The Moraine – Home is Where the Mountains Are

Getting up and out in Colorado: less than 30 minutes from Boulder, Colorado, and in the foothills of the majestic Rocky Mountains, The Moraine brings together urban convenience and breathtaking outdoor access. Watson was tasked with creating a name and a brand that would attract active individuals and families seeking to live, hike, bike, climb, and ski in pristine nature without giving up the urban amenities that the cities of Boulder and Longmont have to offer.

Grounded in a strategy centered on living close to nature, the brand identity draws directly from Colorado’s rugged landscape. The logo abstracts a rock and a house into a distinctive M mark, creating a visual connection between the buildings and the natural environment. The angular geometry of the symbol establishes the foundation for the typographic system. Type moves throughout the compositions with the same rugged, geometric character, creating a cohesive and expressive visual language.

The overall identity remains intentionally restrained, allowing the landscape to remain the hero. A minimal black-and-white palette, paired with a Swiss graphic design–inspired typographic system, introduces references to sports and outdoor culture while maintaining a refined and contemporary character.

Identity for the 7th anniversary of studio Demande Spéciale. Optima was used for the Oods (“Office of Demande Spéciale”) logo, and a variant of Neue Montreal was used for the body text.

Celebrating seven years of visible work, even though, in truth, the studio’s practice goes back long before time itself was a concept. Whether seven years or seven centuries, the studio approach remains unchanged. Each project is a piece of a broader story, ever-evolving, a story that has always existed and will always exist beyond the boundaries of the present moment.

They explored the idea of research and archaeology, creating their own relics and assembling an archive of all their work.

Neuma Records is a new music label founded on a profound vision: to represent the vital breath that animates the void – an active force that shapes both the individual and the cosmos.

The project includes the development of a complete visual identity, featuring a distinctive logo and a cohesive graphic system that reflects the label’s artistic and philosophical essence. The design of the first vinyl release aligns with this identity, blending modern visual elements with a timeless aesthetic. The result conveys a visual narrative that resonates with Neuma’s values and conceptual approach.

Executed over five weeks of close collaboration, the project positions the label as a unique presence in the music industry, where design adds depth and character from the very first release.

Label for CT Kidobó’s Into The Zone EP, the first release on Neuma Records

Visual identity and website for Origines Art & Collection, realised by Not In Paris Now. OAC is an independent art consultancy agency specializing in the creation, structuring, and valuation of collections.

For its branding, Not In Paris Now used Mosa by Alexandre Créquer and Neue Montreal by Mat Desjardins.

White Coffee is a Parisian specialty coffee brand founded by Etienne Ryckeboer and Jenny Martin, with shops across the 3rd, 4th, 9th, and 10th arrondissements of Paris. The brand positions itself at the intersection of architectural minimalism and street culture – raw, sharp and precise.

Bordeaux-based studio Abmo developed the identity and packaging in two phases. The wordmark is set in Cardinal Fruit by Production Type. Suisse Int’l Regular by Swiss Typefaces handles the deadpan neutrality of information, while Editorial New Ultra Light by Pangram Pangram brings tension to editorial accents.

The Hamilton Hotel has been a local landmark since 1865. Daymark’s rebranding focuses on “recognisable restraint,” moving away from flashy marketing to a timeless, typographic-led style. The identity balances the hotel’s long history with a clean, modern feel across digital platforms and physical details like signage and debossed stationery. By pairing heritage-style serifs with modern layouts and high-quality materials, the new identity reflects the hotel’s journey from a historic colonial building to a premium contemporary destination.

Spanish branding studio Wozere created the new identity of Monasterio de San Francisco, a hotel located in Palma del Río near Córdoba and Sevilla.

They chose to gather a palette of textures, soft tones, and memories that guided the creation of a visual universe where the brand’s identity can truly come to life.

The curvy calligraphic logotype in Miss Fajardose is combined with a discreet use of PoW Limerick for the initials, as well as some of its vignettes. The condensed serif is Editorial New.

Hostilia is an independent magazine developed during a week-long workshop at Politecnico di Milano held by Jeremy Francis Leslie, founder of magCulture.

