Nestled in Nassau, Bahamas Botanicals is more than a distillery – it’s a tribute to the islands’ lush natural bounty. Since 2008, founders Andy and Juan have turned local plants, herbs and fruits into handcrafted spirits that capture the essence of the Bahamas.

Rooted in generations of Bahamian tradition, the project celebrates native plants long valued for medicine, nourishment, and beauty. By working closely with local farmers and researchers, Bahamas Botanicals transforms this heritage into a source of national pride – much like other countries’ signature spirits. The distillery’s mission extends beyond fine craftsmanship. It’s about empowering local growers, preserving agricultural heritage and building a sustainable future for Bahamian communities and the economy.

Each bottle embodies the islands’ vibrant spirit: sun, soil and sea distilled into a singular Bahamian experience: Bahamian Farming in a Bottle.

Design by Typesense Graphic Design with illustration by Studio Gudulab and Channarong Pherngjanda. Printing by Graficas Vidal & Armadans.

YAS is a nationally recognised organisation for art in all its forms. We give artists space to think about, make and produce their work, and we open our doors to share, show and sell it. Founded in 1977, Yorkshire Artspace provides high-quality, affordable studios for around 170 artists and makers across two Sheffield city-centre sites — Persistence Works and Exchange Place. Alongside this daily creative life, we run a public programme of exhibitions and events that bring contemporary art and craft into view. We also support artists’ development through residencies, crits and access to subsidised facilities.

Design by local design agency Peter & Paul. From print to website, all typography is set in Daria Cohen’s Onlysans (available from Contemporary Type) and Aurèle Sack’s LL Brown, available from Lineto.

Ukrainian urban design agency Urban Reform organizes workshops and citizen consultations to shape the becoming of Ukrainian cities. One of those, which took place in Summer 2025 was centered around the city of Oleksandriia, in Kirovohrad Oblast, the central region of the country.

Urban Reform used graphic design as a mean of mediation before, during and after the event. The identity deployed mixes gradients using colours borrowed from the city and the region’s flag with black and white naive illustration and typography.

The font used for the project is NaN Metrify B, here seen for the first time in a primarily Cyrillic context. NaN Metrify B is a more restrained version of NaN Metrify A. This restrained, quasi geometric persona and the composition making a generous use of diagonals and circles could be recalling East-European constructivism.

mdlrz.fr is the portfolio website of Maud Laronze:

Maud Laronze is an architect and teacher based in Annecy, in the heart of the Alps. These isolated landscapes, from which she hails, are where the wondrous and the immense intertwine, where attention to fragile balances and the interdependencies of life, to a sense of scarcity and making do with what is readily available, are part of everyday life. This legacy is embodied as a core value in her practice, from the act of designing to that of building, through a heightened connection to materials and an approach of working with precision and precision.

The website was designed and developed by Guillaume Constant and Francis Josserand, using Onlysans by Daria Cohen for headlines and Hagrid by Zetafonts for text.

From Roadside Picnic:

We worked on an identity design for the EBS Lobby space. Through its identity, the EBS Lobby is visualized as a sensory space infused with time and movement. The flexible flow and visual rhythm of the space are reflected in the wordmark, ensuring that the EBS Lobby is remembered as an experience.

Space Director | Yun-seo Song at EBS Space Design Department
Project Management, Design | Young-sue Cho
Mood Film Management | Chaemin Lee
Illustration | Paca Kim
Mood Film Motiongraphic | Seunghee Chae
Client | EBS

EBS is a South Korean educational public radio and television network.

The logo is set in Onlysans by Daria Cohen distributed via Contemporary Type; the texts are set in Familjen Grotesk by Familjen STHLM AB for English and Pretendard Variable by Kil Hyung-jin for Korean.

For the fourth anniversary of their CGI practice Contramateria, Rolando Luther hired Sabbath to create a new visual identity for the studio. The roll-out – mostly on Instagram – takes the shape of a series of 3D renders of imaginary objects featuring the identity, as a kind of mise en abyme where the communication about the identity and the identity itself are indistinguishable. Funnily enough, no clear logo can be distinguished.

