Cielo is a natural wine bar in Berlin’s Friedrichshain quarter. The friendly typographic approach and essential color palette convey its Mediterranean soul and Italian cuisine.

The concept is inspired by the sky, ever-changing like the menu and the selection of natural wines. The interior “Blu Corner,” illuminated by a neon cloud, is in dialogue with the brutalist exterior signage, blending tradition and contemporaneity. Dishes celebrate sharing in an open and inclusive space, far from conventions: “We all live under the same sky.”

Ivano Pirolo, a chef originally from Avellino, Campania, graduated from the hospitality institute in his hometown before continuing his training with a Master’s in contemporary cuisine in Girona. After various professional experiences across Italy, Spain, Switzerland, and Germany, he developed the desire to open his own restaurant.

In recent years, he refined his technique and culinary vision while working at the restaurant Les Solistes by Pierre Gagnaire in Berlin, and later continued his journey at Celler de Can Roca in Girona. Returning to his adopted city, Berlin, he joined the kitchens of Facil and subsequently Kink. It is here that the idea of opening his first restaurant, Cielo, took shape.

For this project, he turned to Attico36 with the aim of developing a minimal and contemporary visual identity, while still evoking the authentic flavors of Irpinia, combined with the creativity and elegance of Italian and Mediterranean gastronomic tradition.

Kaligari proved to be the ideal choice: the client wished for a reference to the scripts of old restaurant, winery, and delicatessen signs from Campania. Kaligari succeeds in reinterpreting that kind of imagery in a modern and contemporary way.

Motto by Hilton is a vibrant global hotel brand built for modern explorers who travel intentionally, live smart, and stay connected. Anchored in buzzy neighborhoods across some of the world’s most iconic cities, Motto appeals to travelers through modular room designs that enable flexible, personalized stays. For those seeking an experience-driven stay, the hotel is designed to be a launchpad for energetic neighborhood exploration and cultural immersion.

Watson led the brand’s strategy, positioning, and identity refresh, clarifying Motto’s voice and expression to deliver a cohesive vision—one defined by intentionality, ingenuity, and local connection.

To express Motto’s locally rooted approach to each hotel location, Watson developed a dynamic typographic system that captures the essence of each place through a corresponding typeface. Each hotel’s location logo lockup pairs the existing Motto wordmark with the city name, typeset in its selected typeface. Comprised of eight typefaces that are distinct in style yet unified in proportion, the system forms a cohesive library that reflects the hotel’s collection of unique destinations.

A clear methodology guides how each typeface is applied, ensuring it reflects the distinct energy and character of its neighborhood. An arts district like Chelsea in New York City features a typeface inspired by calligraphic letterforms, echoing its offbeat, idiosyncratic character. In contrast, a tourist hotspot like Times Square adopts a friendlier geometric sans serif to convey the destination’s broader, more universal appeal.

A book of architectural history published by Christoph Merian Verlag on behalf of the Historical Museum of Basel:

The splendid Haus zum Kirschgarten – today one of the most important residential museums in Switzerland – was built between 1775 and 1780 as a residential and commercial premises for the Basel silk ribbon manufacturer Johann Rudolf Burckhardt.

Bureau Dillier provided the book design and used FF Reminga and Helvetica Now for the typography.

Baked stands for ‘less but better’. This attitude is reflected in the design. At the Isemarkt in Hamburg-Eppendorf, Baked sells handmade cookies which are produced with a focus on a few but high-quality ingredients.

Designer used Maroni Condensed in a bold way and big size for the logo, combined with Helvetica Now for other text. Her goal was to develop a confident look that conveys effortless elegance. Kraft paper meets stainless steel elements – natural warmth meets high-quality precision.

In 1975 the Windward & Leeward Brewery Ltd. was established in Saint Lucia. In 2016, after its merger with Du Boulay’s Bottling Company Ltd., it was then renamed Heineken Saint Lucia Limited.

