In the summer of 2020, the image of the Ferenczy Museum Center was rethought, building on the unique and characteristic motif world of Szentendre, placing special emphasis on local values. The unique architectural character that is still known today was formed as a result of the interaction of the exceptional stylistic features of the city’s Dalmatian, German, Hungarian and Serbian ethnicities, which spiced up the art of the artists there.

The activity of researching emblematic symbols is not unique, as it previously attracted artists to the city, such as Dezső Korniss and Lajos Vajda, who laid the foundations of modern Hungarian art. Following in the footsteps of Béla Bartók and Zoltán Kodály, the two defining artists began to explore the formal peculiarities of the houses, signs and everyday objects in the region, mainly in Szentendre and Szigetmonostor, and document them in their own style. The immortalized motifs do not necessarily correspond to the traditional ethnographic definition, as they immortalized countless elementary objects that are primarily formally exciting for an artist.

Summarizing their research activities based on folk traditions, they recognized that Hungary, in terms of geographical and cultural influences and due to its special location, forms a symbolic bridge between the West and the East. Vajda and Korniss, who call themselves bridge builders, started from this insight and created the “Szentendre program”, which was intended to do no less than give birth to modern Hungarian art.

In developing the visual foundations, how and where we positioned ourselves in the museum sphere played a very important role, since Szentendre is a city with a 110-year-old artistic tradition, where both 20th century and contemporary artists play a prominent role. It was important to explore what values ​​we represent and what is the cause we are carrying forward.

The spirit of the bridge builders is represented by many artists who still work here today. Building on the traditions, I continued to search for an appearance that is deeply rooted in the ideas and traditions described by the bridge builders. After many solutions, the emblematic sign depicting a cathedral in Péter Bereznai’s 2015 work entitled In the Middle of Darkness embodied the ideal that is most characteristic of the museum’s mission.

Every brand has a perceptible and an imperceptible part. The imperceptible part includes how the institution communicates, what its PR and marketing activities are like. The imperceptible part includes the image elements and their visual appearances. The most important visual element is the logo.

After stylizing the selected motif and standardizing the typography, the currently used emblem was finalized. The most important visual element of the image is the logo, and the unique visual design language is built around it, which makes the institution easily identifiable. Additional tools of visual language are the shapes, colors, typography, and imagery that originate from the logo. Their unique design and the impact of their appearance are what makes the institution identifiable.

See more images on Behance.

Rotate (formerly Armoz) is a cybersecurity platform designed for SMBs and SMEs. Studio A LINE created a visual identity centered on ‘360-degree protection,’ utilizing a rounded r symbol and a graphic system of rotating dimensional shapes.

The typography balances authority with accessibility. Denton (a warm, high-contrast serif) is used for impactful statements and headlines, providing a human, 'intelligent' feel that deviates from traditional, cold tech branding. It is paired with Matter and Matter Mono, a geometric sans with subtle technical details, used for UI/UX and complex information delivery.

Your new favorite culinary hotspot in Vienna. A truly special place where exceptional cuisine meets traditional Thai food culture. At Thailanna, you’ll find a retreat where Far Eastern flavors and the vibrant bustle of Thai street kitchens come back to life. Larken is the perfect choice for this branding because its elegant, organic curves and strong, contemporary presence reflect both the authenticity of Thai culture and the refined culinary experience offered at Thailanna. The font’s balance of warmth and sophistication mirrors the brand’s essence—inviting yet premium. The logo is in caps from Termina Bold.

In May 2024, Le Labo and dance school 4ème Art presented Diane Tsitera’s piece Mémoires dansantes ou lettre à un jeune danseur (in English: “Dancing Memories or Letters to a Young Dancer” at Le Rocher de Palmer.

In keeping with the reflections and writings of choreographer Maurice Béjart, the visuals I designed for the show refer in particular to this phrase: “Struggle, work and fly away”, represented here with dancer Marius Tsitera, where several movements form a graphic whole.

The photographs of dancer Marius Tsitera are by Reportage sud. The drawings used in this presentation are from my process and were not used for the show’s visual communication. Sherman Display is the main typeface, assisted by Intro Bold.

Design by Principle and KUDOS have designed a website and identity for Chris Shepherd.

Chris Shepherd is a Houston-based chef, restaurateur, and entrepreneur who has been recognized with one James Beard Award, two James Beard Nominations, and “Best Of” list appearances in GQ, Food & Wine, Bon Appetit, Esquire, and many others.

The typefaces used are Degular, Denton, and Store Norske Ja.

This zine was made for a trip to Bolivia in May 2023. Besides being a special memento of the trip itinerary, we wanted the zine to be a practical item that would facilitate access to information (such as phone numbers, addresses, and reservation numbers) in remote places during the trip, where we might not have internet signal to look them up online (which indeed happened frequently).

Maya is a Filipino financial services and digital payments company based in Metro Manila, Philippines.

The logo uses Tuka, a custom typeface designed by Jo Malinis for its brand identity. For their advertising and app, they use Cerebri Sans and Jeko.

Katalin Kopin writes:

Opened in Szentendre in early 2022, PhotoLab is a exhibition space of the Ferenczy
Museum Center that supports the creation of new photographic projects and presents
exhibitions to the public.

The intention behind the creation of this exhibition space is to secure due attention for
to photography in a town where the main focus is on graphical arts.

We seek to represent the diversity of photographic genres, including the use of photography in fine art, conceptual and experimental art, as well as documentary
photography.