It features NaN Serf Display Light as the main font carrying the identity, accompanied by NaN Metrify A Compressed Black and General Grotesque Mono Light in places. The sleek, sharp and geometric style of NaN Serf echoes the vert digital undertones of Contraforma's CGI renders. General Grotesque Mono is used for fictional UI elements, as a coding font with a twist.

Quang San Art Museum is the first private art museum in Ho Chi Minh City dedicated exclusively to Vietnamese fine arts. With a growing collection of over 1,600 historically and culturally significant works, the museum offers a rare lens into the evolution of Vietnam’s artistic identity – from the beginning days of Indochine aesthetics to the dawn of contemporary expression.

M — N Associates, based in Ho Chi Minh City too, created the new identity of the museum in 2025. Their concept, “Layers of Contemplation”, draws inspiration from the structure of a painting itself – where canvas, frame, and gesture form a unified whole. For the purpose of the identity, they created a custom typeface, MN QSAM, a sans serif inspired by the museum’s signature architecture – where sharp structure meets quiet elegance. It features an extended set of alternates for its capital, showing interrupted strokes remembering of a painter brush strokes.

On top of their custom font, the identity features the type system NaN Serf Sans (primarily) and NaN Serf (more sporadically). The humanistic sans NaN Serf Sans, with its open counters and high legibility complements MN QSAM perfectly for all running texts, small signs, the website UI… This project shows M — N Associates coming back once more to NaN for fonts with a good support for the Vietnamese language out of the box.

To mark the fifth anniversary of Peter Bankov’s Poster School, designers Mikhail Lychkovskiy and Anastasia Temirkhan are proud to launch a heartfelt creative tribute.

Much like the film Paris, je t’aime, our motion poster anthology brings together twelve graphic designers – all alumni of the Bankov Poster School (BPS). Some teamed up with motion designers, while others animated their own visions, each crafting a unique 8-second poster. No clients. No briefs. No limits. Just pure design freedom and gratitude to the BPS and its values: love of aesthetics, weird cats and tasty fish.

Each piece is a personal ode, a moving image, and a moment of reflection – all celebrating the mentor who shaped our creative paths: Peter Bankov, renowned Czech-based designer and AGI member, whose influence echoes through poster festivals from Toyama to Chaumont. With support from Art Innovation Gallery, for one week – from June 23 to 29 – the project was displayed every hour in the iconic Times Square in New York. These animated posters are not only creative works, but living thank-yous, pulsing with the energy Peter taught us to channel into our craft.

Thanks a million to Contemporary Type for the typeface support.

Here’s a list of the participants with the respective fonts in use:
01 Peter Bankov ft. BC Brief and Helvetica
02 Mikhail Lychkovskiy ft. Onlysans
03 Anastasia Temirkhan × Enrico Gisana ft. Acma, Right Didone, and Fugue
04 Alisa Frolova
05 Elena Byalaya × Seo Hyojung ft. Onlysans
06 Yuliya Ratnikova × Tanya Ermolaeva
07 Ira Goryacheva
08 Anatolie Micaliuc ft. Druk
09 Anastasia Nechiporenko × Vyacheslav Vaganov ft. CoFo Sans VF
10 Nelli Kamaeva ft. Mega
11 Nikita Gavrilenko ft. CoFo Kak and CoFo Sans Mono
12 Olga Severina ft. Alfarn 2
13 Anna Striuk × Ivan Buka

In addition, FL Art Grotesk is used for the layout on the sides of allmost all the works.

Visual identity for What is Music? (WIM), an international music and arts gathering held in the medieval city of Frías, Burgos, over ten summer days. Following the success of past years, the ninth edition will take place from July 18 to 26, 2025.

From the festival’s Instagram (translated):

What is music?

A question that seems simple, but whose answer is infinite. It is also the essence of our encounter: something seemingly simple that encompasses a great complexity.
Following that idea, we break down the WIM into its most essential elements: instruments, nature, outdoors, people, connection, emotion and of course, cold.

From them, these simple figures were born that, however, contain the chaotic, the deep and the indescribable of music.

Although we weren't always clear about the direction when drawing them, we knew that everything was interconnected. WIM is what it is because each of these elements composes it and, at the same time, in each dwell the others. Therefore, we try to represent them integrated, as in an infinite matrioska where the smallest piece is sometimes the largest, and vice versa.

