Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

Ugly Nails is a tiny branding project rooted in a conscious rejection of traditional beauty aesthetics.

The artistic, unconventional nail designs became the starting point for placing the project within the Pretty Ugly movement – balancing between ugliness and attraction.

The visual identity reframes “ugly” as a tool for expression, building a bold, uncompromising brand character closer to attitude and experimentation than to classic salon standards.

In 2023, Maven Creative launched a cocktail book as a nod to their client projects. With a bartender’s expertise, they’ve devised custom cocktails to mirror each client’s brand. The project involved 13 photoshoots across various settings, using an array of props to visually represent each cocktail’s theme.

Farmacia by Nguyen Gobber and Laminat by PFA Typefaces were used for the titles and Basis Grotesque by Colophon for all further running text.

Haben by PFA-Typefaces is paired with Dum Dum Studio’s Serial A for the identity of ReAnimator Coffee Roasters, a coffee company with strong neighborhood ties to Philadelphia.

From designer Hanna Karraby:

Founded in 2011, the name ‘ReAnimator’ is inspired by a 1980s cult-horror film about bringing the dead to life through alchemy, magic and science—much like a coffee roaster. James Paris redrew and expanded ReAnimator’s quintessential iconography, and I developed a strong supporting type system and guided the overall art directon. This design leans into the Lovecraftian elements of the brand’s origin, while maintaining a contemporary feel with strong graphic elements.

Ad in ZEIT GELD, March 2016.

First time I’ve seen Quanten in use. This design by Martin Aleith (Gestalten, 2014) is one of several “impossible” typeface designs released in recent years, spearheaded by the much acclaimed Macula (2012). The pretended three-dimensionality in Quanten is achieved by letting its continuous outline oscillate between the interior and the exterior. In this regard, the design is more successful than the relatively stiff Continuo (caps only, 1996), Relava (2008), and Kelso (2014). Related designs with an equally convoluted outline, but round corners and terminals (and hence the impression of a bent piece of wire) include Morice (2005) and Clip (2011).

In a previous leaflet (see below), Museo Slab is paired with the straightforward FF Clan. The brand communication concept for Privatbank Berlin was developed by PLEX. The bank’s logo uses Charter.