Noah’s Ocean – stylized as Noah*s Ocean – is a Swiss premium swimwear brand that views style and sustainability as inseparable. The designs are created in Zurich and produced in a small manufactory near Porto, meaning that the company has a deliberately short supply chain. The outer fabric is made from 100% recycled post-consumer PET making the material quick-drying, velvety soft, durable, and resource-efficient. The collection currently occupies a previously unoccupied niche, the father-and-son collection and is currently being developed for the whole family.

Behind Noah’s Ocean is Robert Fritze, founder of the Zurich-based design studio Kreativfritze. With over 16 years of leadership experience in agencies and consulting firms, he describes himself as someone who combines a business mindset, design thinking, and a hands-on spirit. At Noah’s Ocean, he has consistently put this approach into practice. He’s responsible for design, development, marketing, and the online store—in other words, almost everything. The brand is managed by his wife, Vanessa Fritze. Vanessa and Robert have dedicated the brand to their son, Noah. A project for the next generation.

For every product sold, Noah’s Ocean makes a donation to selected marine conservation programs that are dedicated to protecting sea turtles and marine ecosystems. The brand identity is encapsulated in the Love Turtle, which captures the essence of their love for the ocean. The brand shares its commitment with one of its closest typographic partners: the Pangea typeface by Fontwerk. Pangea’s designer, Christoph Koeberlin, always donates 25 percent of his royalties to support the conservation and reforestation of the rainforest. Both projects demonstrate that sustainability, in the context of design, need not merely be a marketing promise, but can in fact be structurally embedded.

To complement Pangea, Robert Fritze drew upon Jan Fromm’s Nice Collection, a contemporary serif family with four optical sizes that combines clarity, personality, and readability. Fritze: “The combination of Pangea and Nice—or as I call it, ‘Nice Pangea’—conveys both Noah’s Ocean’s premium positioning and its commitment to sustainability.”

‘Nice Pangea’ appears wherever Noah’s Ocean meets its customers. At the point of sale at Jelmoli in Zurich, in the Swiss retail chain Duett Boutiques, but also at partner beach resorts, in Zurich, Küsnacht, and Germany. Billboards, shopping bags, packaging, flyers, and wet bags for swimwear carry the brand’s visual identity into everyday life. A unifying element is the slogan “Reternal Love,” a play on “eternal love” where the prefix “Re” stands for Recycle, Reuse, Refurbish, and Repair.

Created as part of the Posters for Gaza solidarity initiative, this poster contributes to the collective effort to support Doctors Without Borders through graphic design promoted by ADG-FAD.

The composition centers on a tree of life constructed through language. Words are woven into form, spelling out a single, unequivocal message: Life for Gaza. Drawing from Palestinian tatreez, the piece reinterprets this ancestral embroidery as a contemporary graphic system, where repetition functions as an act of remembrance and resistance.

The message is clear and direct, standing as a firm visual gesture in defense of life.

The Landesmuseum Zürich is the most visited historical museum in Switzerland. Following the spectacular extension of the site with a brand new building in 2016, the five-day music festival, Unique Moments, has been held annually in the inner courtyard. This year, from June 2 to 6, visitors can look forward to a top-class line-up featuring Jan Delay, Parcels, Max Herre & Joy Denalane and Róisín Murphy.

After a break due to the pandemic, the visual identity of Unique Moments was radically overhauled. The design agency Die Gestalter took over the art direction for the redesign and modernized both the festival’s branding and website. New visual guidelines were also developed for the social media channels in order to promote the event in a contemporary and consistent way.

The two Fontwerk families Nice Headline and Pangea Text (in the weights Regular, Italic, Light, Light Italic as well as Regular and Medium) lay the foundation for the new identity. They not only give the printed materials and website (both on desktop and mobile) a modern typography with a strong character, but also ensure optimum readability.

The unmistakable appearance of Unique Moments combines aesthetic sophistication with economic added value. The new visual language strengthens the marketing of the exclusive hospitality packages. These offer guests an all-round carefree experience: from aperitifs and canapés to an exclusive buffet, all-inclusive drinks and separate entrance with a cloakroom service. The high-quality presentation appeals to a discerning target group and increases the value of the event, both for visitors and for Unique Moment’s partners and sponsors.

Explore the world of houseplants with House Plants: A Simple Guide. This zine showcases ten easy-care plants, with simple tips for watering, sunlight, and propagation. Each plant comes with a delightful illustration that makes caring for it a breeze whether you’re just starting or already have a green thumb! The zine is accompanied by matching plant-themed cards.

