Monthly program and printed newsletter for the Prague club Bike Jesus. Graphic design by Petr Kudláček, with illustrations by Serhij Ďakiv. Typeset in our new typeface Pakatel, available for purchase at Karajan.cz in 15 styles, each containing over 1,200 characters. The back of the newsletter is set in NB International from NeubauLaden.

Poster for the Antwerp University Association (AUHA) on the occasion of the start of the new academic year. We use the NB International font as background above the Antwerp skyline.

From Wikipedia:

Titanfall 2 is a 2016 first-person shooter game developed by Respawn Entertainment and published by Electronic Arts. A sequel to 2014’s Titanfall, the game was released worldwide on October 28, 2016, for PlayStation 4, Windows, and Xbox One. […] Set in a science fiction universe, the single-player campaign follows the story of Jack Cooper, a rifleman from the Frontier Militia, who bonds with his mentor's Titan BT-7274 after his mentor, Tai Lastimosa, is killed in action.

All of the shooting and wall-running has distracted me from how relatively nice the typography in this game is. Metronic, specifically the semi-bold and regular weight, is used as the primary typeface family. NB Architekt is used, albeit very rarely on computer or terminal text. There is a third typeface, Klavika, distinguishable by the square punctuation marks whereas Metronic’s are round.

Main menu

Options screen

Training mission. Metronic is used for the HUD and the scoreboard.

The iconic title card at the start of every chapter with Klavika

Unlocking a new loadout for BT-7274. Klavika can be seen here more clearly.

Changing a loadout

A cutscene in the final leg of the game. NB Architekt is used on the left.

Another cutscene with a larger usage of NB Architekt

Cruzada Supply uses OffBit as the main typeface for displaying product mockups. This font adds a retro and stylish touch to their designs. Additional fonts used in the promotion include Neue Helvetica and NB Architekt.

Currently, Cruzada Supply focuses on delivering product mockups that bring a raw aesthetic to graphic design projects.

The Brand Identity is a digital platform focused on branding and graphic design. Launched in 2015 as an Instagram account, it has evolved into a resource for graphic designers, design studios, type foundries and brands.

Initially, The Brand Identity used the RM typeface, which also appeared in some of its projects, such as The Process and The Process Two. In October 2021, the website underwent a redesign that introduced NB International, also used in its logo, and JHA Times Now, reflecting its evolving visual approach.

The platform showcases a range of design disciplines, including typefaces, logos, packaging and web design, and features articles, case studies and various design projects. It also highlights emerging designers and innovative concepts while providing insights into branding trends and strategies.

In addition to its editorial content, The Brand Identity offers a store with curated products such as books, mockups, templates, posters and other design assets. The website also includes a jobs page with visually oriented listings, transparent salary information and a pricing model designed to streamline the hiring process.

In an era where cutting-edge technology is reshaping every facet of life, healthcare remains a sector where innovation is not only desired but urgently needed. So we partnered with Superpower to create the world’s most comprehensive longevity system. Superpower leverages advanced diagnostics with vetted therapeutics to create a personalized health journey designed for longevity. We set out to create more than just a service; our goal was to inaugurate a new dawn in healthcare, where advanced solutions and personalized care converge to forge a brighter, healthier future.

Superpower emerges as a beacon in health, merging technology with a lifestyle-centric approach. A comprehensive health dashboard intertwines personal and universal health narratives, celebrating the human body’s potential and the team's technological achievements.

Empowered by a custom wordmark that reflects scientific rigor and clarity, our aim is to ensure that the wealth of health knowledge is readily accessible to all. NB International, through its adherence to structure over optical correction, gives the Superpower experience a raw feel, refined and guided through a generous spacing system, and emphasized through high contrast type scale.

Bold silhouettes stand out against dynamic backdrops, striking in their simplicity and rich in implication. Type and image anchor Superpower’s dedication to placing health literacy at the heart of user experience, embodying our ethos: empowering users with tools and information to turn optimal health into a personal reality.

Early access invite

Superpower welcome package

Appointment reminder

RX packaging

Superpower’s health dashboard

In Giselle Beiguelman's exhibition Botannica Tirannica at the Museo Judaico São Paolo, the artist establishes the indexes between botany, colonialism, and artificial intelligence, approaching scientific taxonomy as part of the colonial project.

The visual identity for the exhibition aimed to establish a critical dialogue between the language of natural science museums and digital language. In order to create unity between the different temporalities (classic and contemporary) and universes (real and virtual), I explored contrasting colors, such as neon green and military green, and typefaces created at different points in history: Baskerville, a transitional serif typeface designed in the 1750s; NB Typewriter (incl. its Rounded variant), a monospaced font family created in 2008 that alludes to the language of digital coding; and GT Walsheim, from 2009, with smooth rounded geometry, a sign of another future, different from the one denounced by the exhibition.

