Branding and Illustration for Clay & Bean, a coffee shop in Woodford Bridge, London. More than coffee—it’s a space built by the REFAB Team with hand-crafted clay plaster walls, natural materials, and earthy tones. A hub for community, creativity, and sustainability, where high-quality origin coffee meets design rooted in nature. Every detail, from the benches to the counter, was made on-site. The name unites its essence: clay from clay plaster and craft, bean for coffee. The branding reflects these core values—authenticity, sustainability, and inspiration.

Poster for the live audio play and reading performance Trieb.(Punkt)Krieg by Luise Voigt, featuring texts by August Stramm, at the Athanor Akademie in Passau, Germany. An extraordinary project that explores the interplay of language, rhythm, and physicality.

Originally designed for high-end lifestyle contexts – ranging from beauty and fashion to music, food & beverage, interior, and design – the Aquavit typeface was deliberately tested by Manuel Kreuzer in a completely different setting. Its sharp contrasts, crisp edges, and subtle Art Nouveau influences bring a sense of elegance and individuality to the poster, while also reflecting the intensity and fragmentation of August Stramm’s language: sex, seduction, conflict, despair, death. A typeface made for beauty – yet capable of revealing the darker depths.

Butter Baked Cookies + Cakes is a micro-bakery in Seminole, Tampa Bay, Florida. The Butter Baked logo was designed to feel fun and bright – playful but not overly sweet. We wanted it to have a light and airy quality, evoking the feeling of freshly baked treats. The top primary logos take inspiration from frosted cookies, with the drop shadow effect making each letter look like you could pick it up and take a bite.

Beyond aesthetics, versatility was a key consideration. The “cloud” version of the primary logo works well for large-scale applications, especially over images, adding a soft, dreamy feel. Meanwhile, the secondary logos were created with practicality in mind. The circular logos function perfectly as stickers or packaging seals, reinforcing the brand’s handcrafted charm. For embroidery or small-scale applications, the simplest logo (without the drop shadow or sparkles) is the best choice, ensuring clarity while maintaining the Butter Baked identity.

Joshua Jevons Design, in collaboration with Jellyfish, has developed a new brand identity for Siftwell Analytics, an AI-driven healthcare analytics company.

The design combines a bold, refined color palette with the compressed weight of JAF Bernino Sans in all caps, and Arpona, achieving a good balance and clarity.

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.

Nuditi is a brand of handcrafted takeaway cocktails. Their slogan “cocktail socialism” reflects the brand’s mission to make bar-quality cocktails widely available. Nuditi cocktails are enjoyed with friends in the park, at weddings, social gatherings, or just at home after a long day at work. The visual identity and packaging are a tribute to the brutalist aesthetic of the socialist period in the brand’s home town Zagreb.

Base spirits are color-coded. Cocktails based on gin have a blue label, whiskey-based cocktails are green, and so on. The handwritten information on the label gives the packaging a craft touch. It is also functional because the same preprinted label can be used for different bottle sizes.

On the occasion of the exhibition Hanns Kralik – Mensch wie stolz das klingt. Art and Politics at Grafschafter Museum Moers, MWK crafted a compelling hardcover book and campaign. Kralik, a Moers native, endured Nazi persecution, spent time in a concentration camp, managed to escape, contributing to the Resistance and later heading Düsseldorf's cultural department. His diverse artistic legacy, spanning drawings, prints, and political art, includes the iconic Moorsoldatenlied sheet designed in Börgermoor concentration camp. Authored by Diana Finkele, Ulrich Hecker, and Ralf Zimmermann, the 224-page book delves into Kralik's work and poignant life.

The book design exclusively uses type from Floodfonts: the texts are set in Capitana, with quotes using the narrow italics of Ferryman. The lettering on the cover uses a yet unnamed and unavailable typeface in progress.

Studio Size designed the Materra brand for a wellness and wholeness hotel nestled in the vast plains of a rural area. The name Materra, a blend of ‘Mater’ (mother in Croatian) and ‘Terra’ (Latin for soil), symbolizes a nurturing sanctuary deeply rooted in the healing essence of nature. This countryside retreat stands out with a wide range of wellness activities inspired by Eastern traditions to help guests become more self-aware, resilient, and rejuvenated.

Our branding emphasizes minimalism and balance to ensure the visual identity harmonizes with the hotel’s natural surroundings, architecture, and interior design, avoiding sensory overload.

