast and editorial flair.

In his first evening-filling artist's book Notizen (“Notes”), Sebastian Haslauer combines texts with drawings, most of which were created on the road, and which have one thing in common: they are unfinished, processual – and not to forget entertaining, meaning funny or thought-provoking.

The “Notes” are an artifact of artistic thought in book form; they illustrate the gathering of observations, the organizing of content material, and the extraction of ideas. In other words, all the formlessness in motion that conditions the form-finding process for art.

Designed by Tim+Tim, published by Edition Taube.

Protean’s brand concept “Based on Conviction. Ready for Change” describes a very specific attitude in finance, disciplined decisions, and an explicit willingness to revise them when reality shifts. The identity was built to hold that tension without falling into the usual finance clichés, polished certainty on top of implied complexity underneath.

The typographic system is built around a deliberate tension between permanence and adaptability. TWK Burns anchors the identity with a sense of weight, discipline, and institutional memory, it feels carved rather than drawn, aligning with Protean’s emphasis on conviction and responsibility. Rhymes introduces a more expressive, high-contrast voice in headlines, allowing for nuance, emphasis, and moments of controlled instability. Ritual (with Ritual Mono) functions as the connective tissue, a contemporary sans that keeps the system operational, readable, and grounded in the present. Together, the typefaces mirror Protean’s philosophy: decisions rooted in strong belief, but always open to revision as conditions change.

Graphics for the exhibition Anden Krop (English: Other Body) at Fuglsang Kunstmuseum in Toreby, Denmark, curated by Liza Kaaring and Tore Hallas. Spine Studio used Place together with Rhymes. Place is used with the blackletter capitals from its Extra styles. The exhibition architecture is by Louise Witthöft.

See also the exhibition catalog.

Catalog for the exhibition Anden Krop (English: Other Body) at Fuglsang Kunstmuseum in Toreby, Denmark, curated by Liza Kaaring and Tore Hallas. The publication was designed by Spine Studio, using Place and Feature, both by Commercial Type. Place is used with the blackletter capitals from its Extra styles. Body text is set in Rhymes by Maxitype. Printed by Narayana Press.

See also the exhibition design.

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

Vanderbrand is an independent strategy and creative office, operating in Toronto. Led by research, Vanderbrand uses combined experience to create concise and compelling work. Vanderbrand operates across all industries to deliver strategy, brand, creative direction, and design for clients of varying scales.

With a digital index of previously unpublished works dating back to 2009, vanderbrand.com features a refreshed visual identity while succinctly communicating the firm's expertise, body of work, and approach to strategy and brand.

NZero is a real-time data and decarbonization platform for sustainability leaders.

Fix Studio reimagined the NZero brand to reflect their mission: empowering sustainability leaders with real-time data and actionable insights. From rebranding to redesign, we've helped NZero embody their manifesto: turning climate accountability into tangible results.

Using Rhymes Thin by Maxitype as the main headline font and FK Grotesk Neue by Florian Karsten for body.

Out of home campaign

In February 2024, Kunst Haus Wien celebrated its reopening after six months of planned refurbishment to improve its own carbon footprint. We were responsible for the comprehensive brand identity for the reopening of the Viennese museum.

Although the museum’s new external appearance uses the traditional logo drawn by Hundertwasser himself, we have given it a contemporary identity with a new typeface and the use of expressive typography and colors. We did not want to fall into the trap of imitating Hundertwasser’s style in our design. Our aim was to create a visual dialogue between the old and the new with a forward-looking strategy. This creates an exciting bridge between the historical collection and every future exhibition and activity at Kunst Haus Wien.

Friedensreich Hundertwasser, who also created the architectural style of the museum, was a lover of free form and proclaimed “the straight line leads to the downfall of mankind”. We realised that this brand relaunch could only succeed if we used Hundertwasser’s principles and integrated the original Hundertwasser logo into the new look, but found a completely new design language in all applications. This was the only way to meet the various requirements of the new brand.

From the office equipment and uniforms to the signage system, great importance was attached to sustainable materials and production methods. We have also consistently expressed the ecological aspirations of Kunst Haus Wien, which was named Austria’s first green museum in 2018, with a wide-ranging color scheme: countless shades of green are used in the design, resulting in “50 Shades of Green,” as we humorously call it. Defining a single corporate color would have been too one-dimensional and would not have been in keeping with Hundertwasser’s principles. Strong color combinations and the use of neon green clearly position the institution outside of eco-clichés.

The current image campaign for the reopening can currently be seen throughout Vienna. We have dressed Hundertwasser’s pithy quotes in the new look. The information on the posters and the illustrated logo move freely, only the museum’s logo lettering is always in the same place as a brand anchor.

Out of home campaign

New neon signs and a custom poster display invite visitors at both entrances to the museum.

The old parklet opposite of the museum’s main entrance has been upcycled and now shines in new splendor.

Banner and signpost in Vienna near the museum

Stationery

Eight years ago, a young documentary photographer, Imrich Veber, began intensively recording the environment of the Mariano in Opava, a facility providing social services to clients with mental or multiple disabilities. At the same time, the entire institution was (and still is) undergoing a transformation and a change in the concept of social care, which then became the central theme of Veber's series. The result was one of the most interesting documentary series of the last twenty years in the Czech Republic.

Mejdan podle plánu (“Merry-making according to plan”) was self-published by Imrich Veber in collaboration with Galerie Valchařská.