The fonts in use are 29LT Okaso, 29LT Zarid Sans and 29LT Zawi, all by 29LT. Design by Maram Al Refaei with illustrations by Rana Samir. Photography by Fatima Hisham. Printed and published by Rizo Masr.

This catalog was published on the occasion of Déjà Vécu / Already Lived, the solo exhibition by artist Asunción Molinos Gordo at Museo Centro de Arte CA2M, curated by Andrea Pacheco González. It features photographs of the art installations, most of them made especially for this exhibition, texts written by the curator and guest authors, and a final section showing parts of the research and development for each piece.

Typeset in ABC Marist, a typeface inspired by other designs in the Old Style genre that have been reinterpreted in different times in history, like Jenson and Golden Type. Besides its characteristic wide uppercase proportions, prominent serifs and high legibility, it felt appropriate to choose a contemporary revision of a type style from the past. Small texts like image captions are set in ABC Monument Grotesk.

The bilingual (Spanish and English) catalog was published by Museo Centro de Arte CA2M, with texts by Andrea Pacheco González, Daniel Gil-Benumeya, Anouar Majid, Gabriela Wiener, and Asunción Molinos Gordo. One text is translated to Arabic and set in 29LT Zarid Text. The hardcover has 288 pages and measures 220×280 mm.

Accelerated Money For U (AMU) is an NBFC specialising in EV financing and leasing. The aim of their branding refresh was to have the brand logo and identity reflect their work at the frontier of modernity. At the same time, as a long-standing organisation, they had to retain their essence for recall from past customers and clients.

Studio Ping Pong partnered with them and centred the brand on their three primary tenets. The logo was text logo was updated and a symbol was attached to the brand. The new brand symbol forms an A with three intersecting ovals representing sustainability, finance, and technology.

Similarly, the colours and type echo these tenets. Teal blue and white were chosen as the primary brand colours. These are used in most of AMU’s collaterals. Orange and green as secondary colours break the monotony where needed.

The brand identity is formed around intersecting discs and lines, to signify movement and as a call back to the logo symbol. Stroked discs, matching the logo stroke weight were used as containers, bases and dividers within the branding.

The brand relies on two typefaces: Komet for titles and headings and Arpona Sans for body copy. With the company dealing in vernacular as well, Anek (all scripts, Regular, Medium, Bold) was chosen for any vernacular language use. As an NBFC, the script could not have too much flair – these typefaces were thus chosen for their readability and straightforwardness

This was a corporate branding project where conveying dependability and legitimacy were of utmost importance. The branding aimed to balance elements of modernity (ovals, lines, secondary colours) with classics of the sector (primary colours, typeface) to create a brand that stood for innovation without compromising trust.

The identity and its principles were then translated to a website, developed by ThunderClap.

Climbing instructor and sports masseur Benno Hinrichsmeyer searched for a long time for a natural care product for his hard-working hands. One without chemicals, palm oil, mineral oil and allergens. In the fall of 2019, he mixed beeswax, olive oil, St. John’s wort and aloe vera in his shared kitchen in Cologne. And so Daumenschmaus (German for “thumb feast”) was born – the first solid, vegan hand cream made from organic raw materials.

A few months later, he founded the cosmetics brand 4 People Who Care with his brother and two friends. 4 People Who Care is a name that holds both the founders and its customers accountable. Its mission is to develop sustainable products using only the most necessary and useful ingredients while protecting biological diversity on our doorstep. With every product sold, 4 People Who Care reinvests in the nature from which it sources its raw materials, through flowering meadow sponsorships, collaborations with organic farmers and by supporting biodiversity projects.

The Hamburg-based cosmetics company is currently preparing for internationalization – beginning with the renaming of its products so that they are understood globally. For example “Lip Balm” instead of “Lippenpflege Aufs Mäulchen”, “Solid Sunscreen” instead of “Feste Sonnencreme Naseweiß,” or “Face Oil” instead of “Gesichtsöl Goldgrübchen”. The packaging design of the product portfolio was also completely redeveloped in a harmonious and authentic way under the direction of Hamburg-based designer Kathrin Burschyk. The brand’s distinctive typeface is now Nice Headline from Fontwerk. On the website 4peoplewhocare.com, which has also been revamped, the product range can already be admired in the new design.