The logo’s vertical lines represent grounding and stability, reflecting the “Back to the roots” slogan that encourages guests to reconnect with nature and themselves. Brand colors are inspired by earth tones to achieve a calming and natural effect, subtly communicating the brand’s essence. The website and TV navigation interfaces are crafted for functionality, with a design that’s aesthetically subtle and non-intrusive. A minimalist wayfinding system employs straightforward illustrations for easy navigation and a smooth guest experience. Motion design, audio branding, and all merchandise feature a seamless and soothing style that captures the hotel’s peaceful and rejuvenating atmosphere.

Dolly and Molly are organic sparkling wines made with the traditional production method, known for the production of Champagne in France. That’s why Studio Size designed a label in the style of the “Old World” wines. Studio Size combined a rich typographic treatment — Academy Engraved and Arpona​​​​​​ with off-white paper, and the logo was applied as a stamp to complete the classic aesthetic.

The third wine in the group is the unfiltered Pep-Nat, made with a similar natural process without added supplements. Since all the wines are organic, we reduced plastic materials in the packaging. Removing the foil wrap from the bottleneck made the bottle more transparent, which is an interesting contrast to the traditional ornamental style of the label.

Caja Cusco, founded in 1988, is embarking on an unprecedented transformation, seeking a more meaningful identity. We have created a new symbol that transcends the individual to embrace community progress, and thus more appropriately conveys Caja Cusco's purpose: to be the catalyst for Peru's business and social fabric through inclusive, sustainable, and decentralized banking.

The logo was designed using Turbine, which combines rounded angles with sharp endings and a square box construction, reminiscent of the new symbol and Inca trapezoidal architecture. The brand communicates using Bai Jamjuree, ensuring consistent graphic identity across all its touchpoints.

The brand’s graphic system is primarily based on tocapus – geometric graphic motifs used in Inca textile art, crafts, and architecture. Tocapus represented belonging to a community and personal identity. From a contemporary perspective, this visual tool allows for a profound connection with the rich millennia-old cultural heritage of Cusco through shapes, compositions, and colors that bring movement to the brand.

This publication is the annual report for the Althingi Ombudsman. Althingi is Iceland’s parliament (and the oldest ongoing parliament in the world). The role of the Althingi Ombudsman is to monitor the administration of the State and local authorities and safeguard the rights of the citizens vis-à-vis the authorities.

Once a year they publish their annual report, which is a public document, but is mostly used by the government, listing the outcomes of the closed cases from last year.

Reykjavík-based design studio Kolofon was tasked with creating a design language for this report and others Althingi Ombudsman produces. Some are laid out by Kolofon, some done in-house via a template – but always true to the design language.

Kolofon comments:

While the report might not look that complicated at first, the need for a diverse typographic layout was important, to convey the different types of information, references to laws, sections and more – which called for the use of a well-designed typeface as the main font. We found the Tuna family while browsing online and it fit the bill perfectly. Both in the ways of being a robust family that could handle our needs well – but also visually. It is paired with Trade Gothic.

Pistor AG is a leading and independent trading and service company in the bakery and confectionery industry as well as for gastronomy and care in Switzerland.

The company sharpened its brand story, revitalised its corporate design and completely relaunched its website. St.Gallen-based agency Die Botschafter have designed and implemented internal and external measures that encourage activity.

Among other things, Tuna is now used for headlines and slogans, in all media. It’s supported by Myriad.

Founded in Istanbul in 1987, Çapa Medical developed into one of the largest wholesalers and suppliers of medical consumables in Turkey during its first 25 years. In 2015, Çapa accelerated its growth through its subsidiary Honnes which produces bandages, disinfectants, and protective clothing. Twelve months later, Honnes launched the consumer brand b-good and entered the B2C business for the first time with a wide range of plasters and bandages.

b-good sales multiplied during the Coronavirus pandemic through the sale of disinfectants, gloves, and face coverings, and expanded into 12,000 pharmacies in 50 countries. In 2022, this was followed by their entry into the manufacture and sale of cosmetic products with the launch of their sister brand b-good care. b-good sets itself apart from the competition by using high-quality, harmless ingredients and not testing their products on animals. The b-encapsulation process patented by Honnes is designed to enhance the effectiveness of the mostly plant-based ingredients.

With the evolution from B2B to B2C business, a revamp and revision of b-good’s visual identity became necessary. For this, the brand could find no better partner than the design studio Just Design FX, whose desks are located in a coworking area of the Meydan shopping mall, in the hip district of Ümraniye on the Asian side of Istanbul.

