The Hamilton Hotel has been a local landmark since 1865. Daymark’s rebranding focuses on “recognisable restraint,” moving away from flashy marketing to a timeless, typographic-led style. The identity balances the hotel’s long history with a clean, modern feel across digital platforms and physical details like signage and debossed stationery. By pairing heritage-style serifs with modern layouts and high-quality materials, the new identity reflects the hotel’s journey from a historic colonial building to a premium contemporary destination.

731.52 cm of land is a book by artist Nour Bishouty. The typeface used across the whole publication is Cortese Sans by Mark van Leeuwen, alongside SF Mada by Sultan Fonts for Arabic text.

The publication is presented as follows by Art Metropole:

Building loosely on the form of a pocket-sized travel guide, this artist’s book unfolds into a 731.52 cm wide miniature landscape. Composed of hand-painted and digitally illustrated images stitched together into a continuous sequence, the book includes a poem and short narrative by the artist, an essay co-authored with Daniella Sanader, and an afterword by Heather Canlas Rigg. A sticker sheet featuring animal and plant forms is included as an insert.

Functioning as a poetic visual-textual essay, the book unsettles the familiar logic of travel guides and the explorer’s gaze. It troubles the impulses of sightseeing, navigation, and tourism, while calling into question the authoritative languages of archaeology, botany, taxonomy, and cartography. It emerges from ongoing inquiries in Nour Bishouty’s practice around permission, legibility, and understanding.

Through critical reflections, lyrical fragments, and visual fictions, the book offers a layered exploration of artistic inheritance, colonial spectacle, and epistemic dissonance. It challenges legibility and authority, foregrounding ambiguity, misunderstanding, and refusal as generative strategies.

Brûlant is a new Parisian brasserie occupying a converted fire station in the 10th arrondissement. The design leans into the venue's history with an immersive monochromatic red scheme that creates dramatic impact through layered tones. A custom wordmark made by Arthur Alazard [based on Cortese Black, see the comments] features knife-sharp serifs and a refined circumflex accent, paired with Writer's lighter weights for the menu typography, with support from Switzer. The result is a cohesive system that balances raw intensity with sophisticated restraint, perfectly capturing the experience of dining in this transformed industrial space.

From publisher Victionary:

The Vibrant Artistry of the ’60s & ’70s
What comes to mind when one thinks of the vivid and exhilarating visual world of the 1970s? Is it attention-grabbing lettering and clashing colours, groovy paisley motifs and floral patterns reminiscent of hippie culture, or mind-bending psychedelic visuals that transport one to a different dimension? Funkadelic invites readers to step back in time and witness the audacity and dynamism of an era that embraced individuality and pushed artistic boundaries.

An homage to the graphic design trends and styles that embodied bold expression, cultural revolution, and free-spirited creativity, discover a handpicked selection of visual identities and branding design inspired by the iconic aesthetic of the '70s in a visual treasure trove of inspiration and nostalgia for designers, artists, and era enthusiasts alike.

The type and headlines in the book are set in Oakley by Mark van Leeuwen, accompanied by a yet unidentified typeface [edit: it’s BioRhyme by Aoife Mooney, see comments].

Event poster for the Bassiani 10 Years Showcase at Zhao Dai Club in Beijing. The poster was designed by Pan Haojun’s design studio Bad Preacher:

For the past two years, we‘ve compiled a hefty collection of electronic archives for Zhao Dai Club, as always, keeping the creativity flowing has been an absolute joy and we’re excited to share this happiness with you all, and of course, it goes with our poster picks from picks.

The poster is set in partly distorted Cortese by Mark van Leeuwen.

From CYRO:

Dongker’s debut album, titled Ceriwis Necis, is released in the form of a book carving format, accompanied by cassettes from their respective releases. This collaboration involves Copyright/ Reserved as the publisher and MM Ridho as the copy editor.

