Percept created the identity for Australian technology brand J4RVIS, centred on empowering people to make confident technology decisions for a better tomorrow. F37 Zagma is used as the primary headline typeface, setting a clear and contemporary tone across the brand.

Its hybridization of grotesque and geometric forms brings precision and clarity, while subtle character details add distinction. The result is a confident, future-focused identity that reflects J4RVIS’s technical expertise.

Mielle’s branding and advertising harness the confident presence of F37 Judge to create a bold, unapologetic visual statement. Used prominently across headlines and campaign messaging, the typeface’s strong, expressive character is amplified by a vibrant magenta palette, resulting in striking, high-impact compositions.

GenV (Generation Vegan) is a bold advocacy brand championing a plant-based future. F37 Incise is used in the logo, its sharp, chiselled forms echoing the energy of the lightning-bolt V.

Skall Studio is a Copenhagen-based clothing brand, founded in 2014 by the sisters Julie and Marie Skall. The new, current identity was created by Barkas. The logo appears to be custom drawn and is paired with HAL Timezone by HAL Typefaces and F37 Blanka by F37 Foundry, which are also used on social media.

From the Instagram post by Barkas:

Skall creates pieces with great attention to detail — and to the greater whole. The more you look, the more you see the craft and intention they put into every thread. To bring this perspective to life, we created a universe that rewards the curious mind. Playful details are woven throughout, and we’re excited to share a glimpse of what’s taking shape.

Uncommon Studio created Matt Voyce’s dynamic website, evoking the artist’s brilliant typographic and motion artwork. F37 Judge is used throughout, set for large headers and body copy.

When Co.Scienza Festival, the annual science communication event in Trento, sought a stronger and more recognizable identity, they turned to Rebus. Our challenge was to design a system that could endure over time while staying fresh and adaptable to the changing themes of each edition. We created a framework anchored by two distinctive stripes – a signature element ensuring continuity – combined with vibrant, overlapping boxes that give structure and energy to the layouts. Each year, the identity is renewed through a different color palette and an original illustration, this edition featuring the work of Anna Micheloni. The result is a visual language that is both consistent and dynamic, reflecting the evolving nature of science itself.

The Royal Institute of Philosophy is the UK’s largest independent charitable foundation dedicated entirely to the advancement of philosophical thought. With a proud history and an ambitious vision, it plays a vital role in promoting rigorous, inclusive, and accessible discussion about life’s biggest questions. Our task was to help the Institute reach further: to raise its profile, celebrate its work, and open up philosophy to new audiences.

At the heart of the strategy was a clear, powerful brand idea: Question everything. This phrase reflects both the nature of philosophy and the character of the Institute – open, enquiring, and intellectually free. It acts as a call to action for curious minds of all backgrounds and beliefs, encouraging people to think more deeply and engage with the world more consciously.

Our creative approach was guided by a simple ambition: to create an identity that feels serious but not exclusive, warm but not casual, intellectually credible but widely engaging. It had to be something that could feel at home in academic contexts, but equally inviting in schools, prisons and public events.

At the core of the new visual identity is a distinctive marque: a symbol that suggests continuous questioning through time. Simple, circular and elegant, it reflects the never-ending nature of philosophical inquiry.

The wider identity leans on F37 Caslon, a serif typeface that evokes tradition and clarity while feeling contemporary and confident. It is supported by F37 Blanka, a clean sans serif that adds versatility and modernity. Together, they give the brand a flexible voice, one that works equally well for deep academic papers and accessible public materials.

The identity system enables a small in-house team to create a wide range of assets with consistency and confidence. From journals and publications to posters, videos and social media graphics, the brand flexes without ever losing its sense of coherence.

More than just a visual update, this rebrand supports the Institute’s long-term ambitions: to create opportunities for all to discover and discuss philosophy, for personal good and for the good of society. It reflects a renewed focus on inclusion, intellectual freedom and cultural relevance, and helps the Royal Institute of Philosophy take its rightful place as a powerful and progressive voice in public life.

