Кот из Божанси (“The Cat of Beaugency”) is the Russian translation of James Joyce’s The Cat and the Devil. This softcover edition with a new translation by G.K. Zharinova was published in 2024 by Chto Delat in 200 copies. The cover art and interior illustrations are by Mark Vilkochinskas. It uses Cormorant for its title.

A logo isn’t a strategy. We see many brands obsessing over a symbol while ignoring how they actually talk, feel, or connect. A logo is just the “period” at the end of the sentence. The real work is the sentence itself: your voice, your values, and the experience.

Logos are Dead is an internal project born from a growing frustration with traditional branding. The “logo dynasty” is over. In its place, we are building brands that transcend visual symbols, prioritizing powerful messaging, authentic essence, and meaningful human experiences over simple icons.

Why are logos dead? We’re moving beyond surface-level design to create meaningful brand ecosystems. It’s about strategy, depth, and staying true in a world flooded with generic templates. See our “logo autopsy” to dive deeper into this topic.

The website typography uses four main typefaces: Respira Black, Cormorant Garamond, Times New Roman, and Anton.

The interactive experience “Dangerous Lack of Standards: Everything Is a Logo Now” lets you assign a random font to your entered logo text. The font options for that include Asset, Jacquard 12, Manufacturing Consent, Grand Hotel, DM Serif Text, Oi!, Modak, Borel, Alfa Slab One, Tilt Prism, Workbench, Bungee, Prata, Italiana (all from Google Fonts) plus a couple of system fonts like Courier New, Impact, Apple Chancery, Georgia, Verdana, and Arial.

The visual identity for artist Kea Elisa is shaped by intuition, presence, and inner energy. It’s guided by the mantra “Own your space. Own your power”. The design strategy centers on a deliberate tension between raw expression and architectural clarity, making the process of transformation visible rather than concealed.

The signet combines custom lettering with typography. The hand-drawn K was conceived as an expansive, dynamic gesture, intentionally breaking away from standardized norms. This custom lettering serves as a point of origin, carrying the personality and “inner energy” of the brand into a physical, visible form.

The typeface Söhne Breit acts as a precise, structural counterbalance. While the signet represents movement and intuition, Söhne provides a sense of permanence and geometric rigor. The wide, space-filling typesetting of “EA ELISA” creates a powerful typographic foundation, mirroring the balance between an inner creative process and an outward professional expression.

A brand identity that rejects the static and the standardized. Through the juxtaposition of organic custom lettering and the systematic precision of Söhne, the design achieves a unique presence that commands its own space.

The website additionally uses Montserrat and Cormorant.

The book Das Schattengetuschel by by Botho Strauß, published by Carl Hanser Verlag, uses Cormorant Garamond on its jacket.

The book Bleiben und Blicken by Botho Strauß, to be published by Carl Hanser Verlag in October 2026, uses Cormorant Garamond on its jacket.

Moving light as living matter: fluid motion, gentle glow, and subtle shifts. Studio DRIFT’s kinetic installation transforms light into something alive – it breathes, expands, and contracts in harmony with nature’s own rhythm.

Our campaign follows that flow. Inspired by the organic choreography of the artwork, we translated its movement into visual form: type that floats and drifts across space, layered with translucent patterns reminiscent of the shylights’ delicate structures. The result is a calm, immersive visual language that captures the sense of lightness, motion, and quiet awe that defines the installation itself.

Anjet Daanje’s post-WWI novel De herinnerde soldaat was first published in Dutch in 2019. David McKay’s translation, The Remembered Soldier, was issued by Scribe Publications in June 2025. It uses Cormorant for its cover.

Zürich’s most famous shopping street uses Cormorant for text and editorial design on their website as well as for on-site messaging.

The German edition of David Coles’ Chromatopia: An Illustrated History of Color was published by Haupt Verlag in Bern, Switzerland, under the title Farbpigmente: 50 Farben und ihre Geschichte. The cover design by Zürich-based pooldesign uses Cormorant Garamond for the title. Secondary information is added in Open Sans.

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents Lost Paradise: Blissed Out Hardcore 91-94.

This compilation album was released in March 2024 by Blank Mind (London, UK) and is available on Bandcamp. Design by Sam Purcell, founder of Blank Mind. He used the typeface Bertin (Roman Seban, 205TF), Akzidenz-Grotesk (Berthold), Cormorant (Christian Thalmann) and F Grotesk (Radim Peško).

[More info on Discogs]

Terres Olive is using BM Ikon Bold by Biliktu Foundry with modified O and E for their logo. The typeface is inspired by the Mediterranean landscape, making it fitting for the Terres Olive brand. It is paired with Henderson Sans. The labels additionaly use Cormorant Garamond.

Ceramicah creates refined, hand-crafted ceramics for individuals with a contemplative eye. Their meticulous attention to detail and holistic design approach result in pieces that enrich both space and life. The visual identity combines Cormorant and Neue Helvetica. The logo is customized, based off of Gallique.