Photos: Artbureau

Ethical Message: Sustainability and Ethics in the Fashion and Textile Industry is a project organized in 2020 by the Studio of Fashion and Footwear Design at the Academy of Arts, Architecture, and Design in Prague (UMPRUM) in collaboration with Czech Centre.

The accompanying publication, designed by Kateřina Šuterová and Jakub Novotný, is set in three typefaces that started at UMPRUM: Briefcase Type Foundry’s revival of Orion by Stanislav Maršo, Motif by Jan Novák and (the then yet unreleased Display style of) Rhymes by Jakub Samek.

Feldman Architecture is an award-winning design practice recognized for creating warm, light-filled spaces that are site-sensitive and carefully crafted.

It stands as a distinguished residential architecture firm, renowned worldwide for its expertise in crafting ethically built and environmentally conscious homes, catering to discerning clientele.

For the identity Parker Studio used Waldenburg Halbfett Halbschmal alongside Rhymes Text. For the logo they created a customized a with a belly that goes horizontally towards the stem.

Raffael Stüken is a German graphic designer and partner at Humans & Machines.

After launching my first digital portfolio in 2005 and undergoing a few rebuilds, I haven’t had a personal website for quite some time. In early 2023 I felt the urge to create something new – a virtual playground that is essentially a personal sanctuary for my own exploration, showcasing key highlights from my professional journey.

I dived into the idea of creating a lo-fi, scroll-driven experience solely utilizing semantic HTML and modern CSS. The new portfolio website, with all type set in Rhymes, can be visited at raffaelstueken.de

Hard Pack is a new biannual publication which aims to subvert the traditional representation of ski, using the sport as a lens through which to understand fashion, art, nature, sociology, and culture.

Founded by Zach Seely, with creative direction and design by Soon Services, using a combination of Girott and Rhymes Display for headlines, Rhymes Text and Maxeville for the body copy, and a dash of Fugue Mono for captions.

The first issue is out now and available from hardpackmagazine.com.

The first architectural survey of the world’s best-selling dollhouse, copublished by PIN–UP magazine and Mattel:

Barbie transforms with the times, just like her home. From her first mid-century cardboard studio to her post-COVID-19 pod, Barbie Dreamhouse showcases six exemplary houses and their furniture that encapsulate the period’s domestic ideals, richly quoting architecture and design history of the 20th and early 21st century.

Edited by Felix Burrichter and Whitney Mallett. Concept and design by Office Ben Ganz. Set in Selecta and quotes in Rhymes by Maxitype.

NNormal is an outdoor sports brand, born between the shores of Mallorca and the Fjords of Norway, specialising in trail running and hiking products that combine maximum comfort with ample durability.

Visual identity by Régis Tosetti and Simon Palmieri, with typefaces Modelo and Rhymes from Maxitype.

The slogan “Your Path, No Trace” uses a type weight gradient involving four of Modelo’s five weights.

AC Visual by Jan Novák paired with Rhymes by Jakub Samek and Bitstream’s Swiss 721 for the November/December issue of frieze Magazine (No. 231). From frieze’s website:

‘What if artists were in control of the funding and distributing the money that powers are?’ – Bhavik Singh

In the November/December issue of frieze, senior editor Terence B. Trouillot convenes a roundtable discussion with artists and writers on decentralized autonomous organizations (DAOs). Skye Arundhati Thomas profiles artist Danielle Brathwaite-Shirley, whose games, installations and videos centre around Black Trans experience⁠.

République Studio designed the annual report 2021 of the Centre National des Arts Plastiques (Cnap). Each year, the Cnap ask a different French graphic design studio to take care of the design. It’s a very free subject. Cnap hands the contents to the studio which has then complete freedom to chose format, paper, printer, the organization, and, above all, how to create the design and especially the data visualization part. The latter is really important for Cnap because it explains where all the money goes and all the investments are made.

République Studio decided to create a very vernacular design, let’s say brutalist, without any flourish or colors whatsoever. The entire interior is set in Antique Legacy, in a single weight and size, using a very strict grid. The big challenge was to find a way to prioritize the information. One other typeface is used for the interviews at the beginning of the book: Rhymes by Jakub Samek, used in a more organic way. All data visualization is accomplished with typography only – which makes it very unique. The textual content is shown separate from the images and treated exclusively in black and white, except for the data which uses a Cool Grey spot color. The book is printed on a rough bulky paper. The images are printed in CMYK on glossy paper.

Redesign of contemporary art and culture magazine frieze by creative director David Lane and design director Lorenz Klingebiel, with Andrew Durbin as editor. At the core of the redesign sits Rhymes, by Jakub Samek, distributed exclusively by Maxitype. Jakub drew a bespoke compressed display version: Rhymes Compressed, exclusively used in the front section of frieze. It is complemented by Swiss 721, a 20th century sans-serif classic.

frieze magazine gets published eight times a year with offices in London, Berlin and New York.

Since their debut in 2013, Palace’s unconventional descriptors – which often have little or nothing to do with the product being described – have earned a cult following, with readers hooked on every line.

Collected here for the first time and printed as they appear online: a few lines set in all caps Helvetica Neue, formatted as a series of bullet points with titles in Helvetica Neue Condensed. The more than 3,000 descriptions set in all caps Rhymes are organised into 22 tongue-in-cheek categories, including Anatomy, Animals, Etiquette, Philanthropy, Romance and Travel. The text is interspersed with shots of highly coveted Palace products and chapter openers feature candid, behind-the-scenes images from Palace’s archive.

At once jokey toilet book and earnest coffee-table opus, this funny and honest volume serves as an essential record of an online phenomenon.