For the corporate design of FlowerBoiz, an event floristry studio specializing in floral decoration for events, Mint Display and Boogy Brut Poster White were used as the primary typefaces, with Boogy applied in italic to the logo and headlines.

The custom logo combines the initials FB into an abstract flower shape, supported by a fresh color palette inspired by spring blooms. For the launch, a minimal one-page website was implemented as a simple HTML page, serving as Flowerboiz’s initial digital presence and presenting the studio’s services in a clear, concise format.

Finally, a gym and café that blends effort and comfort! Bolder is a sports studio, a café, a canteen, a venue for corporate events, outdoor sessions and bootcamps offering a social, collective, and laid-back experience. Whether you’re a beginner or a seasoned athlete, Bolder provides an original and welcoming environment to make fitness a sustainable and enjoyable part of your routine.

For this branding and visual identity project, Ogaf.studio drew inspiration from the old-school aesthetic of traditional sports clubs. The typography system plays a key role in shaping the visual language. We combined Maison Neue (designed by Timo Gaessner, 2012) for its clean and versatile tone, Optic Heavy (by Sebastien Sanfilippo, 2023) to bring strength and presence to headlines, and Deia Bold (by Andrei Robu, 2021) for its contemporary warmth and subtle character. Together, they reflect the balance between performance and ease that defines Bolder.

The color palette is fresh and energizing, and the letterforms of the name “Bolder” served as a playground to generate a flexible identity system. In collaboration with architecture studio Mono, we developed a unique atmosphere and art direction that sets this hybrid space apart from your typical gym or café. The visual identity lives across various formats from social media to print and signage, all designed to support Bolder’s vibrant and active community.

Motiv created the visual identity for the Moments of Clarity wine range by Utopos Barossa Valley. They designed a series of abstract labels based on variations of the same graphic elements arranged in distinct compositions and colors. The font used for the logo is Mint Grotesk (from Lift Type), to which a blur effect is applied.

Mentados is a company that produces fermented and carbonated drinks. It is based in northern Mexico, in Hermosillo, Sonora. The first flavor launched is the original fermented and carbonated kombucha drink.

The brand conveys a unique, fun, Mexican crafty feeling, as well as something slightly retro and groovy, like your uncle's old baseball team when he was in college.

The wordmark is custom lettering designed by Alan Guzmán in 2021. It’s paired with a range of typefaces.

kkie is an indie/artisan fragrance brand established by Frankie, a self-taught perfumer. By offering an array of olfactory palettes, kkie invites you to embark on a personal journey of scent exploration, allowing you to curate a unique world of fragrance that resonates with your individuality. With a strong emphasis on quality, kkie formulates its fragrances using carefully curated ingredients; including naturals and safe synthetics from Givaudan, Firmenich and more.

The first mini album from kkie is ‘BASE’, it is dedicated to all the quiet moments as every track from this EP is transparent, skin-like and muted. This debut collection includes six fragrances centered around ingredients typically used as base notes in perfumery: sandalwood, cedarwood, white musks, oakmoss, oud and vetiver. I wanted to create something uncomplicated yet still intriguing and enjoyable. They can be worn on their own or as a primer for layering. This olfactory palette is all yours.

Art director: Phong Anh/Frankie
Cinematographer and photographer: The Inner Cheese Studio, Vy Lam, Bánh
3D: Nam Anh Lê
Graphic designer: Phong Anh/Frankie
Editor: Phong Anh/Frankie
Model: Hưng Bùi
Hair stylist/make-up artist: Nolan
Stylist: Mio
Assistant: Trâm Lê

For the second edition of the Heidelberger Stückemarkt festival in 2022, German studio Happy Little Accidents has developed a visual identity based on flat purple surfaces, reminiscent of torn paper, that overlap and interact with the various typographic and photographic elements.

Happy Little Accidents makes perfect use of the potential of the Mint Grotesk family (available at Lift Type), using both small text and headlines. The visual identity is applied to a range of printed media, including program booklets, posters and postcards. The “StüMa” wordmark is custom (Xheighter Condensed is similar).

Challenge Bold and Hobeaux.

World Famous Original is a independent goods store in Portland, Oregon, founded by Ben Goetting.

Among the many items sold online and at the brick & mortar store are an ongoing series of humorous, retro style pinback buttons. The mostly typographic buttons feature a broad selection of vintage and contemporary typefaces.

Felten Shaded and Felten Regular

Cheee Jimbo

Challenge Bold

Challenge Bold

Eagle Bold

Challenge Bold and Hobeaux

Gill Kayo (and the Stiff Records logo which is probably based on Quicksilver)

Felten Shaded and Felten Regular

Hobeaux

Eckmannpsych

Challenge Bold

Felten Shaded

Franklin Gothic and Hobeaux

Franklin Gothic and Opti Sport Script

Freestyle.