Design of the catalog for the exhibition of Josef Albers. Colors in Play at Ludorff Gallery in Düsseldorf.

The exhibition showed a top-class selection of works by the German-American artist Josef Albers including the series Homage to the Square and Variant. The book design is inspired by Albers’ conceptual works Variants and Glenn Gould’s Goldberg Variations by Bach.

The typographic “touch” from Munken Sans, Cormorant and DM Mono Light harmoniously accompany the wide color spectrum of the works of Josef Albers.

144 pages, thread-stitched softcover with OTA binding. Cover made of Munken Kristall Rough. ISBN 978-3-942248-53-2

In August 2022, Warped Cigars, based in Florida, USA, approached me to design a print magazine advertisement.

Against the background of an atmospheric photograph that combines elements of water and stone, it oozes exclusivity, grasping an image in which the smoker takes his own time to inhale and enjoy the memorable experience of the cigar’s flavors and fragrances.

Warped Cigars is a boutique cigar company established in 2007, committed to obtaining unique blends with an extreme focus on quality and consistency. It offers some of the most meticulously selected, Cuban-inspired cigars on the U.S. market, including brands such as La Colmena, Futuro, La Hacienda, Maestro del Tiempo, and Corto, among others.

The typeface used for the main message is Christian Thalmann’s Cormorant, combined with Mark Simonson’s Proxima Nova.

Cover artwork for Phase’s first album, Shore to Shore, featuring Norman with discretionary ligatures and swash alternates. Norman is accompanied by Cormorant.

Phase is a producer and DJ. He has published several EPs with the label Metalheadz and, recently, his first album for which I, Saccò, managed all the visual artwork, including art direction and illustration. See the music video on YouTube for more information and links.

Тайна занавеса (The Mystery of the Curtain) was a special several-week long theatrical event at the Marina Tsvetayeva’s House Museum in Moscow. It began in February 2020 and was supposed to run until early April, but the Covid-19 pandemic cut it short. Shown here are the posters designed for the event.

In Fear of a Blank Planet, writer Mitchell Grant explores themes such as gender inequality, the morality of death, and the futility of choice in this debut work of both postmodern clarity and magnificent scope. This is a book about starting over.

The book was published by Grant’s own Small Feather Press in March 2022. It’s available on Amazon both as e-book and printed edition. 352 pages, 6″×9″, digital printing. Graphic design and typesetting by Alexander Kuliev.

One of America’s favorite mottos – ‘United we stand, Divided we fall’ – brings to light a fundamental value cherished by the United States: unity. However, in my eyes this sentence illustrates perfectly the fragile political climate the country has been living in since its foundation, and is today at its peak.

I have always taken an active interest in the historical conflicts of the U.S., especially those dealing with slavery and the Civil Rights Movements. Furthermore, the George Floyd protests that erupted last year made me even more angry and outraged.

Through this project I wanted to expose division and racism, driven by white supremacy, a matter that has rocked the country since its birth.

I wanted to illustrate this failed melting pot through a personal editorial book, comprising of a short timeline of the African-American History, as well as historical photographs of fourteen major American riots and marches for Equality, from the 1950s to today.

The font used on cover is VTC Carrie by Vocal Type. Its designer Tré Seals designs typefaces that highlight a piece of history from a specific underrepresented race, ethnicity, or gender. The serif used for copy is Cormorant.

The educational YouTube video The Beauty of Bézier Curves by Freya Holmér uses Cormorant for its splash titles. Note how the main title at the beginning employs a variant acute accent to fit the title into the graphic; the default acute accent (seen in subsequent titles) is much steeper.

Cormorant is supported by the sans serif Renogare for labels and the monospaced Consolas for code.

«Tu verras, quand tu seras grand!» is a children’s book written by Tiphanie Blanc and published by Edition L’Amazone. It was designed by Roxanne Maillet together with Tiphanie Blanc in 2021. The title page is sets in the upright version of my Gaya. Other fonts in use include DINdong (Clara Sambot), Zarathustra (Lorène Picard), and Cormorant (Christian Thalmann). The inner flaps additionally feature Bonbon (Ksenia Yerulevich) and Casa Sans (Peter Wiegel), with pictorial drop caps from Critter (Craig Frazier). [See the comments for more font IDs.]

From the publisher’s website (translated):

“You’ll see when you grow up!”, the first children’s book from Edition L’Amazone, explains the globalized capitalist economy through four chapters on money, the banking system, the police, and revolution. It was based on books cited by author Marie L’or Kaeppelin-Billaudot in Il sera une fois... Essai sur le contenu des livres pour enfants (Espaces féminins, La pensée sauvage, 1978). «Tu verras quand tu seras grand!» (“You'll see when you grow up!”) is based on the observation that few children’s books deal openly with the economic question, even though it is omnipresent in their daily lives. The detour of these books, more than forty years after their publication, allows us to rethink our relationship to these founding myths, in the same way that a tale plays a role in the construction of a common history.