Business cards

Branding and website for SisInBiz, the FINTA network of the Swiss music industry.

Since 2017, SisInBiz has been connecting FINTA individuals in the Swiss music industry. With the founding of the association in 2026, the moment had come to step forward with a clear public presence – and an identity that does justice to the network. The community as a living structure: the way it forms, expands and mutually supports itself becomes tangible as an animated element on the website. The logo mark carries this idea forward as an organic form. The wordmark provides the counterpoint – present, direct, unambiguous. This contrast runs through the entire visual identity: between playful serifs and bold italics, between a reclaimed pink and a powerful bordeaux.

Website

Greeting card

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The old knights' estate Gut Bennigsen in the countryside near Hanover, Germany, is a manor first documented in 1311. One of the decendants inherited the estate some years ago and turned it into a space for events and concerts with further plans to expand the experience.

Transatlantika created a visual identity and promotes Gut Bennigsen concerts and events with marketing campaigns. This promotional brochure explains the concept of Gut Bennigsen. It talks about the rich history of the place and future development plans.

The Gut Bennigsen logo features the name‘s phonetic spelling to make it pronouncable in an international setting. It also puts the brand into a literary and cultural context.

The Tasmanian Symphony Orchestra is using Marques by Typeverything for their brand identity, website titles, and social media posts. The accompanying sans for the full name in the logo is Associate Sans and the text typeface on the website is Volte, both by Indian Type Foundry. The design is by The20.

Cookbooks tell us how to cook. Blasphemy tells us how to break the rules. A 104-page act of defiance, it fuses culinary experimentation with cultural provocation, challenging everything we accept as sacred in food.

In cooking, as in life, we are bound by tradition. Rules passed down through generations define what we eat and how we prepare it. Blasphemy dares to question those rules.

The book’s design mirrors its irreverence. Inspired by the Bible, the ultimate rulebook, it twists traditional typesetting, injects chaotic layouts, and revels in rebellious aesthetics. Almost-illegible overlays, mirrored text, misalignments, and pixelated photographic errors make it feel as though the book is fighting against its own existence. The book design features Amador and Eskapade Fraktur.

Its creator? Olly Wood has no professional culinary experience to his name. The very act of authoring and designing this book is, quite fittingly, blasphemy itself.

Seba Kurtis, 14 November 2022, ft. Compagnon Roman by Juliette Duhé and Léa Pradine

“Guess Who’s Coming to Dinner” is a talk series held at the Royal Academy of Fine Arts Antwerp. Since 2019, it has been hosting public lectures, debates, and book presentations, with Tim Ingold and Victoria Browne among their guests.

Designer Stephanie Specht was in charge of the visual identity. She developed a series of posters featuring title, venue and date set in Neue Haas Unica Medium and “Art Talk” in Coign 47 Bold, while the names of the speakers stand out with a diverse range of typefaces. All in all, Specht designed at least fifty different posters, almost always with different typefaces. Her eclectic approach adds a vibrant flair to the design, which is renewed for every event. Shown in this post is a selection of twelve posters. See the image captions for the respective font IDs.

Peter Fengler, 17 December 2020, ft. Lesansa by Anne Debaetselier

Multiples & Editions, 9 February 2021, ft. Pleasure Inktrap by Mothi Limbu, Luc Borho and Adrien Midzic

Annelies Van Assche, 16 March 2021, ft. Vicomte FY by Alisa Nowak, Jérémie Hornus and Joachim Vu

Peter Morrens, 1 April 2021, ft. Saol Display by Florian Schick and Lauri Toikka

Tim Ingold, 29 October 2021, ft. MAD Serif

Victoria Browne, 10 May 2022, ft. Faune by Alice Savoie

Urmas Lüüs, 4 October 2022, ft. Candy Darling by Miguel Reyes and Christian Schwartz

Jess de Gruyter, 6 December 2022, ft. Autograf by Måns Grebäck

Sophie Nys, 7 February 2023, ft. Ninna by Margot Lévêque

Young In Hong, 14 February 2023, ft. Selva Script by Fanny Hamelin

Gerlach en Koop, 19 April 2023, ft. Romie Italic by Margot Lévêque

This is the brand identity for a safety campaign, working to keep you SUP safe at all times.

In the UK, a number of safety concerns have arisen in recent years due to the immense popularity of stand up paddle boarding. In a bid to set the standard for SUP worldwide, the Academy of Surf Instructors of South West Cornwall used their decades of experience in the surfing world and world class knowledge of the sport and surrounding safety parameters to lead this new conversation.

The design identity needed to be universal, professional and champion the sport in a way never done before. Reviving values which were lost in the previous identity, a strategy was devised to produce engaging and informative content in the following years.