Agency founder and creative director Merve Gülay chose the neo-grotesque Turbine by Felix Braden (Fontwerk) as their house font, alongside Queens by S. Losch (Kilotype), used on the website and social media channels; the Pink Chicken script font by Gitayogi Irhandi (Scratch Design), used in the web shop and on the packaging; and Duplicate Soft by Miguel Reyes (Commercial Type) on the packaging. All four fonts work together in harmony to create a strong and memorable brand identity.

Breit Biniazan are trail lawyers based in Virginia Beach, United States. The attorneys have secured some of the largest verdicts and settlements in Virginia history. For example $1 billion product liability as a total recovery for the state of Alabama for the Deepwater Horizon oil spill of 2010. From designer Dana Hoeck / dch.design:

Breit Biniazan came to DCH with a clear objective — their new identity should strike a balance between energetic confidence and hardworking dependability. It should help convey their core mission — to push the limits of legal strategy and improve their clients’ lives.

The entire typography is carried by Arpona, supported by its counterpart Arpona Sans. About her typeface selection, Dana Hoeck writes:

DCH created a monogram logo with a bold wordmark to express that balance. The transitional serif typeface Arpona feels both storied and unique. A bright color palette and radiating geometric pattern speak to the firm’s passion and determination. The end result is a powerful brand that challenges the status quo of the industry.

The Coronavirus pandemic has accelerated the digitalization of the economy. For many months, companies and organizations have had to transform and reprogram the way that they work, often looking at ways to work more digitally. And, it is becoming more and more apparent that startups play a decisive role in this digitalization because they understand the needs of small and medium-sized businesses.

The founders of Koppla have developed a platform for tradespeople that digitally map their processes; from time planning to delivery or the recording of defects. Koppla regulates communication between the office and construction sites and delivers important data—across companies and processes—directly to the site management in real time.

The corporate design, website, Instagram posts and Koppla portal are all set in Turbine by Felix Braden, partially combined with Julieta Ulanovsky’s Montserrat. With Turbine’s broad proportions, super elliptical curves and close spacing, it embodies exactly what trades and craftspeople require: stability, precision, harmony and of course, a desire for all things new, as Turbine appeared in 2020.

London based studio Butterfly Cannon has created the designs for Trøve, a new low-alcohol, low-calorie botanical vodka spirit drinks brand. The range taps into the “post-Covid upsurge of interest in a more balanced lifestyle”. In an article on Creative Boom, Butterfly Cannon are quoted:

We quickly realised that what set Trøve apart was their master distiller's obsession with getting every last drop of flavour out of the real fruit used in its production, even if this meant raising a few eyebrows with his botanical combinations.

This insight led to the brand story ‘Fanatical About Flavour’, which is at the heart of all the designs. The glass bottle is angular, smooth, chunky and designed to be easy to hold. Bottles feature an oversized label and a ‘pale blond’ wooden cap.

A few widths of Trade Gothic are used for information, and product names are set in Kontiki. The brand’s logo seems to be based on / inspired by ITC Avant Garde Gothic or Sharp Sans Display No. 2

Founded in 1540 by Ignatius Loyola, and commonly called the Jesuits, the Society of Jesus is a male religious order of priests and brothers in the Catholic Church. There are over 15,000 Jesuit priests, brothers and seminarians worldwide who serve in over 100 nations on six continents.

For the design of their new campaign website Be a Jesuit, the society pairs a gold and red palette with portraits and texts set in Degular and Arpona. The wordmark uses Friz Quadrata.

Juridika is the only Norwegian legal service to offer legal textbooks, updated legal commentary, news, podcasts and articles – all in one place. Juridika also offers digital access to Universitetsforlaget’s legal commentaries and literature, in journals dating back to 1962. The logo is based on Tuna, with a customized ri pair, an omitted dot on the second i, and Tuna Italic for the subline. The website design combines the Tuna family with Source Sans.

Engel&Engel Koblenz commissioned Felix Braden with the design of a corporate identity for Nick Stanztechnik, an established provider of sheet metal, plastic, metal, and stone processing. Nick Stanztechnik is offering services like CNC laser-cutting, punching or punch-nibbling, edging, welding, press-fitting, riveting as individual solutions for customers in a wide range of industries.

The identity represents the first use of Turbine, designed by Felix Braden of Flood Fonts and released in July 2020 with Fontwerk.

Brigette Finley leveraged her background in advertising as the owner and operator of the first official yogahour studio in St. Louis, hosting over 40+ public classes per week, weekend workshops and teacher trainings with both local and nationally recognized teachers. Currently, she’s a householder yogi with a young busy family.

While the logo is based on Grand Slang, the website combines various weights of Arpona Sans with Domaine Display Narrow in roman and italic styles.

Visit this website to see the webfonts in use.