When developing the graphic design concept, it was an important aspect to include the work of representatives of all photographic genres in the design of the visual elements. The encapsulating form of the logo shapes an analog camera, with light passing through its stylized form. The key graphics are based on the reduced forms of the photographic elements that make up the logo. The layout of the key graphic elements and the use of the logotype on the external communication elements refer back to the basics of creating an image, which photography brings to life. The image is built primarily from a combination of minimal elements, which emphasizes the typography and the selected image of the exhibiting artist.

The concept, logotype and graphic design were created by Agnes Herr, using Aventa throughout.

See more images on Behance.

Denton by Peregrin Studio in use for the new high-end photo licensing brand Stills by FM. It’s paired with Aktiv Grotesk by Dalton Maag.

A beautiful showcase of how photography and type can be very powerful when used together.

Brand identity for Study Architects by UK based ShiftWalk studio, who write:

By embracing texture and letting ourselves be inspired by the places and materials that they work with, we were able to create a vibrant and scalable design language that would serve STUDY both offline and online. We leaned into surprising interaction, expressive typography, and editorial layout to help us tell the stories of their stunning architectural work.

The logo is set in Suisse Int’l, while the headline serif used is Denton.

Denton by Peregrin Studio and Neue Haas Grotesk by Commercial Type/Linotype are used for the beautiful branding of independent design/art direction practice of Tomaz Hrastar, Studio Hrastar.

From study case by Born & Bred:

As California’s largest cannabis delivery shifts to verticalization, Eaze sought a new positioning and brand that better reflected their new offering. “Highly Calculated Delivery” is both the tagline and positioning for Eaze’s service, branding, and campaign. The new branding pulls from the intersection of nerd culture and weed culture in an extended series of imaginative scenarios. This brand refresh is the first of a larger shift in the industry. As the market leader, Eaze understands that their objective is no longer to de-stigmatize weed for first-time smokers, but rather, to celebrate weed for those who have already become regular consumers. And now, Eaze is confidently positioning themselves as the lovable weed nerds—experts in data, delivery, and, of course, dank.

While Suisse Int'l Mono is the main typeface used on the website and to write the brand slogan; Aventa is used in bigger size on Eaze advertisement campaign. Open Sans is also used sporadically on the website.

The Jessica Silverman Gallery in San Francisco is an internationally renowned contemporary art gallery with a reputation for curating compelling exhibitions, building artists careers and collaborating with collectors.

Jessica Fleischmann from still room Los Angeles created a new Identity based on a commission of a bespoke, custom Cosi Azure from Nikolas Type which is lowered in contrast for an optimized readability from a distance, while keeping its distinguished and untamed, idiosyncratic shapes.

Cosi Azure got subtle treatments of the letter shapes itself, including a closed S with an alternate glyph version of it, placed on the lowercase s. The Jessica Silverman Gallery logo is made of the alternative glyph palette and got vertically tilted.

Together with Aventa by Ellen Luff for the functional parts of the typographical branding, Cosi Azure will adorn and typographically convey outstanding, culturally relevant art from Judy Chicago, Woody De Othello, Sadie Barnette, Isaac Julien and Hayal Pozanti, to name a few from the exclusive artist representations of the Jessica Silverman Gallery.

Sa’ada is a new water front real estate development in Bahrain. The visual identity and brand design was created at Unisono, using Larken and FS Siena. From the case study:

For the type palette, we are using Ellen Luff’s Larken in headline sizes for its sheer presence. A bold and confident serif typeface design, Larken sails between the rocks of the contemporary and breezy classic worlds with ease. As Ellen would say, Larken is “Designed to reflect nature, it creates a sense of natural softness and expressiveness. We pushed the concept into a usability focused direction, to work as a bold tool and beautiful communicator”. Nicely said. Suited to display sizes, the type design is coupled with Fontsmith’s Siena for smaller sizes. Both type families have a classical DNA thanks to the contrasting strokes in their designs.

As of 2022, the rebrand is in the process of being rolled out.

Logo and corporate design for Zimmerei Neugebauer, a carpentry in Einbeck, Northern Germany.

Craftsmanship, wood, and an aesthetic feel were the key visual aspects that led to Larken (Ellen Luff, 2020) being chosen for this project. In addition, the tradition and the specific clothing of the carpenters are also reflected.

For his personal project “Web Graphic Experiments”, Japanese front-end developer Keita Yamada made a plethora of web animations. In the same shape of a library, we can navigate through his experiments almost infinitely. Typeset in Arges Condensed Black and Aventa, with numerals from Oroban Masuria Italic, the navigation is fluid and baffling.

Belvedere has its own interpretation of professional, creative and alternative work ethics. Breaking from traditional norms and stereotypes that rule the industry. Leading a disruptive path in the advertising and marketing world.

We were asked to create their new brand universe, based on their values. The commission included their website, social media design, campaign designs and corporate material.

The typographic choices are a mixture between a sans-serif and a old-fashioned modern font, used for headlines and text sentences. Aventa by Ellen Luff Type Foundry is paired with Grand Slang by Nikolas Type.

Nervous by Bagas Ardiatma is the script font used by Uniqlo for their international “Every Giving Tuesday” campaign. The retailer announced a commitment to donate to local charities every Tuesday in December, as part of the global Giving Tuesday generosity movement.

I stumbled upon this typeface in an email newsletter by the Japanese clothing brand. As it was not embedded as a font, I had to look it up by uploading a screenshot to the What Font Is website.

The slogan “We stay warm together” uses another font with a handdrawn look: It’s Hackney by Ellen Luff, with slightly widened letterforms.