Hobeaux and Blimey

Birdmans was a pop-up chicken restaurant in Oslo, that ran from March through September 2019. Their identity was designed by Jonathan Schubert (The Schubert Studio), using a combination of four contrasting typefaces: Clifton from 205TF is used for the logo, and in some logo variants it is paired with Fern Micro from DJR’s Font of the Month Club. For additional typography, the restaurant uses Kvetch (Love Letters) and KH Sober Draftsman (Kern + Hyde Creation Co.) – both used exclusively in capitals.

Cards Against Humanity launched a new product named Clam-O-Naise:

Cards Against Humanity is delighted to announce Clam-O-Naise®, the world's only tangy, garlicky mayonnaise made with real clams! Featuring Cards Against Humanity’s all-new Clam Pack and a free mystery prize submerged deep inside the mayonnaise, Clam-O-Naise is unlike anything you've experienced before.

We worked with a team of professional chefs and food scientists to get the taste just right, and we actually hid a unique prize and a pack of 30 all-new Cards Against Humanity cards inside every jar. Customers can win real pearls, Clam-O-Naise merch, clam-themed vacations, or even a one-of-a-kind Toyota Clamry—and much more.

To expand the world of Clam-O-Naise®, they produced a 19-product line of Clam-O-Merch. Bumper stickers, tees, luxurious Clamjamas—there's something for everyone!

The brand identity was inspired by the retro designs of late-60s and early-70s food packaging. It utilizes the typeface Blimey as a display font and Antipol as its secondary. Sprinkled throughout the site and merch, you'll find Genty and Cheee, alongside other fonts. Everything was designed in-house by the Cards Against Humanity design team.

The nutrition facts and ingredients on the label are set in Obviously.

“Tangy” booty shorts ft. Blimey

“Delicious” hoodie ft. Blimey and Sloop Script. “Nothing Is Real” hoodie ft. Blimey set on a circle.

Ocean tee ft. Decoy

“Eat My Clam” bumper sticker ft. Hobeaux. “Yes We Clam” bumper sticker ft. National Compressed.

Magritte tee ft. Parisienne

“Tangy” and “Creamy” caps ft. Cheee

Smith & Lewarne is a collaborative graphic design and illustration practice based in the southwest of the UK with studios in Bristol and Plymouth. The practice was founded by Jono Lewarne (City Edition Studio) and Stephen Smith (Neasden Control Centre).

The design of the duo’s portfolio website is as colorful as the work it presents. Generous space between images and text prevents work and presentation from merging and overlapping.

The typography combines two contrasting fonts. In headlines, Shrill (Adrien Midzic) turns the dial to 11, while the low-contrast Mint Book (Sebastian Sanfilippo) provides balance in descriptions, subheaders and the menu. It is used in its Bold and Book styles, with occasional faux italics, as they were not yet available. Mint Book recently graduated from Future Fonts, with italics included. To differentiate from the portfolio, body copy text on the About pages is set with Newsreader from Production Type.

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.

The visitor's guide to the exhibition Vision und Schrecken der Moderne for the Friedrich Engels Year 2020 exhibition at the Von der Heydt Museum Wuppertal was typeset in Rasmus and Mint Grotesk.

Your Spot LA is a boutique real estate group in Los Angeles that brings a human-centered approach to the industry.

They worked with art director, graphic designer, and photographer Augusto Piccio (Ancient Future) on the visual identity and brand strategy. He chose Mint Grotesk by Love Letters along with an earthy color palette, noting “we wanted something casual and straightforward but effortlessly elegant.”

Homepage

Laurel Parker Book is a workshop that designs and makes custom books, presentation portfolios, and conservation boxes for artists, photographers, luxury goods houses, agencies, publishers, and public institutions. Since 2008, they have collaborated with artists, publishers, institutions, and luxury houses. Their work is artisanal and entirely handmade in their workshop in greater Paris.

Their website, designed and developed by me, Timothée Goguely, is inspired by the Van de Graaf canon of book page construction, as it appears in Jan Tschichold’s The Form of the Book. The layout is build on a fixed 9×9 grid which adapts to different screen sizes.

The only typeface used is Mint Grotesk from the Belgian foundry Love Letters. It is a typeface that is both rigorous and cheerful, contemporary and rooted in history. Off-white in the background and a range of slightly bluish dark grays for the texts softens the contrast and provides reading comfort, while recalling the world of paper that is dear to the studio.

Projects page

Project page

Infos page

News page (blog)

Blog post

The Right Guys are a group of financial specialists, consultants and investment experts based in Prague. For their branding, we used Apoc as an interesting typeface that held that majestic feel, while looking modern and playful. The logo has been created with Bagnard. Two of its beautiful letters g create an interlinear ligature and a brand symbol – a chain of connections, which then ended up worming a brand pattern used on stationery, club jackets and handkerchiefs. Loosely spaced capitals of Roboto are used in small sizes for the logo and additional information.

On the website, the scribbles are rendered in Rollerscript.

