ALLSIDES is a cutting-edge A.I. technology company specialising in high-performance 3D scanning. The company hired CRU for their visual identity. The designers chose Vanity by Emily Klaebe as the brand typeface, and paired it with MSCHN by Milos Mitrovic. The monospaced typeface used for UI elements on the website is CoType’s Aeonik Mono.

Microdosify is a premier online source for high-quality microdosing gummies and capsules in Canada. Similar to a resilient plant emerging from a small seed, it has evolved from a place of personal adversity into a powerful catalyst for positive transformation. Their mission extends beyond merely offering microdosing products; they are spearheading a comprehensive mental health revolution, one dose at a time.

BROKLIN partnered with Microdosify to develop a colourful brand identity including the design of a new website that sets it apart in the market. The new visual system needed to reflect the company’s values and beliefs, as well as its mission to make use of the precious resources nature provides. It was crucial for the design to appear elegant and stylish, appealing to a discerning, adventurous, and health-conscious audience. We employed a variety of colours for different flavours, inspired by the name and organic ingredients. The logomark was redesigned with a thick, consistent stroke weight, resulting in a modern, clean, and balanced appearance.

Typography plays a key role in the project. Accompanying the logo is a new sans-serif wordmark set in PolySans Median Wide by Gradient, which matches the logomark’s stroke weights and serves as the primary typeface. For both Microdosify lifestyle and product photography, the team developed two distinct approaches to reflect the health-related aspects of positive transformation and the brand itself. A bright, clean background photography style is used to convey clarity, highlight details, and build trust. At the same time, the real-life approach helps create an emotional connection and shows how the product fits into a customer’s everyday life.

Cobelty is a consulting firm specializing in standardization, open source, and associated intellectual property. The challenge is to define a brand identity that is both innovative and reassuring in a highly codified corporate sector. It is necessary to highlight both the conceptual aspect of innovations and the serious, rigorous side of studying this field. We chose the name “Cobelty” which summarizes several concepts: cobalt, a natural metal widely used in digital technologies, and “belt,” thus affirming the reassuring and rigorous aspect of Cobelty’s expertise, whose offering consists in particular of securing the development ground for an innovation. Cobelty’s visual identity must be worthy of its unique and cutting-edge expertise.

The neo-grotesque PolySans, detailed and avant-garde, is used for all textual elements. A color system derived from cobalt (blue) and pixels (red, green, blue) is used. The iconography is centered on the elements, the relationship to nature and force, immensity (mountain, wind, ice, ocean, rock) which allows to underline the awareness of the environmental challenges specific to current issues in terms of standardization and open source in the context of technological development.

Imagine—Embracing Chaos and Possibility in a Planetary Emergency is not a non-fiction book or practical guide, but rather an interdisciplinary collection of conversations, reflections and contributions that explore life in times of global crisis—what some call a “planetary emergency.” The editors shed light on the ecological, social and cultural challenges of our time from various perspectives and aim to create up space for further reflection and solutions.

The book was edited by Laura François and Natalie Seisser. Viola Dessin provided the design, with art direction from Lars Harmsen. It was printed by Stober Medien and published in September 2025 by Slanted Publishers, with the kind support of Awe Exchange.

The hardcover publication has 160 pages and measures 12×19 cm. It comes with a headband, hot-foil embossing, thread-stitching, full color offset printing, changing papers.

ISBN: 978-3-948440-89-3

In late 2021, Tabby, a buy-now-pay-later app, enlisted pew.’s help to improve its brand strategy and visual identity to expand beyond the Dubai market while also securing larger investments. To achieve this, pew. worked closely with Tabby’s marketing team to develop a fresh and larger-than-life branding and strategy. Tabby needed a more distinctive wordmark and had no need for a symbol. This core brand belief was the engine behind all brand extensions. Tabby could be its own currency – a mark of independence in a sea of profusion and commotion.

Tabby uses Radial from Gradient as a primary brand typeface. The Tabby wordmark is custom.

The designers of Gruppe am Park describe the project as follows (translated from German):

As part of its new brand architecture process, the City of Linz has decided to completely relaunch its corporate identity. The foundation is the new positioning “Future City of Respect” and the associated task of establishing Linz regionally and internationally as a vibrant, nature-oriented, innovative city brand focused on a harmonious coexistence. What is sought is not a rigid corporate design, but a flexible corporate experience that brings the many facets of the brand to life.

The Linz city branding is based on a slightly modified version of PolySans.

Tanzhaus Basel is a new artist-run house in the city of Basel, dedicated to dance and performing arts in general. Opened during the summer of 2024, it’s aiming to be anchored in the city and mix social and cultural life together.