The project investigates friction as a defining condition of contemporary reality. In a landscape shaped by frictionless digital interactions, Hostilia reintroduces resistance as both editorial stance and physical experience. Built around the concept of hostile contact – the encounter between forces that generates pressure, wear, and transformation – the magazine adopts a critical position, addressing political, economic, and social imbalances.

The first issue, “Pressure“, unfolds through four stages (Accumulation, Compression, Deformation, and Breaking Point), mirroring how tensions build and eventually rupture.
Materiality becomes part of the narrative: metallic surfaces, rigid inserts and exposed binding turn the magazine into a resistant object, where contact is not neutral, but always leaves a trace.

The magazine’s objective was to convey a sense of pressure through typography and layout deformation. For instance, OT Neue Montreal Squeezed and Migra are occasionally distorted to reflect the magazine’s conceptual approach.

A Designer at the End of the Dream Career is a self-published book reflecting on the non-linear paths designers face as they begin their professional journeys. Developed in the final semester of the Communication Design degree at the Faculty of Fine Arts Lisbon, it explores the symbolic and practical weight of reaching the end of academic life.

The project began with a prompt: “A Designer at the End of…”. Each group completed the phrase in their own way, contributing an eight-page chapter that expressed personal and collective reflections. The task was then to bring them together under a shared theme, The Dream Career: the thrill of starting out, the disillusionment that can follow, and the hope that keeps us moving forward.

A unifying visual identity was created to connect all contributions, drawing from diagrams, maps, and charts as a nod to the soul-searching that shapes every designer's path.

Physically, the publication itself is divided into three interwoven chapters, inviting readers to choose their own entry point—mirroring the unpredictable nature of creative careers. Printed with the faculty’s Risograph machine and fully produced by hand—folded, stapled, and trimmed in the design lab—it was released in a limited run of 100 copies, each with a distinct, tactile quality.

Swizzy by Rellence and Neue Montreal Mono by Pangram Pangram are used together for Flim.ai, an AI-driven creative project designed by ToyFight.

The pairing combines Swizzy’s clear, precise sans-serif forms, which bring structure and balance, with Neue Montreal Mono’s functional clarity. Together, they support a system built around exploration, contrast, and rapid visual discovery across digital interfaces.

Description of the project by ToyFight:

Flim is an AI-powered visual inspiration platform for creatives, functioning as both a vast library of stills and video clips from movies, TV, and ads, and a suite of AI tools.

Inspired by the cinematic technique of splicing film, we take seemingly disparate elements frames, genres, references, styles, ideas and connect them to form something unexpected, dynamic, and uniquely relevant.

My portfolio is finally online! A two-year journey has come to an end.

This is more than just a website displaying my work—it's a complete rethinking of my philosophy in both web development and branding. Dozens of concepts, variations, and design approaches, created from scratch, led to the result you see today.

I aimed to reimagine classic website templates while maintaining the familiar logic of content exploration and adding my own ideas. This is how elements like the sliding contact panel, the detailed project information panel, parallax and depth-enhancing forms, and many others emerged.

The entire visual language was created to be clean and simple—not distracting, but complementary. Small animations, details, tooltips, icons, micro-effects—everything is carefully considered and an integral part of the system.

A huge amount of time and effort was invested in this project, and I am truly pleased with the end result. I hope you enjoy it as much as I do.

Stari is a partner student project created with Virginia Liu for the Color Theory class taught by Adam Ross at ArtCenter College of Design. This project takes the form of a hypothetical blind box series.

In a realm where ancient craftsmanship meets the cosmos, Stari were born: modern talismans inspired by traditional Chinese knots. Each knot threads together unity, harmony, and boundless fortune, while each color carries its own emotional frequency and symbolic energy. To collect a Stari is to collect a moment of synchronicity, and a small reminder that magic reveals itself when we remain open to wonder.

The identity system uses Neue Montreal by Mat Desjardins as the primary sans serif, grounding the brand in contemporary clarity and structure. Lucy Rose by Ellen Luff introduces elegance and sentimentality, subtly echoing tradition and storytelling. Ohno Softie by James Edmondson is reserved exclusively for the logotype, its rounded, plush forms reinforcing the warmth and playful tactility of the blind box experience.