Balto Bold was a perfect type choice as it speaks to the humanity of the issues in the industry, whilst representing a positive strive for change. The space given to the headlines to speak for themselves allows the web users and the social media audience to read about the safety measures and make their own judgements based on their ability and environment.

Bespoke Serif is a brilliantly readable and subtle pairing for body copy. Copious amounts of detail needed to be digestable to a large audience, spanning continents (including translations by Google). Whether in paragraphs or captions, Bespoke did a wonderful job at communicating the technical and inviting the audience in closer.

SUP Standards now has a brand it can be proud of, keeping a generation of paddle boarders safer.

AL BIES magazine arises from the concern and effort to give visibility to the work of the students of EASD de Moda, the Higher Education in Fashion Design, at San Telmo School of Art in Málaga, Spain. It aims to serve as a platform for sharing what moves and concerns us and what we can contribute from our humble position in the world.

The expression al bies, which means “on bias” or “diagonal” comes from the French term biais, a type of seam cut that is made at 45 degres with respect to the thread. The publication’s name has a lot to do with our way of seeing and feeling fashion. A diagonal line loaded with visual strength and attraction, a line of tension that generates a break in the visual path, directing the eyes and attracting attention.

This publication full of editorial elements has a marked typographic character. The use of Zodiak and JetBrains Mono gives it personality, which together with the layout and composition make AL BIES an attractive publication for the public interested in studying at this school.

Like a bird is a line of green buckwheat, wild rice and quinoa in a very small packaging that makes you think of a bird, and a winner at the Red Dot Design Awards, Sreda, and White Square festivals. The looks and the color of a bird drawn on the packaging change depending on the product, yet the typographic solution — yellow Vesterbro Poster in the title coupled with white Vesterbro Light in captions — is always the same.

Read the entire article on our website.

Prawdziwe wyobrażenie trojga dzieci [...] (“The true image of three children”) was most probably written by Joannes Theobaldus Blasius, the printer’s name remains unknown. This short little book tells legends about a number of monstrosities born in Western Europe in the 16th century. It was believed that such human monsters were sent as a warning against God’s anger. The typography uses Eskapade and Eskapade Fraktur, a type collection that designer Alisa Nowak based on research into roman and blackletter forms, mainly fraktur letters, and thus more or less period-correct for this redesign. In addition, Eskapade Fraktur contains a very interesting and innovative Italic style based on the Cancellaresca script.

Prawdziwe wyobrażenie trojga dzieci [...] is part of the New Dimension of Old Typography series which consists of 10 redesigns of Polish books from the sixteenth to the nineteenth century. The designs were produced as a part of a doctoral dissertation at the Akademia Sztuk Pięknych w Gdańsku (Academy of Fine Arts in Gdansk, Poland).

Read more about the project on Fonts In Use, or find out more about the project and the author on my portfolio website and Facebook.

Original old print of Prawdziwe wyobrażenie trojga dzieci bardzo strasznych i dziwnych [...] from Joannes Theobaldus Blasius was published in Krakow, Poland in 1578

Cassette packaging

Matthew J. Rolin's Moment issued in a hand numbered, second edition of 50. C40 cassettes dubbed at home, in real time on a Tascam 202 MKIII. Graphic design by Matthew Boteilho. Cover art by Erin Elizabeth Winter. Mastered by Brian Sulpizio. Artwork text is set in Vesterbro by Black[Foundry] paired with Sharp Grotesk by Sharp Type. Catalog number BHR006, released by Blue Hole Recordings on March 15, 2020.

Blue Hole Recs’ packaging was developed by Matthew Boteilho and William Csorba after more than a decade of buying and listening to cassettes from the global DIY experimental community. The c-card inserts are an obi strip- and book spine-influenced (see: the early 70s paperback Foxfire series) element that uniformly relate across the whole discography by utilizing the same type treatment, print method, and paper lines.

Using commercial vendors with digital machines allows quantities to be kept low while opening up the ability to experiment with the 5th color unit. Loose download cards commonly found inside modern physical media were done away with the help of variable data so that unique codes could be printed direct to the art.

While adhering to a no templates, no mockups mentality—Blue Hole Recs instead places emphasis on making sure that it is the creators and makers themselves who are given the space to spec out the process from start to finish.

Cassette packaging

Cassette packaging

Shell imprinting

Digital artwork

After 16 years in business, family-owned coffee shop Joe Coffee Company launched a rebrand of their iconic cup of Joe. The project was led by Godfrey Dadich Partners who created a serif logotype which seems to be based on Vesterbro Poster. They chose Centra No. 2 as a primary typeface on its website, packaging, and advertising, as part of a design system “inspired by the rigorous commitment they apply to their coffee.” Secondary typefaces used are Angus and Georgia.

Read and see more images on Sharp Type News.