Knopp+Kiel delivered their identity, formed by a graphic logo (maybe a T mixed with other letters, or a stylized house?) and a proficient use of NaN Jaune Midi Black for the venue’s name and titles on top of a strong pink and red color combo, maybe only for the first season.

All texts are set using PolySans, converging with Jaune in the direction of friendly/quirky sans serifs, which we can only guess is in order to make the art institution look less pretentious and more affordable. However, the rest of the identity principles, grids and such, remains quite tuned-down, simple and serious, to not overdo it in the quirky direction.

On the Tanzhaus website, to accommodate with the very tight line spacing of headings and the recurring umlauts in German, they devised the clever solution of applying a white/transparent outline on the the text, making the umlaut of a line of text appear cut-out in the bottom of the letters of the previous line instead of simply overlaping.

For the opening of the space, Tanzhaus Basel created a self-made mustard showcasing the identity on the packaging.

Envato is an Australian online platform for creative assets such as website templates, graphics, stock videos and photos, sound effects, 3D models and more.

From Envato’s press release:

“We wanted our logo to reflect Envato’s upbeat energy and spirit,” says Arlyn Panopio, Envato’s Head of Brand & Creative. “We also wanted to incorporate the creativity of our community, capturing the moment inspiration strikes—that buzz of bringing a creative idea to life.” […]

Our clean, contemporary custom wordmark was designed by Norwegian-based designer Milos Mitrovic—also the mastermind behind our new brand typeface, PolySans. Milos collaborated with our in-house team across continents to transform our vision into reality and represent one of the most essential elements of the Envato brand—our community.

The new wordmark is based on NeuSans. The identity uses styles from all three branches of PolySans, including the Wide and the Mono.

SOS Amazonia has been promoting the conservation of biodiversity and the growth of environmental awareness in the Amazon rainforest since 1988. Wieden+Kennedy had the honor of creating its new visual identity, based on an intersection between its historical essence and its current initiatives.

Interactive exhibition design

Waterdicht is an exhibition for contemporary art. Ten artists created specific works that relate to the exhibition’s immediate surroundings, namely Fort Maarsseveen. The fort and the landscape around it are part of the New Dutch Waterline.

We found the given topic of water an interesting one to design with. In abstract form for the identity and in a literal form where visitors could use watering cans (filled with the water from the moat around the fort) to read the information on the signs near the works of art – because it appeared only after spraying the signs.

Exhibition poster

Interactive exhibition design

Motion graphic

Flyer design

Webdesign in Webflow

The new portfolio website of art and creative director Ville Kansanen, villeville.co, combines Scope with Bergen Mono and IBM Plex Sans.

Scope is used for headlines and prominent highlights, while Bergen Mono is used for project metadata in the overview. IBM Plex Sans is used for body copy.

Bella and Ridge is a fashion brand dedicated to creating clothing that enhances individuality while promoting sustainable practices. Their collections seamlessly blend contemporary style with classic elegance, offering versatile and comfortable pieces for the modern individual.

The visual identity was created by the agency Warsaw/Creatives. It uses the serif Ninna Regular (designed by Margot Lévêque) for both the monogram and the wordmark; with a modified Fino Sans for “AND” and Bergen Sans for the slogan and “Est. 2024”. The sans serif used on the website is Neue Helvetica.

Un Lugar Común is the first feature film written by Celia Giraldo, starring Eva Llorach. From the director’s website (translated from the Spanish):

After her unexpected dismissal, Pilar clumsily clings to the only thing she thinks she has left: taking care of her family. Her efforts to keep her role will not prevent her from ending up fantasizing about a freer version of herself, yet to be explored.

Pillowtalk is the private journal for self-reflection.

With Pillowtalk, you can record, transcribe, or write on the go and receive transcripts in any language you want. Gain insights from your daily and overall entries to discover personal patterns, bring ideas together, find motivation, and even analyze your dreams.

We prioritize privacy. All entries are securely stored on your device, shielded from AI training, and solely accessible by you. We promise to keep the app ad-free and never monetize your data. To sustain this, we offer premium subscriptions.

The identity uses PolySans (in Slim and Neutral weights) paired with Self Modern SemiBold.

From the About page of design ecosystem Spaces:

Building a portal to the design world.

Lighting the way for designers to develop their skills and realize their potential. The design community was once a vibrant, inspiring, and nurturing space. Over time, much of that spark dwindled, leaving designers adrift and disconnected in a sea of noisy chat groups and toxic social feeds.