Copyright/Reserved adds:

A special cassette + book bundle, published by Extensive Publishing of Copyright/Reserved and Greedydust

We worked with 17 collaborators to create iterations of each song, from poems to play scripts, illustration, coding, creative writings, and even earrings.

This book also contains tour photos, Q&A, mask archive and anecdotes about Dongker and their musical journey starting from its establishment to the release of “Ceriwis Necis” this year.

Offset Print
± 320 pages
Cassette included
Printed in 2 colors Risograph

The publication heavily features the typefaces Cortese and Cortese Sans by Mark van Leeuwen, both in display and body copy applications, along with Old English and Neue Montreal.

From Odd Notion:

Back in 2021, we met Willis Anderson III, a retired chef selling his homemade BBQ sauce at farmers markets. Seeing the potential in his product, we encouraged Willis to apply for our Dream Night initiative, which helps minority-led brands with branding and websites.

Problem:
Willis faced limitations selling only at local markets and desired to tap into the wholesale market. Lack of online presence hindered his growth, and his branding didn’t match his product’s premium quality.

Solution:
We revamped My Daddy’s Sauce, emphasizing its superior quality and fresh ingredients. By creating a user-friendly website with updated product visuals, we facilitated wholesale transactions and connected Willis with a broader customer base.

The project features the display typeface Oakley, published by Mark van Leeuwen, paired with Neue Haas Grotesk. Agency: Odd Notion / Photography: Tim Wright

Visual identity and publication for Atlas, a Fortis residency in Rose Bay, Australia.

Emily Matthews, art director on the project, writes:

From the past to the future, travelling through time to enjoy each moment had or yet to be. Touches of history elegantly remembered into Rose Bay. Vintage sports car, a Paris sojourn, white boucle, and an oil painter’s palette. A drifting memory of a European holiday, driving the coast with the top down, walnut bookshelves and long coffee mornings.

The identity for Atlas combined free-flowing emotive typography with romantic images captured by the acclaimed photographer Saskia Wilson, resulting in a poetic expression of a grand life.

The logotype is set in Magalie (Mark van Leeuwen) and is paired with Untitled Serif (Klim Type Foundry).

From a Brand Identity article on designers Elizaveta Pogossov and Graziela Machado:

Taking inspiration from the space itself – the visual language presents an abstract interpretation of sun-soaked Mediterranean villas – the overall typographic direction is flowing and poetic. At the helm of the identity is a strong and refined logomark which is applied generously across the collateral. Opting for Magalie due to its refined and expressive character, Pogossov explains that the duo “wanted the brand to hark back to the vintage Atlas you grew up flicking through,” but with a contemporary twist. “Magalie did that perfectly,” she adds. “It takes inspiration from classic serifs and calligraphic forms and balances that with an unconventional, playful look.”

This expressive character is further reinforced with Klim Type Foundry’s Untitled Serif. Whilst pairing two serifs can risk clashing or competing, Pogossov explains the thinking behind their cohesive choice. “For Atlas, we chose a very exaggerated, characterful display font as the wordmark and balanced it with the most intentionally-neutral serif text font. As far as serifs go, the two couldn’t be more different (both in their look and purpose), allowing them to comfortably play together.” This clear distinction in their respective applications ensured that the partnership would work without compromising legibility.

Ina Bauer created the scenographic concept and design for the exhibition Auftrag Kunst. Gestalten für die Kirche nach 1945 / Art commission. Designs for the Church after 1945 that is currently on display at Goldschmiedehaus Hanau. Bauer comments:

The exhibition shows various objects of liturgical equipment and once again: The Catholic Church – master of the show.

This project features Cortese (Mark van Leeuwen) as the titling typeface, along with Arbeit (Samuel Oakes) for text.

Despite the chaos, the must-see spots, the food poisoning, and the lost-in-translation moments, the memories of family vacations are preserved in the poorly framed photos and the laughs shared over the pickles encountered along the way.

