The Ngôn Dạng campaign is Hùng Đỗ Mạnh’s Bachelor thesis in Van Lang University’s Graphic Design Honors Program.

Ngôn Dạng is an educational communication campaign that helps Gen Z understand their natural communication strengths and develop a personal style that feels authentic and confident. While Gen Z is often seen as outspoken, many young people struggle with self-doubt and social conformity, which gradually limits genuine self-expression. The campaign combines awareness posters, an interactive communication style test, and an educational seminar with talk shows and workshops to encourage self-reflection and practical learning. Through these experiences, participants gain tools to communicate clearly, confidently, and be true to who they are.

The campaign concept, “Reflect to ReShape”, draws inspiration from the phenomenon of light bouncing back from a surface. “Reflect”, in this context, is more than a physical process; it represents an inward journey to understand how we communicate with others, whether through habits, preferences, and challenges in communication, and thus, to “ReShape” how we express ourselves.

Ngôn Dạng Mono is developed based on a 12×12 grid system derived from the wordmark. The custom typeface includes full diacritic support for Vietnamese, ensuring suitability for Vietnamese audiences. At the same time, inspired by Dr. Dellinger’s Psycho-Geometrics, it is designed based on basic geometric shapes, creating tension between straight and curvy lines. In addition, it is combined with Florian Karsten’s Space Grotesk within the same word, creating a visual interest while subtly symbolizing the exchange of information and dialogue inherent in human communication. The complimentary sans is Maison Neue by Timo Gaessner.

A full list of credits can be found on the Behance page.

Red Antler developed the brand identity for Ourself, a skincare company founded by beauty veterans Vimla Black Gupta and Christine Song. Built around the breakthrough concept of Subtopical Skincare™—a technology that works beneath the skin’s surface—Ourself combines scientific innovation with emotional resonance.

The undulating “Fluid Force” ring symbolizes transformation and motion, while the use of New Forest adds organic sophistication and expressive warmth to the brand’s voice. The typeface, available from Typeverything, complements the system’s balance of precision and humanity, reflecting the brand’s belief in embracing change and revealing one’s truest self. The accompanying sans appears to be Milieu Grotesque’s Maison Neue Extended.

Located in The Springs, the Pollock–Krasner House and Study Center is a National Historic Landmark that once served as the home and studio of Jackson Pollock and Lee Krasner. This preserved space offers visitors a glimpse into the artists’ lives and creative processes, blending historic intimacy with contemporary exhibitions.

More than a museum, it’s a living tribute to artistic experimentation, where daily life and art were deeply intertwined. In reimagining the brand, we aimed to balance the home’s quiet simplicity and small-town charm with the intellectual depth of the art world – creating an identity that reflects both its personal history and its enduring cultural significance.

During the years in which Jackson Pollock worked in the barn studio, he painted with his canvases on the floor. After his death, Lee Krasner took over and painted with her canvases on the walls. Today, the studio still holds the traces of their iconic gestures. The dash between P–K transforms into both a physical and metaphorical division and connector between the floor and the wall, between the works of two distinct artists, and between Pollock and Krasner as individuals and as a couple.

The brand uses Maison Neue by Milieu Grotesque, a typeface inspired by early modernist design. Its balance and flow echo the spirit of the home and its influential residents.

Telka from Ultra Kuhl and Maison Neue Mono from Milieu Grotesque are used for the Grand One 2025, Finland’s largest and most significant digital competition. The large number one could be either lettering or taken from a yet unidentified font.

From Grand One's website (translated):

The goal is to highlight Finnish excellence in digital marketing and service development. The Grand One has been organized since 2002 and has established itself as the most prestigious competition in its field.

Grand One awards work under three main themes: Services & Design, Data & Innovation, and Marketing & Communications. There are 20 individual categories and all companies, organizations, and freelancers operating in Finland can submit their work.

The works were evaluated by a 46-member jury of top experts in the field.

Grand One culminates in a gala where the best works are awarded. The gala has been held in Kattilahalli for the past few years. In the spring of 2024, there were over 550 party guests. You can watch the gala atmosphere in the video at the bottom of the page.

Finally, a gym and café that blends effort and comfort! Bolder is a sports studio, a café, a canteen, a venue for corporate events, outdoor sessions and bootcamps offering a social, collective, and laid-back experience. Whether you’re a beginner or a seasoned athlete, Bolder provides an original and welcoming environment to make fitness a sustainable and enjoyable part of your routine.