From design studio 20(Something):

How can we ensure technology serves humanity, rather than undermines it? Omidyar Network (ON), the US philanthropic organisation founded by Pierre and Pam Omidyar, challenged us to create a brand identity reflecting their commitment to embedding humanity into our digital future. With nearly $2 billion invested, ON is one of the largest philanthropic funds dedicated to guiding technological advancement towards collective power, prosperity and possibility.

Our brief was to develop an identity centred on collaboration, collective achievement and responsible innovation. We crafted a distinctive wordmark and emblem symbolising unity and strength. Rejecting typical philanthropic aesthetics, our dynamic design system was inspired by authentic human interactions, visually highlighting the vital link between people and technology. Typography was chosen to embody ON’s vision, pairing the warmth of Feijoa Medium with the future-oriented precision of F37 Lineca.

F37 Beckett was used as the primary brand font for Neighborhood Ballet. From design studio Proper:

Neighborhood Ballet is an Atlanta-based dance studio that gives students of all ages a place to discover, inspire, and develop a love for dancing. After opening in Grant Park in 2017, the studio had since grown to four neighborhood locations around the city of Atlanta. Neighborhood Ballet needed a brand update that would represent their vision and growth. We worked closely with founder, Rebecca Harman, to align the identity more closely with the quality of the brand experience.

Aria takes the pain out of payments and puts the action into transactions. Design agency Together writes:

The Paris-based fintech startup asked us to come up with a radiant connected brand system and a website that would take their B2B payments platform from complex to compelling. Mais bien sûr.

The identity utilises F37 Lineca by F37 and STK Bureau Sans by Smuss Type Kiosk.

Ekoplus is a waste management center – a modern and neatly structured industry. While doing our research for the new visual identity, they demystified what they do and showed us various processes that take place in their facilities. These processes transform the waste into different things – fuel, water, metal, etc. – but most of all, energy.

Black linear pattern represents the waste that gets buried, and turquoise circles show what is produced with waste as a resource. Of course, everything takes place under Ekoplus’ supervision – serving as a barrier between waste and nature.

WEWEHOME is a brand that proposes essential items for the home, the most intimate and comfortable space in our lives.

The arch-shaped WEWEHOME logo symbolizes the concept of home while reflecting the brand’s value of offering essential items for our living space. The wordmark logo is also designed with soft curves to harmonize with the arch shape.

WEWEHOME’s visual elements consist of typography, a color palette, and pattern graphics. The main typeface, Layfort, conveys a modern yet soft image, while the secondary one, F37 Ginger, was chosen for its simple and contemporary style. The color palette and pattern graphics intuitively represent various activities that take place in the kitchen, laundry, bath, and living room, reinforcing the brand’s identity.

Rethink’s branding work for Cidrerie Milton exemplifies a masterful blend of expressiveness and sophistication. Complementing a custom wordmark, they leveraged F37 Attila in all caps, which exudes boldness and modernity. This typography harmonizes with the brand’s distinctive angled and rough illustrative elements, creating a dynamic visual balance. The choice of F37 Attila underscores clarity and strength, while the illustrative style injects a sense of handcrafted authenticity, reflecting the artisanal qualities of the cidery. The result is a cohesive and memorable brand identity that stands out in the craft beverage market.

Design by Benjamin Lecuyer and Danick Gemme, with design lead by Margot Brejon de Lavergnée and creative direction by David Roger. See the full list of credits on Behance.

F37 Attila for the tagline “Y’a nature à explorer” (“Nature to Explore”)

Website detail

Website detail

Website detail

M1 Momentum is a bi-annual publication for auto enthusiasts, celebrating the very best of M1 Concourse in Detroit, Michigan. Shown here is issue 3 from fall 2023.

Peter Allen used F37 Judge to create impactful typographic spreads. Clean layouts paired with high-fidelity imagery of sports cars are complimented by headlines set in all caps.