“We chose Nice because the typeface commands a great presence both at the POS and in the webstore … just the right warmth and emotionality.” Burschyk explains the choice of the typeface. “It also has beautiful numerals that are used prominently on the packs of the ranges.” For the small print, Sofia from Mostardesign is used. Marc Seipel, Key Account Manager and Product Developer at 4 People Who Care, adds: “We deliberately chose Nice Headline for the global design to showcase our brand message in a visible and modern way.” Co-founder Fritz Hinrichsmeyer admits on LinkedIn: “We worked on it for a really long time and turned a few loops. Now we’re done.” and asks: “Opinions on the Design?” Answer: 100 percent agreement in the comments.

Nice Headline numerals play an important role in the packaging design of 4 People Who Care product lines

Hymne a L’Amour / نشيد الحب by Alfred Tarazi is a testament to craft and artistic labors of love across family, country, and regional history

From the website of UMAM Documentation & Research:

Hymne a L’Amour is an installation by artist Alfred Tarazi in which he embraces and engages with both his personal family history and the history of craftsmanship in Lebanon and the wider Levant. The exhibition temporarily located in an abandoned hangar is supported by the French Embassy and the French Institute in Lebanon and was undertaken in partnership with UMAM Documentation and Research and the General Directorate of Antiquities.

The exhibition calls attention to memory and identity, both personal and collective, through handicraft items that have been overlooked by museums in Lebanon.

You can find several museums dedicated to antiquities unearthed across Lebanon, then possibly, museums for modern or contemporary art, but in between antiquity and modernity, a great vacuum as if the generations that populated these lands never produced anything of cultural importance. In the west, that heritage has found its way in museums under the label of Islamic art, or decorative arts. In Lebanon however, it is a neglected and overlooked heritage. As we have been witnessing the disappearance of these crafts and without an effort to make these survive, we should to the very least preserve samples of these works.

The installation includes artifacts made from wood, copper and glass dating back to the eighteenth century. The items are part of the Tarazi family’s centennial heritage, as they were one of the pioneers of craft works in Lebanon and Syria. The installation crystallized the artist’s personal relationship with his family legacy. These remains of the family’s industry are presented in a state of precariousness and vulnerability. As the exhibition title suggests, the installation is a “love hymn” for artisanal work and a personal history, placed within the context of an abandoned and derelict building. The installation is dedicated to this love of crafts and materials.

Tarazi centers this exhibition and his other work on developing a cohesion between two different memories: the memory of place and the history of the items displayed. If the subject of memory and identity is one of the main themes in Tarazi’s work, perhaps the most prominent characteristic of his approach is his ability to extract memory from a fixed archival state and to turn these materials into artistic engagement.

The exhibition poster uses 29LT Zarid Stencil. It is also used for a graffito with the exhibition title in Arabic and French.

Soлomiya magazine was founded in April 2022 by the two photographers Vsevolod Kazarin (Kyiv) and Sebastian Wells (Berlin), as a response to Russia’s war against Ukraine – соломія (solomiya) is Ukrainian for “peace”. Artists from both cities work together on the magazine, all driven by a desire to show the world what there is to defend in Ukraine. Developed in Kyiv and designed in Berlin, the magazine is a testimony to resistance through art.

The second edition of Soлomiya has recently been published and the art direction was once again led by the Berlin-based Kollektiv Scrollan. It was published by SHIFT BOOKS and is distributed by Readellion. After creating its own voice with the first edition of Soлomiya, in the second issue, the editorial team presents deeper insights into the everyday life of people in the war zone. The latest publication includes:

— Artworks created in Kherson during the Russian occupation
— Stories of Ukrainians who have had to flee the war twice – in 2014 and 2022
— The realities that Russia has been trying to silence for many years, and much more.

The distinctive logo and editorial texts have been set in Jan Fromm’s Nice Poster and Nice Text. As art director Anne-Lene Proff, part of the Scrollan collective, explains:

We chose Nice when there was no design and we had a blank page as the content was still being decided upon when we worked on the first issue. So we needed a typeface that was very flexible: with many weights, matching different headline fonts and something that left an impression. The serifs of Nice, especially in the bold weights, convinced us.

After the first edition – in the meantime, at the ADC Germany 2023 competition, awarded Gold for best magazine –, the design trio from Kollektiv Scrollan were so “thrilled with the smooth appearance of the typeface” that many Nice weights will be used again in the second edition: Nice Text Regular serves as a running script, Italic for awards, a photo series about the roofs of family homes works well with Nice Headline Light and Nice Text Black Italic plays a leading role in the names in the Polaroid section.