For the September 2022 issue of Fast Company, Creative Director Mike Schnaidt and Design Director Alice Alves assembled a refined editorial palette to present the magazine’s annual “Most Creative People in Business” list, honoring innovators across technology, healthcare, entertainment, and design.

The cover prominently features Cosi Azure Bold and Black by Nikolas Type, whose sculptural elegance and crisp modulation bring a sense of clarity and authority to the key headlines. Article sublines are in Cosi Times. The magazine’s text typeface is a customized Meret from TypeMates, and the logo is based on R-Typography’s Grifo, see this post.

The typographic system of the special issue is complemented by PP Monument Extended Black (Pangram Pangram), A2 Beckett Light and Regular (A2-TYPE), and Centra No. 2 Bold (Sharp Type / Monotype), creating a balanced dialogue between expressive display forms and precise editorial text.

The italic is from Colophon’s Grenette.

Beastly (OH no Type Co.) is used for the initial. The text typeface is unidentified.

The initial Y is from Salvaje Display (Typozon).

Récit’Cité is a collection of tales written by storyteller Julien Staudt (Brussels), drawn from three years of residency in the Mortard neighbourhood, a working-class area of tower blocks and social housing in Lure, France. The book was commissioned with support from the City of Lure and the French Ministry of Culture.

The typographic system holds a tension between weight and light, pairing three typefaces from Pangram Pangram. Räder Bold carries the main titles – solid, rigid, a typeface whose origins in infrastructure and public space resonates with the urban fabric of the neighbourhood. It is accompanied by Acma Semibold: thinner, more luminous, with a quietly oriental quality that softens and complements Räder’s density. The body text runs in Writer Light – a serif with subtle luminous details, quiet and readable. Chapter numbers use Writer Thin, almost weightless. Drop caps return to Räder Bold, but in a soft tone, anchoring the chapter openings without dominating.

The whole is unified by a matte, slightly textured Munken Lynx paper stock that softens contrasts and reinforces the memorial dimension.

See the full case study on Pascallienard.com

From Ajna Design’s website (translated):

Bakeaway Coffee emerged from the desire to combine the coziness of artisanal confectionery with a modern, affectionate, and professional brand experience. The challenge was to create an identity that expressed affection, care, and technique.

We created the name “Bakeaway,” which unites the act of baking (bake) with the lightness of taking away (away), evoking the concept of comfort food. The bakery had already existed for over 20 years, but the time had come for its repositioning. The visual identity translates this sensitivity with a visual atmosphere that connects affective memory and quality.

Bakeaway embodies the archetype of the Lover, promoting a gastronomic experience that transcends the simple act of eating. Every detail of the brand was designed to awaken desire and connection, from the engaging verbal identity to the sweet color palette and the welcoming shapes that make up its visual identity.

The identity is set in Right Serif by Alex Slobzheninov and Editorial New by Mat Desjardins, both distributed by Pangram Pangram.

“Two motifs merge into one lenticular poster. The image changes depending on where you stand — there is no fixed final image, only perspectives. Cultural belonging exists in relation to context, position, and viewpoint. 400 × 600mm”

Hyperculture is the diploma project of Dabin Kim made at ABK Stuttgart. The project captures the blurring of cultural boundaries, allowing different cultures to coexist in a globalized world in a “both–and” rather than “either–or” way.

Cultural practices in East and West are explored through everyday creations, shared media, and consumption. This shows how trends move between cultures, overlap, and are interpreted differently. The practices are presented through quotes, articles, digital images, and original visuals.

Dabin Kim describes the project as follows:

The publication is read from both sides: one presents an Eastern perspective, the other a Western one. Each examines how the other culture’s practices are adopted, influenced, and often misunderstood in different contexts.

Chapter 1 focuses on Language, Chapter 2 on Food, and Chapter 3 on Industry—each from both perspectives. Chapter 4 concludes with interviews that bring both views together.

The conversations reveal that cultural identity is increasingly hybrid and fluid, shaped through consumption and digital media. While visual cultural boundaries blur, deeper social differences and experiences of belonging persist.