For this common language, which is felt in the nervous system and is not counted in words.

Design by Clara Briones Vedia with illustration by Mabel Esteban. The font in use is Onlysans Bold by Daria Cohen.

Type Thursday Tbilisi is a monthly gathering in Tbilisi for type-lovers from all walks of life and all levels of experience. After a two-year hiatus, the format was revived by Erika Ivashkevich and Adelina Shaydullina, and I had the chance to design a poster and some additional graphics for the June event that took place at Kera Space.

To celebrate the event I decided to use a new playful geometric Onlysans typeface by Daria Cohen (available at Contemporary Type), therefore, the architecture of the letters became the basis for the architecture of the poster.

The work exists as a classic 70×100 cm poster and a tiny A3 version, so it can fit on bulletin boards in cafes and other indoor spaces.

Ben Evans James is a designer-researcher currently working between the UK and Canada. His new portfolio website is set in Onlysans by Daria Cohen (available from Contemporary Type).

I am a designer-researcher whose work explores ways that technologies construct knowledge and produce power, shaping the socio-economic landscapes within which they are embedded. As an interdisciplinary researcher, I draw upon technological cultures, media philosophy, and histories of design. Committed to practices that engage publics directly, my work moves between curatorial projects, documentary films, and written works.

Paper Still Matters was rebranded from a design bookshop into a global creative lifestyle brand. TYPE01 Studio anchored the brand in the idea that people buy into stories, not just books. The strategic, type-led design features bold custom lettering and the quirky yet legible Onlysans – a match made in heaven, elegantly supported by ALT Riviera.

Pennsylvania born brand Saucony started a rebrand in 2024 which seems to still be slowly unvailing. Mainly known in the field of athletics, the brand appears to try to gain a wider reach amid the raise of running as a very mainstream sport and running shoes being more than ever a legitimate item to wear for every day life.

Saucony left their 2007 logo untouched but switched their main typeface to NaN Metrify A. They consistently use its Ultrawide Black Italic and Ultrawide Light Italic as titling fonts, in all caps, as an unsurprising take on the italics for sport / speed genre. Then, they also use Metrify’s Standard width for texts. On rare occasions such as their Run As One campaign, you can see them also using compressed styles of the font. In this particular case, one can spot the consistent italic angle across weights and widths. On their website, Displaay’s Matter features in many places for the UI.

The fonts can be seen used across their website and social media, but also for all the event-specific merch they create, like for the London 10km run in 2024.

Ahead of the 2024 National Council Elections in Austria, Grazer Frauenrat created a brochure titled Frauen*politik im Parteiencheck. The brochure compares the stances of political parties on women’s rights and gender equality, covering key issues such as child care, elderly support, and measures to combat violence against women. Its aim is to equip voters with the information they need to make an informed choice, with a particular focus on regional governance.

See also the previous contribution about the identity of the Grazer Frauenrat.

Missy Magazine lives at the intersection of pop culture, politics, and feminism. Founded in 2008 by Stefanie Lohaus, Chris Köver, Sonja Eismann, and Margarita Tsomou, it has since become a leading voice in independent feminist journalism, publishing six issues a year.

The topics are as diverse as the readership: from trans families, sex work, and the rise of the far right to coding, fat acceptance, and care work. Missy Magazine covers rap, cats, menstruation in horror films, asylum and everyday life, body hair, and the latest TV highlights. The magazine interviews and profiles artists and activists, explore feminist fashion, queer pornography, and spotlight organizations fighting for safe abortion access worldwide.

The magazine’s website is designed by Daniela Burger and Lisa Klinkenberg. Most text is shown in Missy Marguerite, a custom version of Charlotte Rohde’s Marguerite Grotesk. It’s distinguished from the retail version by f r t with horizontally cut terminals and round dots. The logo is based on Impact Nieuw 2016, the wide style from Jungmyung Lee’s series of reinterpretations of Impact. The typographic palette is completed by Daria Cohen’s Zangezi.

Marylia Scott is an influencer who launched her eponymous cosmetics brand in 2024. Her first products were her signature waterproof faux freckles and brow gel. Scott states in one of her videos that she was an art director “in a previous life” and that she rebranded her whole company by herself.