The catalogue for the exhibition was awarded Bronze at the 2023 Latin American Design Awards in the complete book category.

Visual identity and signage by Maria Cau Levy, with design assistance by Karime Zaher. Exhibition design by Helena Cavalheiro. More info at m-cau.com.

7 Estrelas | quem arrancou o céu? is the fourth studio album by Brazilian singer and songwriter Luiza Lian. Graphic Design by Maria Cau Levy, using NB Typewriter throughout. Photography by Larissa Zaidan.

See more images on m-cau.com
[More info on Discogs]

Boldly’s brand typeface is Söhne Schmal Fett. This weight of Söhne is narrow, bold, and condensed, delivering Boldly’s graphic feel. It’s a typeface that delights in tension.

The secondary typeface is NB International. It is mainly used for subheadings, body copy, details, and other additional non-primary text. Its angled curves provide a unique quirk to the common grotesk and gives text an edge of personality that would otherwise be absent.

E.M. La creatività è una merda (“E.M. Creativity is shit”) is Costanza de Luca's thesis project for the Master’s program Design for Publishing at ISIA Urbino. She describes her project as follows:

A pioneer, an artist, a carpenter, a designer... how Enzo Mari could be defined? 
He definitely wasn’t a creative, a word he hated and thought it’s abused to identify hybrid and undefined profiles. This catalog collects all of his editorial works: from children’s fairy tales books, exhibition catalogs, to the publishing series he curated.
The title E.M. CREATIVITY IS SHIT quotes a speech he gave during the program Design Lessons #27 on RAI Tv in 2012, when Mari exposed the ineffectiveness of the word “creativity” in teaching, because with it we can only “produce shit.”

The publication features International by Neubau and Brass by Fantasia Type.

A24 is an American independent company that specializes in film and television production, and film distribution. It was founded by David Fenkel, John Hodges, Daniel Katz in 2012. Their website is set in NB International and paired with NB International Mono.

NB International was designed in 2012 by Stefan Gandl, released in 2014 and extended with more weights plus the monospaced subfamily in 2021. Compared with other rigid grotesks, Gandl added soft qualities to his typeface family as “each glyph was designed with precise five units radius corners.” In an interview with Basics, Gandl is quoted saying that “Neubau International is based on the same grid as NB Grotesk, but with optical corrections in design and shape.”

New website and identity for Fresh Fonts, designed by Kolaps from Barcelona, with web development by Reveal Studio. Fresh Fonts is an independent publishing house based in Lausanne, Switzerland. They publish a monthly newsletter featuring a curated selection of new font releases from independent type designers and small foundries from all around the world.

For the expression of the brand, we start from the idea of uniting its creative and human tone with the fresh and innovative typefaces that are put at the forefront in their newsletter, without outshining them. Through the use of vibrant colors, dynamic condensed type, and lighthearted illustrations in the form of geometrical shapes — that represent the variety of services present in the company’s offering — we managed to give the brand an affable yet bold character, illustrating its spirit and its values.

The logo is set in NB International, which is also used throughout their digital material for supporting text and main copy, including on the email newsletter. The condensed, all-caps titling font is FK Screamer, making use of its backslanted and italic styles as well, and the variable font version was used to create stunning font animations on the website.

Visual identity and website for Propel, a marine propulsion brand based in Amsterdam. TWK Lausanne is the main typeface; the complementary monospaced sans is NB International Mono.

Visual identity and stationery design for MLS Dienstleistung & Service GmbH in Maur, Switzerland.

The minimalist visual identity relies on the intensity of the NB Akademie typeface by Neubau Berlin – with a precisely cut M around the edges of printed matter. While the symbol stands for the five core tasks and services of MLS, the split wordmark around the corners mirrors the claim “Rundum bestens betreut” (“Best care all around”).

The chosen paper stocks are Z-Offset RAW by Fischer Papier and Sirio Ultra Black by Fedrigoni. Printed by GH Druck Volketswil, Switzerland. Client: Monika Sommer.

Inspired by legendary Dutch graphic designer Wim Crouwel, we designed a calendar using NB International by NeubauLaden. Printed on 297×420 mm sheets of high quality, 170 gsm paper, which alternate between black and white backgrounds. Sheets are detachable, designed to be removed with each passing month.

Bandeins Strange (Maximilian Müsgens 2019) and NB Akademie Mono (Stefan Gandl 2016) are used for the opening titles/ trailer of the 2020 edition of Playgrounds. In their video description on Vimeo, film production company The Panics describe their process:

Directing these festival titles under such peculiar circumstances meant director Erwin van den IJssel had to think outside the box. We may all be practising social isolation right now, yet there's also a spirit of collaboration and solidarity, and Van den IJssel wanted to show this in these titles.