Looking across language, food, and industry, the West often translates cultural elements into simplified, marketable forms, while the East actively transforms and hybridizes global influences.

Hyperculture emerges as both a driver of cultural reduction and a source of creative reconfiguration – simultaneously part of the problem and part of the solution.

Designed with Solæ and OT Neue Montreal Squeezed. 232 pages, 210×297 mm

As a category leader in automotive surface repair, Evercoat’s sprawling portfolio had created a chaotic brand. Hyperquake consolidated the architecture into a tighter, more intuitive structure and streamlined the visual identity through a refreshed packaging system. The transformation was accelerated by a strategic marketing plan powered by social and influencer-led content, performance-driven initiatives, and updated traditional collateral. Together, we brought clarity to complexity—ushering in a more cohesive era for the Evercoat brand.

Set in all uppercase, the modified logotype uses Neue Montreal Medium, a versatile grotesque font that felt right at home in the auto body repair industry for its hard working and understated qualities. The custom O is based on the catalyzation process—the precise filler-to-hardener ratio that activates the product. We refined the mark to highlight this signature detail and reinforce its leadership in the category.

To complement the logo, the packaging system combines multiple weights of Neue Montreal and Transducer—each bringing a strong and no-nonsense vibe to the collateral. Transducer provides strong category cues that was inspired by vintage car ads and livery and speaks to Evercoat’s heritage. Neue Montreal becomes the straightforward, utility font that allows for important detail information to be clearly communicated.

Motion design poster

This identity for the fictive Cosmic Trips Festival was conceived as a student project in the Graphic Design program (4th semester) at TH Nürnberg.

In 3024, the innovative team at Orbit Horizon partnered with Future Sphere to launch a groundbreaking event unlike any other: Beyond – A Cosmic Trips Festival, immersive journeys around our universe.

Beyond offered visitors a glimpse into the future of art, technology, and exploration. Highlights included an inspiring flight presentation with AR-reality flight tests, introducing visionary concepts that left the crowd buzzing with excitement.

Designing the identity for Beyond – A Cosmic Trips Festival, I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

For the typography, I used Editorial Old from Pangram Pangram, Rene from Fedor Abroskin Typefaces (via tomorrow.type.today), and Suisse Int’l from Swiss Typefaces.

I used AI tools to craft futuristic videos, merchandise, and media that brought my vision of cosmic exploration to life.

Web design

Logo design

Poster design

Banner design

Poster for a performance at REDCAT, the first-ever retrospective of Vertical Blanking, a video art, performance, and experimental music duo consisting of ia Kamandalu (formerly Kim McKillip) and Michael J. Masucci. REDCAT is the Roy and Edna Disney CalArts Theater in Los Angeles.

The Bodies We Call Home is a student project created at ArtCenter College of Design as part of the Type 4 class taught by Stephen Serrato. This publication is presented as a hypothetical art catalog, imagined as a curated collection of works exploring queer intimacy, resistance, and care.

The catalog’s typography—featuring Playground, Alegreya Sans, Editorial New, and Eiko—balances playfulness, warmth, and editorial refinement. Together, these typefaces move between softness and structure, echoing the emotional vulnerability and resilience at the core of the work.

Curatorial Statement:

Queerness has long been under attack—from historical criminalization to the government’s neglect during the AIDS crisis, where thousands of lives were lost in silence. Yet in the face of devastation, queer communities turned to intimacy as survival. Acts like the AIDS Quilt became declarations of love, grief, and resistance, proving that queer lives mattered. Today, anti-LGBTQ+ legislation and societal pressures echo those painful histories, politicizing queer bodies and threatening the right to exist freely. But intimacy remains a radical force—woven into activism, art, and quiet care shared between chosen families.

Queer intimacy exists in the quiet moments of touch, in the unspoken understanding between lovers, and in the collective strength of chosen families. It is spiritual, physical, and emotional—a force that holds, heals, and empowers. Love, in all its forms, is an undeniable human right, yet, it remains under threat. The ability to love and be loved should never be taken away, for it is as essential as the air we breathe.