This year marks 50 years of success and greatness and to celebrate such an achievement, I was engaged to provide the logo design and art direction for the year-long initiative.

The Preview Seoul is an annual art fair in Seoul dedicated to emerging galleries and artists. Founded in 2019, it provides a platform for independent exhibition spaces and first-time collectors. The 5th edition took place in 2025 at the former National Theatre in Yongsan, Seoul, with around 38 galleries and over 200 artists participating.

The visual identity designed by Jun Ki Hong (jun.works) emphasises the art fair’s 2025 theme of “change” and “newness”, defined to capture the sense of transition and bold reinvention, highlighting the shift of the event into an unfamiliar space while celebrating the fair’s growing presence. Bold typography and directional motion behaviours evoke the sensation of being propelled forward—signalling both movement and momentum—while the dynamic visual system captures the excitement of entering a new chapter.

The main Latin display typefaces in use are Generation Mono by Nguyen Gobber, Play Extra by Out of the Dark, and Bandit by AllCaps, while Helvetica Now by Monotype was used for body copy. For all Korean text, the display typeface in use is Neutronic Hangeul by Minjoo Ham 함민주, together with UDGothic by JoonFont for body copy.

The event was hosted by ShinhanCard and organised by ARTMEETSLIFE (AML), with photography by Dan Ah Studio and Jimmy Pictures. Artworks shown are courtesy of the participating artists and galleries.

Poster for the “Back to the Beginning” concert, which featured an all-star lineup of supporting acts

Black Sabbath’s final live show dubbed “Back to the Beginning” took place on July 5th 2025 in Birmingham, very near to where the band was formed in 1968. The concert branding called back to the typography of their Vol 4 album from 1972 by re-using the same bold geometric letter style.

Instead of the original Gadget, one of the digital re-interpretations was used. It’s VolumeFour (Ryan Corey, 2018), which is directly based on the album cover, and hence is different in letters that weren’t included there. K22 Gadget (Toto G., 2014) is another digitization, derived from a showing of Gadget Lined.

Stage decoration at the “Back to the Beginning” concert, July 5th, 2025

The available merch included hoodies and T-shirts. Proceeds from the event totalled £140 million, and will be donated to Acorns Children's Hospice, Birmingham Children’s Hospital, and Cure Parkinson’s.

Banner, 6.2×6.5 m

Re:start – Gestalterische Positionen für bessere Zukünfte is an exhibition project at Moderne Galerie – Saarlandmuseum and explores industrial design responses to climate change and social transformation. Curated by Mark Braun, the show features projects by young designers and recent graduates focusing on material, energy, mobility, and circular systems.

Titling is set in Helvetica Now, which is part of the museum’s visual identity. Adjustments to the t have been made to space the title even tighter. Dot Matrix by Moonbase Press is used for subheadlines in reference to industrial and digital display systems. To accommodate missing characters (such as German umlauts and French accents), a customized version was created for the exhibition texts (poster features the original version). Body text is set in Helvetica Now.

The typefaces are used across media, including posters, banners, and exhibition graphics.

Curation and exhibition design by Studio Mark Braun. Leonie Zebe served as curatorial assistant. The image on the poster is by Dean Weigand.

Posters, DIN A0 and A1

Exhibition view, including wall text

Exhibition view, including object text

A closer look at the wall texts featuring the custom diacritics for Dot Matrix

Digital poster

Albra by Ultra Kuhl, Helvetica Now by Monotype, and Suisse Int’l Mono by Swiss Typefaces are used in Xapo Bank’s branding. Xapo is a Bitcoin-centric digital bank that merges the security of traditional finance with the innovation of crypto to empower global financial autonomy.

The designers from unstudioenplus describe the project as follows:

Beyond aesthetics, our work strengthens Xapo’s brand presence across every touchpoint. The design and messaging reinforce that Xapo Bank isn’t just a banking service—it’s an enabler of lifestyles for driven, digitally connected individuals shaping the future of global finance. This unified approach positions Xapo as the ultimate partner for those seeking empowerment, convenience, and autonomy.