Narrative designed the graphic identity of Cinémas 21 (Christine 21 and Écoles 21). The treatment of the suffix “21”, like a mathematical power, gives a common graphic denominator to the two arthouse cinemas (both located in the 6th arrondissement of Paris), as well as to the Cinemas 21 entity that groups the two sites. Narrative also imagines the model of the monthly Cinéma 21 programs in the form of a 3-fold brochure.

Marianina, designed by Alisa Nowak and Jeremie Hornus, Domaine Sans Text by Kris Sowersby, and DIN Condensed are used for titles. FF Bauer Grotesk is chosen for its geometric construction and its art deco style reflecting the time of the cinemas’ construction.

A promotional video for Megaverb, a digital reverb plugin based on “bad” digital reverb sounds from the 1980s and 1990s. Watch the full video here:

You can read more about the process of the video on goodhertz.co.

Two of the typeface selections made for the video were inspired directly by posts here on Fonts in Use. The pixellated Motter Tektura (Othmar Motter, 1974) was inspired by the 1985 game Paradroid, and the captions were set in Crillee (Dick Jones, 1980) after some browsing-by-year, which led to the “Star Trek: The Next Generation” closing credits.

Italics from Computer Modern Serif (Donald Knuth, ca. 1985)

Eskapade Fraktur (Alisa Nowak, 2012)

Forma DJR (David Jonathan Ross, 2016; originally by Nebiolo, 1968) in all caps, with outline effects and the alternate forms for G and R (not pictured in this image).

Rage Italic (Ron Zwingelberg, 1984) in pink. Captions throughout the video are set in Crillee (1980).

More Rage Italic, mixed with Senator (Zuzana Licko, 1988).

Red Rooster is an Australian fast food chain, founded in Perth in 1972 and expanding into the eastern states in the 1980s. It is a competitor to KFC.

When Red Rooster first opened, its logotype was in Helvetica, but by the early 1990s this had changed to Goudy Heavy Condensed.

The latest major rebranding was developed by Brand Council in 2014. While the rooster was reimagined and got a heart-shaped body, the wordmark remained unchanged, in all-lowercase letters featuring an ‘oo’ ligature.

Two old Red Rooster logo variants. The one on the left was in use until 2006, and the one on the right until 2010, according to Logopedia. The tagline “it’s gotta be red” is set in Mark Simonson’s Felt Tip Roman.

Logo with tagline “tender loving chicken” in Nick Shinn’s Duffy Script, introduced by Brand Council in 2014.

Logo variation featuring the rooster with heart, introduced by Brand Council in 2014.

Ad campaign featuring more Duffy Script, set reversed and on an angle.

The main typefaces used on the website (2018) are Adria Slab and Marianina FY.

This photo of a Red Rooster restaurant in Wagga Wagga was taken in 2009. It still shows the old rooster.

A group of students at École supérieure d'art et de design d’Amiens from 2011 (Lucie Fournis, Sidonie Terencio-Arrouet et Clément Bonnerat), developed the project Archive as part of their studies. They used the Eskapade family by Alisa Nowak throughout the publication.

The book presents diploma theses from the years 2004 to 2010 which reference the subject “identity”. Extracts of text from the diplomas were in content adjusted to texts by the poet Philip Roth.

Vegan Eden is a French company working on a natural line of cleaners for fruits and vegetables. For its identity and website, 4uatre associated the freshness and the curves of Vanille FY with the contemporary shapes of Marianina FY.

Vanille FY, a creamy script font by Adrien Midzic, Jason Vandenberg, Jérémie Hornus, Julien Priez & Alisa Nowak and Marianina FY by Alisa Nowak & Jérémie Hornus were co-created on Fontyou, the first collaborative type foundry.

Citizen K (International & Homme Sport), fashion, lifestyle and culture magazine, uses Marianina FY and Sperling FY in its brand new formula, on its cover and for many inside headlines.

Marianina FY, a sans-serif family of 24 fonts by Alisa Nowak & Jérémie Hornus and Sperling FY, a geometric and condensed high contrast font by Jan Dominik Gillich and Alisa Nowak were co-created on http://co-create.fontyou.com/, the first collaborative type foundry.

LeanO Sans FY and Exquise FY combine to present the new look of Curioos.com.

Marianina FY (a sans-serif family of 24 fonts) and Gauthier FY (a contemporary old-style serif typeface), co-created by Alisa Nowak & Jérémie Hornus on co-create.fontyou.com, the first collaborative type foundry.

Both are used on You Talking To Me, a webshop for letter objects designed by Le Goff & Gabarra.

Marianina FY is a sans-serif family of 24 fonts, co-created by Alisa Nowak & Jérémie Hornus on co-create.fontyou.com, the first collaborative type foundry.

Art direction and production of the Solidays festival poster (from the 2006 edition on) by La Noisette, with Mathieu Gomes.