Creative Director / Lead Designer: Anna Sun (Belousova)
Designers: Rebeka Markovičová, Macarena Iara Fernandez
3d Designer: Evgeny Andrianov
See and read more on Behance.

Due to the COVID-19 pandemic, the physical (in-person) year-end show for University of Calgary’s School of Architecture, Planning and Landscape had to be moved online. Whereas in previous years the website served as an info-hub to visit the physical location, this year the works of the graduating class were presented online with profiles and mini-portfolios for each graduate.

A singular weight of Acherus Grotesque by Ufuk Aracıoğlu (Horizon Type) is used as the primary font for the website. Its rounded geometric forms lends itself nicely for the subject matter and content of the site. The wordmark is set in Sebastien Sanfilippo’s Reglo Bold (distributed by Love Letters). Its chunky and geometric characteristics at once compliment and contrast with Acherus Grotesque.

Re-Circulation is the name of The Rhode Island School of Design's 2019 MFA Graphic Design Thesis Exhibition. This show harnesses the diversity of our backgrounds and engages media in different modes of circulation, with a varying range of intention, purpose, scale, and audience. From the exhibition website (check it out!):

All design is essentially an act of circulation, a cyclical practice of knowledge distribution — we read, experience, and interpret. Circulation determines the way an idea is shared, how a message goes out into the world, and how others receive, respond to, and interact with it. Information is transferred from the public, to the designer, and back to the public.

Re-Circulation was designed collectively by the RISD MFA class of 2019. All typography, both in the exhibition and online, uses a single font: Cotham Sans Regular.

TGL and Reglo in use on the poster for Too Cool for School: a fundraiser for young migrants, held at the Trempolino in Nantes, France. TGL 0-16 and 0-17 are digizations of DIN 16 and 17, made by Peter Wiegel, using the GDR names.

The purpose of this evening is to find funds to help unaccompanied migrant children to access schooling. The entrance is free of charge support, the risograph printed poster (by Arnaud Aubry) is for sale, 3 € minimum price, also to raise funds.
A solidarity canteen will be present, all of whose profits will go to L’Autre Cantine. The expression “à votre bon cœur” takes on all its meaning here and at the same time you will undoubtedly spend a wonderful evening on the terrace of Trempolino! A very cool evening, for school! Thank you to the association SAFE which co-organizes this event.

The brand identity and editorial design we designed for Maison Blanche – a new development project by Berkshire Hathaway HomeServices / Rubina Real Estate in the luxury district of Berlin-Charlottenburg – embraced the style and elegance of the surroundings to define its distinctive look.

With the intention to add character and informal elegance to the project presentation, the logotype is based on Bagnard, a distinctive serif type. This choice was also integrated into the editorial design, where the serif fonts appeared neat but legible, printed small or on screen. Georgia is used for body copy, assisted by Proxima Nova.

56 pages printed on uncoated paper, perfect bound with debossed logo on the cover.
Paperboard cover: Gmund Colors Matt 44 300 g/m²
Paper inside: Munken® Polar Rough 120 g/m²
Printing: Gallery Print, Berlin

The publication accompanying the exhibition Planet B – 100 ideas for a new world is a collection of different ideas for a new world – a Planet B. The most visionary artists, designers, architects, writers and futurologists in the world present their political, poetic, odd and radical ideas for a new world. — NRW-Forum

The use of changing layouts, typefaces and font sizes creates a never boring reading experience—almost every page turn surprises. Still, the “navigation bars” on the pages’ sides keep everything together, so the reader won’t get lost. All used fonts are listed in the book’s colophon. Several of them are shown here, and are identified in the respective image captions. The book additionally uses Aileron, Arimo, Astloch, and Junicode (not pictured). See more images on the website of designer Matthias Hübner.

Contributions by Rachel Armstrong, Nelly Ben Hayoun, Ernst Bloch, Stewart Brand, Brad Downey, Kevin Kelly, Ray Kurzweil, Chusz Martínez, Niklas Maak, Lucy McRae, Philippe Rahm, raumlaborberlin, Tomás Saraceno, Space Caviar, Jakob Tigges, Friedrich von Borries and many more.

Published in January 2016 by Verlag der Buchhandlung Walther König
Editors: Alain Bieber & Lukas Feireiss
17.5×24 cm, 240 pages, softcover
Texts in English and German

The text on the cover and the spine is set in Sporting Grotesque.

Body text set in Sporting Grotesque, with italics from Chivo. The headlines are set in caps from Reglo. The serif used for page numbers and subheads is Old Standard.

The big type on the left page is Autopia.

Steps Mono is used for page references (“N on p. 18 / DE S. 19”).

From top to bottom: Sporting Grotesque Gras (running head), the Latin part of Ume Mincho (underlined), Autopia (headline), Steps Mono (subheading), Sporting Grotesque Normal (body text).

The serif used for the texts on this spread is Bagnard.