Sie7edesign used F37 Stout to create the brand for the intimate coffee bar Carajillos in Panama City. The logo consists of lowercase c, adapted to represent a double shot of coffee. Stout is used throughout the brand collateral.

Tamarack is a cloud-based software helping to modernize the forest products industry. With Tamarack, lumber mills can maximize revenue by optimizing all aspects of sales and workflow.

One of Tamarack’s key focuses is the importance of real relationships with their customers. To bring this to visuals, Slope Agency designed a system that feels reliable and approachable. These concepts are visible in the new logo – a friendly, modern sans serif feels accessible, and the capital T balances the logomark at the opposing end of the lockup to evoke a feeling of stability. The logomark utilizes negative space to not only represent the tree inspiration from Tamarack’s original mark, but also a digital cursor to link to their software solutions.

In expanding the visuals for the website, Slope leaned into an illustration style that would continue the feeling of accessibility and friendliness through linear graphics with rounded edges. These illustrations pair well with stylized UI screens that give insight into the Tamarack product. And a color palette grounded in shades of green with bright secondary colors unites both graphic styles. Using visual graphics throughout the website, alongside ample negative space, allows for easy comprehension of information and a modern feel.

The website typeface is F37 Blanka. The SemiBold weight of Gellix served as the base for the wordmark.

See the full case study on Slope Agency's website.

Regular Practice created the branding for Bourii, a botanical skincare line for the body and soul. Free-spirited in a modern world that increasingly lacks harmony, Bourii invites you to turn to nature to find balance and healing. The wordmark is custom drawn – Freehouse is somewhat similar. F37 Blanka was used as a supporting typeface, for its clean and modern face.

The Fabryka Wody aquapark is a modern leisure and sports facility in Szczecin, Poland. From Blank Studio:

The entire investment covers an area of almost five hectares and consists of two buildings connected by a bridge – the aquapark and the education centre, as well as a recreational outdoor area. The aquapark features 17 pools and 11 slides. An additional attraction of the Fabryka Wody is the largest saunarium in Poland, which consists of as many as 16 saunas. The building also includes an activity zone with a bowling alley, billiard tables and a 13-metre climbing wall. The space of the parts accessible to customers has a minimalist, friendly character, with a large predominance of white, which was a great background for the design of an interesting, unconventional wayfinding system.

The wayfinding we prepared for the site was inspired by the existing brand identity of the venue. The Fabryka Wody’s logo is constructed in a distinctive way – the interlocking, seamlessly blending elements were our starting point for building the graphical language. One of the aims of the signage design was also to refer to the colour palette of the interior architecture and to create graphics that would harmonise with the character and purpose of the building. Great emphasis was placed on choosing an interesting typeface (F37 Zagma by F37), preparing an extensive, original set of pictograms, and using materials that harmonise with the overall architectural concept. The colour scheme of the graphic elements was simplified and limited to two colours relating to the investment logo. A gradient of blue tones was also added for variety. The chosen colour palette is clearly associated with the nature of the services offered by the aquapark.

Apothecary 87 was rebranded for a premium packaging experience. 93ft worked with the natural skincare and grooming brand to elevate their existing range of products using impactful packaging design, typography and a new brand identity.

They selected two complimentary fonts which can be used across the brand. With a nod to a ‘vintage’ British aesthetic, F37 Beckett was chosen as the all-caps display font. The complimentary type for smaller sizes appears to be Trade Gothic Extended. The logo in Birch – with a custom moustached O – was carried over from the previous 1920s prohibition Peaky Blinders-style aesthetic.

Tangent Graphic used F37 Judge on the Homeless World Cup brand, including for the logo and supporting copy. Homeless World Cup is an incredible organisation that is using football as a platform to raise awareness and shape attitudes towards this global issue. In 2024, the tournament will take place in Seoul, South Korea. The secondary typeface used on the website and the business cards is Nimbus Sans.