Motivated by the loss of community, William Channer and Timothy Achumba envisioned building a space that returns to the basics, good storytelling and a fundamental love for design. And so, our journey began with the launch of Lovers Magazine, formerly Interface Lovers, putting the spotlight on talented designers through their personal stories. As we engaged with readers, we discovered deeper needs, some sought to hire, while others looked for guidance or insights into admired companies.

The Spaces logo used PP Agrandir by Pangram Pangram. The website is set in PolySans by Gradient and Self Modern Italic by Bretagne.

Gyllene Tider is the previous Swedish band by Per Gessle of Roxette. Gyllene called it quits in 2019. They wanted to quit while they were ahead. Please note that the band officially ended in 1985, the year before Roxette started, but they have been on several very successful tours since 1996. Anyway, the Corona pandemic came and they thought things over. Wouldn’t it be nice to do something after Corona? Said and done. They recorded the album Hux Flux (“wham Bam”, sort of) – released on CD and a few differently colored vinyls – and did another successful tour in 2023.

The album sleeve, designed by Pär Wickholm as per usual, uses a ton of different fonts. The titles all have their own font, while the “normal” texts on the sleeve and in the booklet are set in New Frank Regular and Noir Medium.

The Gyllene Tider logo is based on Palace Script. It was originally made in 1979, using dry transfer type.

[More info on Discogs]

Sida A: 1 Verlag Bold Condensed / 2 Marquee Moon / 3 Rosewood Fill / 4 NT Josefine / 5 Intro Black Inline
Sida B: 1 Charcuterie Cursive / 2 Poster Bodoni / 3 RTCO Flinton Texture / 4 Neue Metana / 5 Pretorian / 6 ITC Blair
The numbers are from Noir, the credit line is in New Frank.

A breakthrough product needs a breakthrough brand identity. We focused on building a visual and verbal identity that cut through the noise with differentiation and delight. An identity system that captures and translates the surprise moment of the product throughout the entire brand experience. With our key audiences leading the narrative, we constructed a visual system that wreaked with nostalgia. Like a song that immediately transports you back in time to your childhood roller rink or bowling alley. We arrived at the perfect intersection of retro nostalgia with a modern twist.

The Social Sleeve design system uses a a variety of components, allowing for fluid, unique, and eye-catching executions. The primary logo – based on West Cooper Nouveau Swash – is unconventional, teetering functionality with flair. Its soft and flowy construction is sure to turn some heads. Our brand mark might bust through your living room wall when you least expect it. Surprise!

The Social Sleeve typographic system doesn’t hesitate. Leading the charge is Okay! Serif from Gradient. This display gem makes you want to write your name, frame it, and put on your wall. Sliding in for support copy is Obviously – the groovy workhorse by OH no Type Co.. Our type system has attitude and confidence, while bringing comfort and warmth. The pairings compliment one another with curved serifs / stress.

Gradient Type’s PolySans (incl. the Mono), Klim Type Foundry’s Mānuka and Florian Karsten's FK Roman are used as working typefaces for the new Verge. The design was developed in-house. From The Verge’s release notes:

We’ve got a whole new Verge for you today. Radically new. Sometimes you just have to blow things up and start over.

Yes, we have a sharp new logo that started with the idea of an unfinished interface between the present and the future. Yes, we have a bright new color palette that highlights our work in confident new ways. Yes, we have new typefaces across the board, including serifs for our body copy. Look at these ink traps in our new headline font, PolySans. I love them.

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Gradient Type’s PolySans is the brand typeface for New European Bauhaus Spain. From dous studio, who did the design and art direction (translated from the Spanish):

The New Bauhaus is an initiative created to promote the architectural dimension and its value in improving the quality of life of towns and cities by focusing on the concept of quality and the “culture of the built environment”.

Development of graphic identity, editorial design, exhibition and web design for the Ministry of Transport, Mobility and Urban Agenda in conjunction with the Universidad Politécnica de Madrid (UPM) and the Escuela Técnica Superior de Arquitectura (ETSAM).

The exhibition A vision from Spain was curated by Javier Peña Ibáñez and shown in Brussels in June 2022.

Gradient Type’s Radial and Dinamos ABC Diatype Mono are used as working typefaces for ERNE, a platform for pickleball player. Designed by Saint Urbain:

ERNE is pickleball’s player platform, designed to help everyone start (or continue) their journey into the world of pickleball. Offering curated gear recommendations, playing tips, merch, and more, along with a country-wide ambassador program, ERNE is your go-to for everything pickle.

Created by a set of avid pickleball players (and siblings), our clients tasked us with crafting a fun, inclusive brand for advanced players and newcomers of all backgrounds.

Creative Director: Alex Ostroff
Art Director: Vero Lafortune