Some of the images shown by unstudioenplus also feature Microsoft’s Segoe.

When I was approached by the Evangelical Churches of the West Indies (ECWI) late 2023 to design what would become the 2024 theme, I was excited. At the time, I had no clue where the creative direction would go but I was more than willing to take on the challenge. As I explored it for hours, trying out different font combinations and styles, I kept coming back to the idea of using brackets to replace the O in “Move”. It was a very simple idea but the more I thought about it, the more I realised it was the perfect element to use for this theme.

A pair of parentheses expands and contacts as it frames the images, videos and text within it. It represents an open space for prayer points and ideas and the bringing together of diverse individuals into one wholesome community.

Nike’s “So Win” campaign features tightly spaced Palatino. The accompanying fonts are their custom version of Futura Extra Bold Condensed for the slogan and Helvetica Now for the athletes’ names.

Unveiled during Super Bowl LIX, “So Win” includes a 60-second anthem, athlete extensions, still photography and a social media campaign that illustrate Nike’s unwavering belief in the limitless power of sport. […]

The anthem draws on [Sabrina Ionescu], Jordan Chiles, Caitlin Clark, Sha’Carri Richardson, A’ja Wilson, Sophia Wilson (formerly Smith) and several of their contemporaries from Nike’s iconic roster of athletes, who together encourage everyone to block out the noise, dig in and let their hard work speak for itself.

Nikolas Type is an independent type foundry founded by German typeface designer Nikolas Wrobel, offering both retail and custom typefaces. The foundry is dedicated to creating typefaces that balance structure and fluidity, blending timeless influences from the past with innovative, forward-thinking ideas.

The website primarily uses Helvetica Now (Regular, Medium and Bold) while the recently released Solare appears in blog articles for titles and quotations. The website design embraces minimalism, featuring deliberate contrasts in font weights and a monochrome color scheme. Typography is central to the layout, ensuring an intuitive browsing experience.

The blog section, called Journal, offers a curated collection of content, including examples of typefaces in use, articles, interviews with creators, and more. Limited-edition foundry merchandise is offered in the Boutique; the Directory section showcases clients / uses of Nikolas Type typefaces.

This month’s Nike members only sale ads are set in DaVinci Regular Italic by Virgile Flores and Helvetica Now by Monotype. The latter is also the typeface used for information on the Nike website.

OVER is the latest album by Japanese singer-songwriter Daichi Miura (三浦大知), released in January 2024 with Sonic Groove. The graphics used for the album as well as the OVER tour that started in 2023 used Murathan Biliktü’s BM Babet as the main typeface.

Originally created in collaboration with Dutch artist Babet, the typeface appears on the album cover, merchandise, and tour visuals, providing a unified look for the OVER project.

[More info on Discogs]

Investment and real estate company Künzel Group received a rebranding from Munich based agency Pixelperfektion. Creating an aura of quality and tradition was particularly important. Pixelperfection says:

The new branding was intended to give the young company Künzel Group the character of “Heritage”. This concept stands for tradition, excellence and a touch of luxury that the brand wants to embody. This was achieved by color selection, logo design and typography, capturing a feeling and reflecting values ​​that are usually found in established companies. Despite its young age, the brand creates a connection to a high-quality, classic and elegant style.

The company’s new logo integrates a signet out of the initials of the company's founder. The symmetrical and mirrored design symbolizes balance and trust, while the use of the initials adds a personal touch that speaks of accountability.

Relais Display, designed by Alexander Rütten and Olivia Wood from Ligature Type, contributes to the elegance and value that radiates from the logo. Relais Display is used as the primary headline font on the Künzel Group website and also in other media. It’s supported by Montserrat, Helvetica Now, and Künstler-Schreibschrift.