After finishing the animation, each frame was sliced into individual parts and printed out, before being packaged and sent to members of The Panics. Directing at a distance worked a charm, and with just three weeks, 962 pages, 3848 edges cut, 22 participants, 8 ink cartridges, and 3 paper cuts, the titles were delivered.

Playgrounds, the festival for the creative industries, moved their festival online after it became clear social distancing restrictions would make a physical event impossible. However, the spirit very much was kept alive and on April 16th they hosted artists talks, panel discussions, portfolio reviews, and more.

The titles, with animated explosions and dazzling psychedelic patterns, makes clever use of the “Strange Width” axis of Bandeins Strange. Increasing the width will stretch the horizontal parts of selected upper- and lowercase characters. The different instances are shown in the font presentation on the foundry website. On the recently updated v-fonts website (a collection and showcase of variable fonts), visitors can play around with Bandeins Strange’s Strange Width and its other axis, Weight.

Directed by Erwin van den IJssel
Produced by and featuring The Panics
Producer: Liene Berina
Music & Sound Design by Amp. Amsterdam
Additional Animation: Federica D'Urzo

Website.

Time After Time is a Korean brand that sells fashion items and accessories including shirts, umbrellas or phonecases, but also posters and postcards. Their pop-up store in Seongdong-gu, Seoul additionally functions as a café.

In the spirit of Chet Baker’s “Time After Time,” the essence of brand Time After Time is to share the deepening value and meaning of that which is accompanied by the passage of time.

The designer of these products used NB Grotesk to evoke a simple mood. By using a sans-serif font, the designer gives the audience a cleaner view.

Photo printed hoodie.

T-shirt.

Tape.

Social media ad.

Signage at the pop-up store.

A clockface with jumbled numbers and mirrored type.

Paper cup.

Photo booth.

Scale is a project by energy supply company EnBW, carrying out a digital transformation process. “Scale” is a scalable, unified processing platform for all non-commodity products. Based on modern IT-architecture, it gradually integrates all previous isolated solutions from initial contact to billing into a continuous process.

We provided a face for this digital process, using NB International. With the help of a clear identity and an overarching story, the transformation process is supported and facilitates the necessary adaptation process for employees.

To celebrate Corinthians’ Heptacampeonato (7th national title), a newspaper was created with photos that portray the unwavering faith of their fans. The newspaper did not feature the traditional binding, allowing fans to transform each loose page into a poster.

AG: Wieden+Kennedy São Paulo
CW: Adriano Sato
AD: Bruno Oppido, Alexandre Ruda
CD: Bruno Oppido, Caio Mattoso, Rodrigo Mendes
ECD: Edu Lima, Renato Simões
Sponsored by Nike.

Identity by Tina Touli for “Arts Work Of The Future”, a programme by the Digital Maker Collective at Tate Modern, London.

Tate London: The Digital Maker Collective, and invited guest contributors/makers from across the globe, will transform Tate Exchange into a large public tech innovation studio, a space to get hands-on with technology exploration and rapid prototyping, and discover new forms of collaborative digital making experimentation.

Tina Touli: The campaign has been inspired by the windows that we are browsing through on our mobile devices, scrolling from one to another heading towards the future. All these “pages” represent various provocations explored by the Digital Maker Collective. They bring together the students, artist and designers along with industry experts in a path towards the future, exploring the role of technology in the arts and re-thinking its impact on our lives.

Here is a report by Sky News on the exhibition/conference/program:

The typography on posters and signs for this event is set in PF Isotext: a ‘text typeface’ exploration of Isonorm by Greek type foundry Parachute.

Isonorm itself is a design by the International Standard Organisation (ISO), a Swiss organization that aims to “develop and publish International Standards”. One of those standards was the proposal of a standard typeface for drafting and architectural purposes etcetera: Isonorm. The proposal, based on existing lettering devices (stencils, routers) was subsequently implemented, revisited and revived by many foundries in the 1990s and 2000s – see for example this overview.

PF Isotext, the Isonorm version at work here, has two traits that sets the design apart from its siblings. First of all by supporting Greek (not used or shown in this project); and by harmonising the quirks of the original, with wider letter shapes and squarish capitals. Note how the capital W gets a slightly ‘futuristic’ treatment with bent diagonals to keep the letter shape in line with the overall capital width.

This futuristic-look-for-a-workman-typeface-approach is taken to the max in the typeface used for the Digital Maker Collective logo: NB Architekt. It was designed by Stefan Gandl and is available from Neubauladen, who describe it as a typeface that “pays tribute to typefaces used on architectural construction plans during the ‘Letraset’ era.”