In Os Hassums, comedian Leandro Hassum embarks on a motorhome journey with his family through the United States and explores the pains and delight of traveling with loved ones.

The show’s identity takes a contemporary spin on the retro and kitsch visuals associated with travel postcards, motorhomes, and motel graphics adding saturated colors and expressive type to their air of faded glory. Each trip stop gets its own type treatment and title card responding to the place's vibe.

The show logo mixes Eubie Script and an extruded version of BN Dime Display. Supporting copy and credits use Fraunces.

Design by Bárbara Abbês, with motion design by Renan Vasconcelos.

Cortese by Mark van Leeuwen is used on the cover of worm, root, wort… & bane. From the website of artist Ann Shelton:

Ann Shelton’s latest book, worm, root, wort… & bane delves into the rich history of plant-centric belief systems and their suppression. Part artist scrapbook, part photo book, part quotography, and part exhibition catalogue, this publication explores the medicinal, magical, and spiritual uses of plant materials, once deeply intertwined with the lives of European forest, nomadic, and ancient peoples.

worm, root, wort… & bane reassembles fragments of historical knowledge alongside the first 19 artworks from Shelton’s photographic series, i am an old phenomenon (2022–ongoing). The plant sculptures photographed are constructed by the artist, who has worked with plants since childhood and long been interested in the history of floral art and its expansive gendered resonances.

The book interior combines headlines in Cortese with body copy in Tiempos (by Klim Type Foundry) and Mikadan (by Typodermic) as well as footnotes in Founders Grotesk (by Klim Type Foundry).

“Carefree Dance Club” is a T-shirt collection released by Japanese denim and clothing brand Edwin in 2023.

The main graphic is set in Oakley Bold and Bold Italic, by Mark van Leeuwen. The Japanese text is custom drawn and/or from an unidentified typeface [it’s AB Polcadot and AB Quadra, see comments].

The Bee Sting by Irish novelist Paul Murray, published by Hamish Hamilton, was shortlisted for The Booker Prize 2023.

From the Reading Guide on The Booker Prizes:

In his hilarious and heartbreaking fourth novel, Paul Murray presents an unforgettable Irish family in the grip of multiple crises: emotional, financial and existential.

Whether you’re new to the book or have read it and would like to explore it more deeply, here is our comprehensive guide, featuring insights from critics, our judges and the book’s author and translator, as well as discussion points and suggestions for further reading.

The book’s title is set in Magalie Bold, with a slightly modified letter i.

The latest Goodbois collection embodies an ongoing journey towards a minimalistic mindset, seamlessly mirrored in the selected typography. It also spotlights a heightened awareness of our planet’s resources.

The lettering on most of the apparel is based on an upright style of Oakley and echoes the form of small rocks, akin to our prominent backprint where diverse stones harmoniously stack, symbolizing mutual support.

As for the second option, we've reintroduced the cherished classic Caxton. This reaffirms our brand’s identity and aligns with themes centered around the organic origins of nature’s elements.

To achieve the optimal cohesiveness for this collection’s CI, we’ve selected the timeless and neutral typeface Neufile Grotesk. This choice contributes to an overall design that is both contemporary and enduring

“Call Me When You Stop Stressing” is the tagline of the late 2022 apparel drop by No Pressure, the merchandise clothing line by YouTuber and influencer Luke Eich.

The typeface used on the hoodies is Oakley by Mark van Leeuwen. T-shirts and caps combine ED Lavonia (with a customized M) by Eko Setiawan and Nellie Display by Break Maiden.

Visual identity for Leslie Jordan's studio album of traditional country hymns, including duets with the likes of Dolly Parton, Eddie Vedder and Chris Stapleton.

Visual identity designed in house at Platoon Records. Album cover, packaging and song visuals are set in my Oakley. The title lettering was designed by me, Mark van Leeuwen, and was derived from the same typeface.

[More info on Discogs]