For display purposes, the über-flexible Theodor by Philipp Neumeyer is being used. It works great in the entire magazine and surprises in headlines, subheadings, as an initial, and even as an illustrative element.

A yet unidentified sans serif (seventh image) is used for small subheads.

Monumental Shadows: On museums, memory and the making of history is a 320-pages bilingual publication designed by Madrid-based designer Clara Sancho for Jameel Arts Centre in Dubai. The publication, co-published by Art Jameel Publishing and Kaph Books in 2023, features new essays, commissioned works and a myriad of provocations to think through some of the most pressing debates around material heritage and museums today.

The combination of various fonts from 29Letters references the mix of contents of the book (from visual contributions and interviews to fiction and essays) and their provocative nature. In addition, the format, colours and design of the cover (hardcover, dark aubergine, content list on the cover) echoes in an subtle way the aesthetics of museum publications while the interior is a dynamic mix of different typographic styles, layouts and papers.

Edited by Art Jameel curators Nora Razian and Lucas Morin, with an intro by Antonia Carver

Contributions by: Pio Abad, Basel Abbas and Ruanne Abou-Rahme, Rand Abdul Jabbar, Nora Al-Badri, Anahi Alviso-Marino , Noah Angell, Haytham El Wardany, Faustin Linyekula, Omar Berrada, Jumana Manna, Bonaventure Soh Bejeng Ndikung, Marian Pastor Roces, Gala Porras-Kim, Michael Rakowitz, Uzma Z Rizvi, Alya Sebti, Dima Srouji, Akram Zaatari

Where Grape Leaves Grow is a book by Anna Daliza that explores the history of Maronite Catholics in Lebanon over two thousand years. It intertwines Anna's family story and her experience growing up as a second-generation immigrant in the white suburbs of Southwestern Ontario.

The design of the book, by Michelle Kuan and Emi Takahashi, reflects the poetic dialogue through an expressive and evolving textual layout. The book incorporates custom-made glyphs that symbolize the growth cycles of a grapevine. Its materiality and extended two-panel cover are inspired by the traditional wrapping of warak enab, Lebanese stuffed grape leaves. These elements come together to create an intimate and one-of-a-kind artist’s book.

This typography carefully mixes Kalice by Margot Lévêque with Vivaldi by Friedrich Peter. The captions are set in 29LT Baseet, and the font used for the few Arabic words is 29LT Zarid Text, both from 29LT.

The mix of Kalice and Vivaldi is also used for the book launch party.

Archives des luttes des femmes en Algérie (“Archives of women's struggles in Algeria”) is a collective lead by Awel Haouati, Lydia Saïdi and Saadia Gacem, and an independent project whose objective is to shed light on the history of the Algerian women’s movement since 1962, which has long been marginalized and unknown. Through the construction of an open access digital archive, the project aims to make accessible a set of written, printed and visual materials produced within the framework of Algerian women's organizations and collectives, which are today preserved by women who have participated in such mobilizations.

Launched in March 2019 in the context of the hirak (popular uprising in Algeria), the project emerged from the observation that only few resources about the history of struggles in independent Algeria exist today, and even less when it comes to those led by women for emancipation and equal rights. The material “traces” of their actions and mobilizations remain inaccessible and little known to the new generations.

In this publication, made in the framework of documenta fifteen, they relate a particularly dense and prolific part of the history of the Algerian feminist movement, from 1988 to 1993. In 1989, a brief democratic opening enabled many women's collectives and organizations to exist legally and more freely than at the time of the single party. The publication gathers photographs and documents - some of which were fundamental in the evolution of the movement - from this period of intense political and militant activity.

The publication, design by Studio Akakir, is trilingual, featuring its text in Arabic, French and English languages. The Arabic texts are set in Amiri by Alif Type for the titles and 29LT Zarid Serif by 29LT for the running text. NaN Success Text and Sans by NaN are used for French and English titles, while Bitter by HT Fonts carries captions and running text.

From a typographic point of view, this publication (and this archive in general) might be as interesting for its layout as it is for its archived material showing, among other things, graphic material (journals, political tracts, posters, bulletins…) produced in Algeria between the end of the 1980s and the beginning of the 1990s.

A note: During documenta fifteen Kassel, this project (and another art piece, not linked here) brought the topic of antisemitism in the conversation through the exhibition of an issue of the Algerian feminist magazine Présence de femmes from 1988. It focuses on Palestine. The article features illustrations by Burhan Karkoutly and Naji Al-Ali criticizing the Israeli army. Those illustrations have been judged as antisemitic by a part of the audience (source: wikipedia.fr). Here is the answer given by the collective.