The brand logo is set in Akzidenz-Grotesk Extended in all caps. The brand uses NaN’s Metrify A Gigawide Extrabold for all titles, always in all caps. To accompany it, Newglyph’s Crystal is used in lighter and not as wide styles. The brand employs quite a minimalist branding with hints of neon. The signature red of the logo plays a big role as recurrent accent colour.

It’s always interesting when brand spend the effort using their chosen fonts for the captions or titles of their videos on social media instead of the default app fonts.

Fitbit Ace LTE is a connected smartwatch from the connected tech giant Fitbit in partnership with Google and targeted to a younger audience (and their parents). The case study and ads insist on the counterintuitive take that the watch (a screen) is designed to encourage kids to move more. In the tradition of Fitbit’s products, it's packed with trackers (GPS, heartbeat, accelerometer…), whereas this time the end user (the kid) is not the one having the main access to the data but their parents.

Studio Koto created the dedicated identity and campaign for this new product and worked with NaN to create a headline font based on a bolder and wider weight of NaN Metrify to carry their brand values. The rounded squircle shape of the watch was the inspiration into rounding Metrify in its inside corners. The watch UI uses the same font as most other Fitbit watches since 2015: Seville is a custom version of Atipo’s rounded sans Bariol.

See the launch campaign featuring both the UI and hero fonts:

Visit Koto’s case study for more animated examples.

An overview of the parent app on their smartphone, showing the loved feature of tracking the kid's position at anytime.

A wall inscription that could be seen during the Fitbit Ace LTE launch even in the New York Google Store

The movie title uses Zangezi Condensed.

This was probably one of my most fun projects in 2023. Artist and filmmaker Josefin Arnell approached me for the credits for her new zombie/vampire movie BUURTHUIS II. The story revolves around the infamous community center in Amsterdam Wittenburg that was the crime scene of a mistargeted deadly shooting in 2018.

Director Arnell worked with the community in script writing workshops and included them as actors in her submission for the Prix de Rome 2023. The result is an absurdist political horror movie that deals with gentrification and blood sucking capitalism.

After she approached me, I researched classic horror typefaces that are used in John Carpenter’s movies or other 1980s classics. Typefaces like ITC Quorum, Albertus, Flange or Romic. (ITC Benguiat had to stay home, due to overuse after being prominently featured in Stranger Things). But I included some fresh Future Fonts typefaces by three female type designers I admire. Messer by Inga Plönnigs, Silverspoon by Diana Ovezea and Zangezi by Daria Cohen (f.k.a. Daria Petrova). These fonts were also used by Josefin Arnell in her design for the movie posters, and paired with Zombie Monster by Rayvaldo Rizki Pratama Augusta.

For the subtitles, editor Lukas Heistinger contacted me, asking for a recommendation that is well readable on screen yet able to compete with the exciting typeface in the credits. From several recommendations the freely available closed source typeface Author, designed by Satya Rajpurohit and published at his Fontshare, was the the final choice.

The movie was presented at Prix de Rome 2023 at Stedelijk Museum Amsterdam. More context on the show and BUURTHUIS II can be read at Tangents.art

Movie posters, designed by Josefin Arnell, using Zangezi (stretched), Silverspoon Italic and Zombie Monster.

Credits using both upright and italic styles of Zangezi

Captions by editor Lukas Heistinger, set in Author

Hosted at Somerset House in London, co-curated by Iain Forsyth & Jane Pollard and Claire Catterall, The Horror Show! was a journey to the underbelly of Britain’s cultural psyche. The exhibition presented an alternative perspective on the last five decades of modern British history in three acts – Monster, Ghost and Witch. Recast as a story of cultural shapeshifting, each section interpreted a specific era through the lens of a classic horror archetype with thematically linked contemporaneous, new works and a survey of the counter-culture of the time. We were tasked with designing all 2-D aspects of the show. The graphics inside the exhibition, the marketing, publicity and the catalogue. Each one needed to fit seamlessly with the other and explain the complexity of the exhibition in a sympathetic form.