For this branding and visual identity project, Ogaf.studio drew inspiration from the old-school aesthetic of traditional sports clubs. The typography system plays a key role in shaping the visual language. We combined Maison Neue (designed by Timo Gaessner, 2012) for its clean and versatile tone, Optic Heavy (by Sebastien Sanfilippo, 2023) to bring strength and presence to headlines, and Deia Bold (by Andrei Robu, 2021) for its contemporary warmth and subtle character. Together, they reflect the balance between performance and ease that defines Bolder.

The color palette is fresh and energizing, and the letterforms of the name “Bolder” served as a playground to generate a flexible identity system. In collaboration with architecture studio Mono, we developed a unique atmosphere and art direction that sets this hybrid space apart from your typical gym or café. The visual identity lives across various formats from social media to print and signage, all designed to support Bolder’s vibrant and active community.

Helena Zhang’s portfolio was designed by Tobias Fried in 2020. The website is inspired by newspapers, as highlighted in Tobias’ project info:

Helena put together a design inspired by newspapers, with dense columns of content and explicit hierarchies of information. We mixed in references to broadcast TV and other analog media to make an experience that felt simultaneously nostalgic and modern.

The website uses two fonts: Bitstream’s version of Cooper, and Maison Neue Mono by Milieu Grotesque. Both fonts are available on MyFonts.

Project infos

Banner for Phosphor app for Android, which is included in the website

Helena Zhang’s Dribbble snapshots with a noise footer

From Maison Sarah Levoine:

“Daring to use color means letting your instinct speak, listening to your emotions and keeping your senses alert.” In her manual dedicated to color, Sarah Poniatowski offers a vibrant chromatic reading of decoration and interior design. Designed to blend into the decor, the book Couleurs Sarah takes up the codes of the House. Namely: a joyful association of signature shades. The 319 pages of the book Couleurs Sarah offer creative associations of shades, the fruit of the reflection of the architect and interior designer.

Design by 34 studio. The gold foil type on the cover is GT Sectra; in the book interior it is paired with Maison Neue and Maison Neue Mono.

Diseño industrial. Itinerario de una disciplina (“Industrial design. Itinerary of a discipline”) was inititated by author Jaime Franky Rodríguez as a response to mainstream trends, challenging the view of industrial design as merely a tool for functional purposes. Instead, it offers a more thoughtful perspective that integrates design with the context in which it exists.

Designed by Raúl Zea, Isabella Viracachá, and Isabella Barajas as part of Rey Naranjo Editores for the Universidad Nacional de Colombia, the book – published by Ulibros – reflects a minimalist and simplistic approach, focusing on clean lines and a refined aesthetic. Its form, when closed, reveals a subtle yet striking box-like structure, emphasizing its quality as both content and object. With over 350 pages, it combines clear typography, carefully curated photographs, infographics, and illustrations, all laid out with restraint to enhance the reading experience. Additionally, a dedicated external website offers supplementary content, including videos and audio, without overwhelming the viewer. This is the first book of its kind in Colombia, offering a fresh and understated approach to industrial design.

Testigos del Fin del Mundo is a curated archive of underground Ibero-American music in book form. Its design is boldly inspired by the blogs and streaming platforms that reshaped the music scene in the past decade, featuring tracklists, sidebars, and credits around each review as if you could click on them. The book also includes fun easter eggs, like playlist recommendations from guest contributors. Through 120 album reviews, Javier Rodríguez-Camacho explores influential sounds and scenes, from Mexican ruidosón to Chilean synth pop, deconstructed Venezuelan club music, and more.

This book was recognized as one of the 10 Best Music Books of 2023 by Pitchfork. It was published by Rey Naranjo Editores. The book was designed by Raúl Zea and Isabella Viracachá.

The title combines caps from MTM Cascorro 18’s Lisa and Classic styles. The latter is distinguished by spurs.

Poster-booklet for En las Fiestas del Futuro (“At the Parties of the Future”), an exhibition by Paco Graco collective about recovered shop signs at La Casa Encendida art center in Madrid, Spain.

Designed by Ricardo Barquín featuring fonts by Madrilenian Typographic Manufactures, Riccardo de Francheschi, and Alexander Colby, with texts by Miriam Martín.

The exhibition reflects on the vanished city and memories through the commercial signs rescued by the collective in the neighbourhood where the art centre is located.

As the booklet reads:

in the face of Madrid's destruction: in the fire of what was, burns what will be

The inauguration took the form of a popular party with music, wine and the owners of the closed shops coming to see their signs saved from the dump at the last minute.

Photos: Daniel de Jorge

“Madrid será” uses Vampiro. Text is set in Lacrima Italic and Serif.

