Designed by curler Benoît Schwarz-van Berkel for the Swiss national team at the 2026 Winter Olympics, these uniforms merge athletic function with traditional Swiss heritage.

The visual identity relies on BS Staahl, a geometric sans serif initially designed by Arthur Schwarz and Enen Studio for signage systems. On the jerseys, the typeface is applied to the athletes’ surnames and the country identifier “SUISSE,” providing high-contrast clarity against a complex background.

The graphic pattern features motifs from the traditional Edelweisshemd, a historical rural uniform, alongside iconic Alpine imagery such as the Jungfrau mountain range.

Naked Paper is a UK-based paper company specializing in unbleached paper products. The company was originally named Naked Sprout but recently unveiled a complete rebrand designed by Otherway.

Though the press release describes the logo as a “flowing wordmark, inspired by the gentle curve of paper, speaks to softness and simplicity”, it's actually a slightly customized version of Central Type's Piegraf. The open counter shapes have been rounded to further emphasize the visual metaphor of rolls of paper. All in all, it's well-executed though if you look closely at the interior shapes of the K, the customization of the curves is a bit clumsy.

The body copy throughout uses Extraset’s ES Build, whose circular curves nicely complement the wordmark.

New brand identity designed by Lotta Nieminen for the skincare brand Erly. “ERLY was founded by two friends and mothers, Jamie Chandlee and Dr. Hallie McDonald, in order to address growing concern about the influence of the skincare and beauty industry on their young daughters.”

With devices designed to support focus, health, and intentional living, Daylight is reshaping our relationship with technology from exhausting and addictive to energizing and magical. Working with the founding team, we created a design system that strikes a harmonious balance between futurism and nostalgia, digital and analog, the human world and the natural one.

With the rise of ‘dumbphones’ and an array of health-focused devices, people are seeking innovation that brings things back to a healthier, more analog, and more offline lifestyle. Daylight is emerging into this moment with a computing ecosystem built around low-stimulation, blue-light-free screens and a distraction-free OS.

The brand concept is inspired by the path of the sun (solis iter), which is responsible for innumerable biological processes including circadian rhythm (which isn’t disrupted by the DC-1’s amber backlit display). This subtly connects Daylight to the natural world without making the brand feel overtly earthy or hippie. Layouts and key design elements mimic the sun’s path, from headlines set in a diagonal path, to drop shadows that mimic those cast by the sun. Animations are calm and meditative, moving in an east-to-west direction.

A varied typographic palette adds texture and recognition to the visual identity of an already distinct product. ABC Arizona Mix brings the sophistication of a serif without feeling overtly bookish. Dinamo’s ABC ROM harkens back to the past age of tech (before current negative tech stuff like doomscrolling). The wordmark is set in ES Build by Extraset, which feels simultaneously modern (e.g. Dyson) and 1970s nostalgia (e.g. Playmobil).

Enen Studio and Arthur Schwarz designed BS Staahl, a typeface firstly created for Cugy’s middle school signage. In the building, an element can be found everywhere: the barrier. Its shape was the absolute starting point of this design. That element lead to an original proposal for the typeface as this module defined each and every stroke of the typeface.

Staahl is a display typeface with an optical axis to better adapt to its use within its environment. Contrast can be very high or almost not existing.

Architects: Berchier Architectes
Photographer: Guillaume Baeriswyl

The signage of the Geneva Conservatory of Music, located in the heart of the city's cultural and historical center at Place de Neuve, features the carefully designed typeface Cazino, paired beautifully with Didot. The signage is a testament to CHAT&SA’s commitment to creating impactful and refined signage systems for prestigious institutions.

Vogue Singapore, Issue 17 from October 2022 was designed by Michael Harrison (art director) and Jason Thien (designer). It showcases the script typeface Amnezia on the cover, spine, and inside the magazine.

Pictures by Victor Rollet.

The promotional posters for the LG Arts Center Seoul Opening Festival were designed by ant graphics, using Ortank (lo-ol Type) as the Latin typeface, with TlabRetrolife (Tlab Font) for the Hanegul typography.

From lgart.com:

After 22 years of operation, the LG Arts Center will be relocated to Gangseo-gu, Seoul in October 2022, opening under the new name of ‘LG Art Center Seoul’. Newly nestled in Seoul Botanic Park, the LG Arts Center Seoul is designed by world-famous architect Tadao Ando. It is newly opening the LG SIGNATURE Hall, a 1,335-seat performance hall, and U+ Stage, a transformable black box theatre.

Joan Miró: Women, Birds, Stars (호안 미로 : 여인, 새, 별) is an exhibition shown from April 29 to September 12, 2022 at the My Art Museum (마이아트뮤지엄) in Gangnam District, southern Seoul. The accompanying catalog was designed by Good Question.

To harmonize with the symbolic form expression of the work, Good Question used the geometric Ortank (lo-ol Type) as the Latin display font, with italics actively used to support the rough and dynamic impression of the work. The colors yellow, red, green, blue, and black match the wall colors for each section in the exhibition space. Plates of paintings hung on the wall were placed at the top of the pages, while plates of sculptures exhibited on the floor were placed at the bottom of the pages.

Ortank Text is paired with Sandoll Clair Sans for Korean titles. The articles are set in Clair Sans (Korean) and Filson (English), with Sandoll CT Sans Text and Ortank Display used for citations.

In the Name of ♥︎, published by Onomatopee, wishes to reveal the intricacies and problematics surrounding the heart symbol. The book explores how technological, political and historical dominance has impacted the development of communication and our access to (online) information today.

The main text is set in Marya from Margot Levêque, the chapters are a mix of Marya and Bolid from Arthur Schwarz and Maël Bächtold, the bibliography, legends and footnotes are set Hind from Manushi Parikh.

See also the post about the poem of the same title, which uses different typefaces.