To accompany the exhibition, The Horror Show! catalogue is constructed with a unique, irregular concertina fold. When closed, this features a “Frankenstein’s monster” face, grotesquely confronting the viewer. Whilst once open and fully extended, it is revealed that the face is made up of photographs of artworks and cultural figures from in the show. This collaged cut-up is a metaphor for British society, consisting of the mainstream and counter-culture, the two constantly pressing and grinding against each other. The back of the catalogue features the main collage used in the publicity for the show, with the addition of a very important key, so that you understand who everybody is in the image.

Once you have opened the catalogue, you are confronted with three sections which, as in the show, are designed completely differently from each other with contrasting typography and paper stocks for each. The Introduction section is dark black and takes its styling from the combined spaces in the show. Monster puts on the stinking clothes of Punk DIY. Ghost is grey and washed out, never fully materialising on the page. Witch is bold, proud, modern and old – daring you to disagree.

The catalogue design needed to refer to the decades in the exhibition – the 70s, 80s, 90s and onwards but also be something very contemporary. This meant a selection of fonts which referred to the era of the ‘feeling’ of each section but were used in a contemporary way. They are thrown up against each other in ugly juxtapositions, symbolising how counter-culture needs to push into the mainstream to change us all and move creativity and society forward. The layouts also referred to this historical context. The Monster section is based on the 70s and 80s and is an updated version of the DIY punk fanzine. Ghost is ethereal, with typography almost not there. Witch is bold, alchemic, and strongly gothic but looks towards the future as much as the past.

The title on the spine brings together Ouroboros, Infidel, Trickster, Nylon & Draylon, Bastard, Virus VujaDe, Terminal Grotesque, Tourette Extreme, and Bradley DJR (for the exclamation mark). The O’s are custom drawn pictograms.

Back cover: “A twisted tale of modern Britain” combines Ouroboros, Serpiente Display, Trickster, and Nylon & Draylon.

Text inside the mouth is set in Combat. The fonts used for the “MONSTER” letters include Ouroboros, Bastard, Trickster, Fleshy Font, and Newspeak

Spread with text set in T1 Korium and Combat. “Freak Scene” combines Gandur Alte with Trickster. Year dates are from Zloy.

The “Ghost” letters are taken from Lapicide and Marian Black. The italic for the text on the ear is from Faust.

More Marian Black and Lapicide, with Melancholia Italic used for captions

Captions feature Faust Italic, upright Melancholia, numerals from Gosna, and Tourette Normal.

The text on the left half of the eye is set in Ni Resolution Blackletter. The “WITCH” letters are from Infidel, Nylon & Draylon, Ni Resolution Blackletter, Virus VujaDe, and Prototype.

Titles feature overlapping letters from Ni Resolution Blackletter and Nylon & Draylon. The byline is in Terminal Grotesque, the text in Larish Alte.

More text in Larish Alte, with initials and page numbers from Ni Resolution Blackletter

Sciences Po, also known as the Paris Institute of Political Studies is a research university located in Paris, France. They have their own publishing house, mostly publishing essays from researchers. They are now launching a bi-annual magazine focusing on the actuality of research, with a political angle. The first issue, released in April 2024, is titled “Une Europe fragmentée ?” which translates to “A Fragmented Europe?”. The many illustrations opening most articles are by Félix de Combat.

The whole first issue of Comprendre son temps is freely accessible as a PDF.

The magazine features a changing typographic cocktail, bringing new titling fonts for each issue while keeping Tekst A and NaN Metrify A (mostly in its Wide subfamily) for texts and sub-headings for all issues. A duo of contrasting sans serifs is sharing the spotlight for this first issue. Bureau Brut's Ostia Antica, in all caps, shows its very classical proportions inspired by monumental inscriptions while Brieface's Falser Grotesk appears very geometric and modern in comparison. The difference of proportion between the very wide round letters in Ostia Antica and quite narrow in Falser, is quite startling.

NaN Metrify is mostly used in its wider versions for all introductory paragraphs and recurring info, grounding the layout with subtle confidence. Teskt, in it A version (for Analog), the only serif of the four typefaces, strikes by its very organic, soft and calligraphic influences in comparison with the three sans serifs. As the text duo, Metrify and Tekst are opposite in their construction, contrast amount, but also in proportions, AAAAA using Metrify in its Wide subfamily while Tekst sports a quite narrow fit.