Installation with vintage signs from shops and pubs

The Music Week Poland showcase combines a professional, industry-driven character with a wide range of musical discoveries and experiences, creating a unique platform for knowledge exchange and collaboration between artists and representatives of the music industry. The event's goal is to promote talented musicians with international potential, providing them with the space to grow and expand onto the global music market. This initiative evolves in line with the trends and needs of the contemporary music landscape, with music at its core, shaping its identity.

The concept behind the logo and visual identity of Music Week Poland highlights the key strengths that define the brand’s unique character and mission. Through its distinctive design, the logo captures the essence of connection and collaboration that lies at the heart of the event. The logo design draws inspiration from the idea of a network and hub – a place where diverse elements come together and amplify one another. It also references the image of a soundwave, a universal symbol of music that reflects its variability, diversity, and dynamism. Just as music continually evolves and adapts, the design reflects the energy and transformation of the music industry itself. This serves as a metaphor for a space that foster artistic development, accelerates careers, and helps gain wider recognition, offering a dynamic environment for both performers and industry professionals.

The emblem features a monogram of the letters M and W, representing the initials of the showcase’s name. The logo blends the dynamism and expression of music with a minimalist, professional aesthetic, creating a distinctive symbol that strengthens the recognition of the Music Week Poland brand and highlights its unique character.

The logo also forms the basis for the key visual, which, through its simplicity, offers flexibility and potential for further development in future editions of the showcase. Its universal nature allows for various adaptations and modifications, ensuring visual coherence while providing the flexibility to evolve with future needs.

The 2025 calendar by C’est par là is here, ready to brighten up your year (and beyond!)

The unique design consists of a cardboard sleeve made of three pieces, laser-cut and screen-printed by hand, plus six double-sided cards printed on 160g/m² recycled paper, covering all twelve months of the year. The sleeve is reusable: just replace the cards to keep it going year after year.

For the fonts, we used Signal Compressed by Production Type, Patron by Milieu Grotesque, and Ballpoint Script by Carmel Type Co.

As a bonus, a genuine vintage-style ad signed by the atelier is hidden on the back for the curious.

Made in Lyon in a limited edition, the calendar merges elegance, sustainability, and local craftsmanship. See it on our website and get yourself a copy in the shop.

Detail showing the typography

After a year, Trafo Gallery is returning to the collective exhibition Trafo Art Salon, which presents the current work of twenty artists: Michal Cimala, Andros Foros, Alžběta Jungrová, Jan Kaláb, Laura Limbourg, Pavla Malinová, Jiří Marek, Anna Neborová, Kateřina Ondrušková, Michael Rittstein, Jaroslav Róna, Lucie Rosická, Jakub Roztočil, Dana Sahánková, František Skála, Ira Svobodová, Zdeněk Trs, Vladimír Véla, Jan Vytiska.

The visual identity included a printed large facade banner, series of posters in three color variations, and exhibition details like the colophon and artwork labels. I am using LL Ruder Plakat in combination with Patron, the gallery’s standard typeface.

The goal? A bold, eye-catching design that also seamlessly incorporated the names of multiple exhibiting artists across all outputs.

Lu Yu is a designer working in visual communication, with a focus on interaction design and art direction. Raised in China, previously living and working in Melbourne, Istanbul, and Berlin, Lu Yu is experienced in working at the intersection of brand and product, bringing a heavy sense of graphic design into the digital work.

Lu Yu's portfolio website is using the display font Cosi Azure (Nikolas Type) for primary headlines, Cosi Times (also Nikolas Type) for secondary headlines, tastefully paired with Patron (Milieu Grotesque) for text.

Catalog for the exhibition held at the Centre Pompidou, in partnership with the Fundação Calouste Gulbenkian, focusing on the artistic relationships between Amadeo de Souza-Cardoso and Sonia and Robert Delaunay.

The catalog comes in two versions: a Portuguese edition with an orange cover (Correspondência) and a French one with a green cover (Correspondences).

From Fundação Calouste Gulbenkian:

This edition explores the relationship between Amadeo de Souza-Cardoso (1887–1918), Sonia (1885–1979) and Robert Delaunay (1885–1941) based on a selection of the correspondence between the three artists published by Paulo Ferreira in 1972: Correspondance de quatre artistes portugais, Almada-Negreiros, José Pacheco, Souza-Cardozo, Eduardo Vianna avec Robert et Sonia Delaunay (Paris: Presses Universitaires de France).

The catalogue also features images of all the works on display, 17 by Amadeo de Souza-Cardoso, five by Sonia and six by Robert Delaunay. The curatorial text by Helena de Freitas and Angela Lampe is also a correspondence between the two curators and introduces the meeting of work that was developed by both in Paris, precisely around the idea of sharing and the relationship created between the two collections: CAM – Centro de Arte Moderna Gulbenkian and Centre Pompidou.