Woodcliffe is a Toronto-based residential and commercial heritage restoration and development company, working to develop landmark properties with generational impact.

After almost three decades Vanderbrand was engaged to mark Woodcliffe’s shift from a heritage restoration company to a mixed-use real estate builder. The new brand identity captures Woodcliffe’s philosophy of intelligent, innovative, and considered design.

Nebbo are “passionate experts crafting modern solutions to support businesses in the ever-evolving office environment”. While they utilize the latest technologies, their goal is to design offices with a modernist spirit, emphasizing functionality and minimalist form, featuring top brands and designs by leading designers.

Locomotive is a design studio based in Montréal. Their visual identity was designed by Tomorrow:

Our ambition was to create a flexible identity for Locomotive, an award winning digital agency who fuses design and code to build online destinations.

Our approach was inspired by the technical icons found on train cars. We designed a custom typeface that combines iconography with Latin letterforms to create a unique visual language.

The portfolio website was designed by Locomotive themselves, combining Editorial New with Helvetica Now. Film, animation, and 3D by Baillat Studio.

Kohler, the storied American company known for its iconic kitchen and bath products, luxury golf resorts and destinations, and energy generation, commissioned Bud Rodecker of Span to design a commemorative book for its 150th anniversary. The book celebrates all of the Creators who have propelled the company forward with their bold vision, be they artists, designers, inventors, explorers, entrepreneurs, leaders of business, scientists, engineers, athletes, craftspeople, or those whose expertise and impact defies label. Working collaboratively with the Kohler team, the Span team wrote, edited, curated, and designed Be Bold.

Span engaged Donna Speigel to establish the book's editorial voice and to write and direct copy. Over the course of a year, Donna interviewed 34 contemporary Kohler Creators to capture their inspiring stories in first-person conversations. These conversations delve into what drives their creative process and output. Featured creators include contemporary artist Daniel Arsham, former NFL football player Donald Driver, Ann Sacks, and Jonathan Adler. Under Michael Mueller's direction, the Kohler in-house copy team wrote historical narratives for "legacy" Creators, bringing to life the stories of innovative Kohler leaders and collaborators who have passed. Bud Rodecker and Alyssa Arnesen worked with Krystina Russell of Kohler and their archives team to curate the image selections and design the page layouts.

We designed a system that allows variety in every creator profile, adding surprise and interest. Profiles are interspersed with photo wells that add to the creator’s and Kohler's story. Be that historical photos of Kohler’s Antarctic expeditions, archival Bold Look of Kohler advertisements from the 60s and 70s, or images from the 43rd Ryder Cup at Whistling Straits®.

Throughout, we’ve typeset the body in Helvetica Now Bold… it seemed the logical choice. To add visual weight to the page, we’ve replaced paragraph breaks with a colored circle to create a visual pause.

For the cover, we wanted to create the effect of a pristine white porcelain sink with a chrome faucet. To add a touch of magic, the cover title and contributor names on the back cover are impressed with holographic foil.

The close collaboration between the Span and Kohler teams resulted in a beautiful document that celebrates the impact of an American company that has helped define the look of the bathroom for the last 150 years and looks forward to the next 150 years.

BESIDE stands as an autonomous periodical situated at the intersection of nature and culture. It presents personal narratives, firsthand accounts, and innovative—both contemporary and traditional—ideas for fostering a more fulfilling existence in our world.

The autumn 2023 issue of BESIDE delves into the theme of connections: those soft, daunting, magnificent, and astounding networks that bind us. This edition directs its attention to collective evolution and the myriad relationships that transcend our individual components, creating a synergy that exceeds the sum of its parts.

The magazine employs a blend of Ivar Display, Helvetica Now Display, and Millionaire typeface families, each chosen to emphasize the distinctiveness of every piece. Ivar Text is utilized for the body, owing to its graceful appearance and legibility, while Helvetica Now Micro contributes structural quality to legends and captions.