For more information, see the project’s website and the book’s page.

In April 2022, the 26-year-old Ostkreuz photographer Sebastian Wells travelled to Kyiv because he no longer wanted to work on art projects as Russia invaded Ukraine. “I didn’t know what I wanted to do there either … And so I just went there, without any aim or goal …”. Two days after his arrival, he met 21-year-old Vsevolod Kazarin, who had just made a name for himself in fashion photography. “He was now practically unemployed and didn’t know what to do with himself either,” recalled Wells. They spontaneously decided to start a project with and about young people in Ukraine and so the foundation was laid for an extraordinary art magazine called Soлomiya (Ukrainian for ‘peace’).

On the 103rd day of the Russian invasion of Ukraine, work began on Soлomiya. With the premiere edition, Kazarin and Wells wanted to show what there is to defend in Ukraine: Young people with hope and courage, who grew up in an independent country and who are not ready to give up their freedom.

The first issue was printed by Pinguin Druck Berlin and is entitled “War but Art”. Designed by Anne-Lene Proff and Peter Bünnagel from the Berlin design studio Kollektiv Scrollan in cooperation with the Akademie der Künste, it contains photographs, collages, texts and illustrations and features work by well-known Ukrainian artists, such as Sasha Kurmaz and Mykola Ridny, as well as new and emerging talent.

The logo and editorial are set in Jan Fromm’s typeface Nice, which is published by Fontwerk. Apart from Nice Micro, all optical sizes are used: The logotype with a custom-л was created by Jan Fromm using Nice Poster, inside the magazine both Nice Headline and Nice Text are being used. Other typefaces in the issue include the extraordinary Habitas by Tightype and Grotta by Due Studio, which underlines Soлomiya’s typographic claim.

My Business Towards Success (original Arabic title: مشروعي نحو النجاح) is a guide about entrepreneurship authored by Farida Hamed and published by Dar Rosa, Qatar. The book was designed by Cairo-based designer Raghda Moataz using 29LT Zeyn and 29LT Zarid Text. From designer Raghda Moataz:

In order to create texture and warm feelings when experiencing this book, we used scraps of paper similar to that on which the author wrote down her ideas while writing the book and expanded them into more different textures with different formats and used it to design the “quotes” spreads.

Design Repository is a platform for publishing writings and conducting research initiatives on Arabic design. The website typography combines the beautiful 29LT Zarid Serif and 29LT Zarid Text by 29LT with Helvetica.

Zarid is interestingly rooted in the famous Naskh script which is one of the most beautiful Arabic calligraphic styles. However, Zarid adds a contemporary spin on it with beautifully crafted nuances and details. We wanted to use something that would be rooted in tradition, but takes it to a different and contemporary place.

Oloom (العلوم) is a scientific magazine published since 1986 by ASPD, the Advancement of Sciences Publishing & Distribution Company in Kuwait. Once every two months, an entire orchestra of writers, translators, illustrators, artists, and designers put together this Arabic scientific publication.

In 2018, Sharaf Studio was hired to redesign the magazine. Read more about the ongoing project on their website.

From Visualizing Palestine:

The right to the highest attainable standard of physical and mental health is protected under international human rights law and international humanitarian law. As the occupying power, Israel is obligated under international law to guarantee the right to health to Palestinians. This visual is based on data from the World Health Organization about Israel's denial of the right to health to millions of Palestinians living under blockade in Gaza.

Graphic identity for the 2019 Manofim contemporary art festival in Jerusalem, Israel.

The work was done by Israeli designers Shiran Berry and Maya Bar-yerhuda. Using three of the main languages spoken in Israel – Hebrew, Arabic, and English –, the poster gives the festival an inclusive and international feel. Brights colors and minimal, bold typefaces, injected with the appearance of those three language makes this work a powerful examples of contemporary graphic design in Israel.

This scarf is part of the Visualizing Palestine wearables project.

Visualizing Palestine creates data-driven tools to advance a factual, rights-based narrative of the Palestinian-Israeli issue. Our researchers, designers, technologists, and communications specialists work in partnership with civil society actors to amplify their impact and promote justice and equality. — visualizingpalestine.org

A self-commissioned poster titled ملصق (“Books”), made by Amman-based designer Alaa Tameem for Vol. 2 of the Zero Posters series in which he and Tariq Yosef explore “different techniques and styles to get out of our comfort zone.” The Arabic text uses 29LT Azer.