InGenio. Ideas From the Archive of Segio Musmeci was held at MAXXI National Museum of 21st Century Arts, Rome, from 1 October 2022 to 10 April 2023.

Sergio Musmeci was a visionary engineer who sought to understand and anticipate the future. His colleagues and critics did not hesitate to call him “a genius”. At the time of his passing, aged only 55, there were still plenty of original ideas to be developed in his studio, either on his worktable or hanging on the walls. Over time, some visions have become reality through the work of other designers, while many still await new generations of engineers and architects capable of bringing them out of the fantasy world.

In this selection, preference has thus been given to unbuilt works, projects that have survived as sketches on glossy sheets of paper and mathematical hypotheses, built only as small-scale models that help him understand geometry and static behavior. These works only exist in the Archive, a magical place that carefully guards not only the past but also impossible or premature ideas, those that will only be realized in the future.

The exhibition was curated by Tullia Iori. Archive research was done by Angela Parente, Claudia Torrini, and Carla Zhara Buda. Exhibition design by Stefano Campagna. Photos by Musacchio Ianniello Pasqualini, Courtesy Fondazione MAXXI.

Manifesto for the event and fundraiser “Artisti per la Palestina” (Artists for Palestine) in favor of the association Amici della Mezzaluna Rossa Palestinese organized by Sorgente in collaboration with Arci Palermo and the activist Fateh Hamdan. The typography pairs Lacrima Italic and Studio Feixen Sans.

Visual identity and graphic design for the exhibition Buone Nuove. Donne in architettura (“Good News. Women in architecture”), MAXXI National Museum of 21st Century Arts, Rome. Curated by Pippo Ciorra, Elena Motisi and Elena Tinacci. Exhibition design by Matilde Cassani Studio – Matilde Cassani, Leonardo Gatti with Sara Badovinac.

​The exhibition intended to recount the changes taking place in the world of architecture. In the span of a few decades, we have moved from the passively accepted stereotype of the ‘one-man-driven’ architecture studio to a much more complex, diverse professional and cultural geography. Today’s ‘architecture studios’ feature articulated, changeable structures that include couples, collectives, and all kinds of variable configurations. Buone Nuove / Good News is an exhibition that intends to recount this anthropological and professional change.

See also the post about the exhibition catalog.

Born from the belief that nourishing, high quality, planet-friendly products should be available to everyone, Wholesome is the online eco-health pantry and membership that makes a difference at every step. They tasked Universal Favourite with an end-to-end brand overhaul that would reflect the innovation of their DTC offering, looking, feeling and sounding as good as the brands and products they stock.

The logo is set in Gooper, a typeface that embodies the communal spirit of its heritage (the ever-ubiquitous, retro Cooper) while bringing its own goopy, playful flair. Slight customisations were made to the w allowing it to tuck neatly under the h ascender and also to shine as a standalone icon. With its soft edges and winding curves, the mark is distinctively warm and inviting.

The typography intertwines practicality and expression. Gooper SemiCondensed is disarmingly personable with just enough charm for headers and large-scale use. Maison Neue takes out the role of best supporting typeface, providing a clean but friendly sans serif that’s ideal for smaller pops of copy. And then there’s Kale Sans Mono – the informative, matter-of-fact, typewriter-esque workhorse. Together they make for a type system that’s as rich in quality and variety as the brand they represent.

Words from GrandArmy:

Analog:Shift is the premier purveyor of vintage watches in New York City and beyond. Anchored by their deep, eclectic catalogue of timepieces and obsession with history and storytelling, Analog:Shift is bringing their passion to an ever-growing audience of watch lovers as they expand around the world.

GrandArmy worked with Analog:Shift to construct a 360-degree brand experience, containing an identity platform, visual merchandising system, customer journey packaging design, store design, event design, out-of-home campaign, and brand film—all centered on the intricate, emotional stories that watches tell.

The Brand Identity comments:

The identity takes a systematic approach to capturing Analog:Shift’s multi-faceted audience and goods; beginning with a charming trio of typefaces. [Alex Slobzheninov’s] Right Grotesk by Pangram Pangram Foundry takes centre stage as the primary typeface, with support from Lineto’s Bradford and Milieu Grotesque’s Maison Neue. “Each font in our typeface system has unique merit for its role, but they also all enhance each other when combined,” Creative Director Joe Haddad tells us, backing the prolific family of Right Grotesk alongside Bradford’s nostalgic, storytelling tone and Maison Neue Mono’s mechanical aesthetic.