Harvey is the AI platform tailored for legal and professional services, used by top law firms and in-house legal teams – including A&O Shearman, Reed Smith, Deutsche Telekom, and PwC UK – to elevate their craft and navigate complexity. The brand foundation was shaped by Portland-based studio Geist, working alongside the Harvey founders and brand consultant Shawn Farsai, producing an identity that stands apart in a category full of generic tech tropes.

In June 2025, Harvey launched its first out-of-home campaign in New York – “Practice Made Perfect” – with Geist and Daybreak, where typography carries the entire expression: the wordmark, headlines, and display copy are all set in TWK Ghost (designed by Nolan Paparelli and published by WELTKERN), its refined high-contrast shapes giving Harvey the editorial gravitas of a legal journal while signaling craftsmanship and precision. ABC Diatype by Dinamo is used as a supporting sans-serif for body copy and UI – a measured counterpoint that lets TWK Ghost hold the emotional and visual weight of the brand.

I MAY NOT SEE YOU, BUT JESUS AND THIS CAMERA DOES is a collection of theories, first hand experiences, and found footage discussing the different states of surveillance. From organized mass surveillance to civilian surveillance or, in other words, sousveillance (to observe those in positions of power), this publication showcases the reality of monitoring systems currently in place and their effect on the public.

Texts by Xavier Marquez, @camera_duels, Malte Ziewitz, Kate Palmer Albers, Robin Williams, Gregory R. Brown, Sara Morrison, and Adam Clark Estes.

The typefaces used are Milling and ABC Diatype.

Loyalty programme and identity for the Paul Smith's Collectors Club, designed by agency Limesharp.

A stamp-collecting loyalty programme for British fashion brand Paul Smith, where members build a digital album of over 100 bespoke illustrated stamps earned in-store and online across 20 countries.

The Collectors Club logo is set in Kalice from Claude Type, designed by Margot Lévêque, in both Regular and Italic. It is paired with Paul Smith’s brand typeface Mint Grotesk by Lift Type. Diatype from Dinamo is used for text on the stamps.

Book design for Vom Spazieren, Gehen, Reisen und Unterwegssein, published in 2025 by Transhelvetica.

The author, Walter Hoffmann, is in his 80s and lives with his wife Nagako in the Swiss Alps. Their mindset at this age is simply inspiring. It was such a nice and meaningful project to work on. 180 pages full of humor, life wisdom, and little stories about walking that make you smile (and think).

Printed by Finidr, Ltd.

Tom Ross is an Australian architectural and editorial photographer whose work has appeared in publications including Monocle, Dwell, Wallpaper, and Dezeen. His new visual system was designed to convey credibility, cinematic warmth, and quiet confidence while maintaining an authentic, human quality. This balance is thanks to the use of ABC Diatype by Dinamo, chosen for its precision, it is easy to use beautifully, and enjoyable when intentionally misused. Its balanced geometry introduces subtle tension when layout rules are intentionally bent, creating space for nuance and personality.

Tom’s identity is set exclusively in Diatype’s Medium weight, delivering clarity across print, digital, and motion applications, anchoring the identity, letting the images take centre stage without needing the type to take a backseat.

TITLES is a creative platform that combines AI and blockchain to let artists train and monetize custom models. It prioritizes on-chain attribution, revenue sharing, and artist control. ffforum was tasked to reimagine the TITLES identity, emphasizing refinement and forward-thinking through a sharp typographic system and a simplified mark that conveys luxury and clarity. The idea of the white cube is flipped on its head: the black box becomes an open system for exchange and authorship, where movement and transparency replace rigid ways of making.

ffforum developed three motion systems – Circularity, Multiplicity, and Openness – to anchor TITLES visual identity to its core values. Each system is adjustable to support the seamless promotion of artists, models, and user creations on the platform. These systems extend into simplified static layouts for quicker bursts of promo. By guiding and incentivising the cultivation of relationships with reputable artists, ffforum aimed to elevate the standard of the platform, making it easier to generate high-quality work. This initiative is extended by a spotlight series for visiting prompt artists, that push the artist models to its limits.

We developed the brand identity for TARB, a new hair care brand. Guided by the philosophy of “True And Raw Beauty,” this project explored how to translate nature’s pure, primal beauty into a refined and deliberate language.

With both the Korean and Japanese markets in mind, we sought an aesthetic closer to attitude than visual excess. The direction began with the texture of Eastern minimalism and the quiet discipline of Zen.

We stripped away unnecessary ornamentation and built the packaging with restrained colors and generous negative space. The logo, too, takes its cues from natural forms rather than artificial expression.

To ensure beauty in its raw state is conveyed without exaggeration, we carried the brand’s core values consistently across its visual language and overall spatial experience.

The logo is custom drawn. Nordvest is the brand’s primary typeface, used for headings. On the packaging designs, it’s paired with Arno Italic. The website additionally uses ABC Diatype (English), Sandoll GothicNeo (Korean), and PingFang (Japanese).

Familial Lexicon explores words that exist only within a family – private expressions that outsiders don’t understand. These intimate terms form a micro-language, showing how language grows through shared experience, closeness, and everyday life.

The cover is made from aluminium with an embossing effect.

Designed by Enzygal at Kunstuniversität Linz, making early use of DGM Saffron. Arabic and Armenian text are added in ABC Diatype.

Darlene is a new effects pedal created by Heather Brown Electronicals. Brown describes its voicing as “intentionally neutral. No color, no smear. Just preserved dynamics with rich sustain, natural attack, and silent operation.”

Designed by Graham McClanahan, this pedal goes all-in on typography. Nearly the entire face (!) of the pedal is occupied by the pedal’s name, typeset in Fit. The letters are arranged in a 4×2 grid, with “DARLENE” set in Fit’s Normal width and “COMPRESSION” squeezed into the upper right cell, stretching the typeface to its narrowest, least-readable limit!

The pedal’s dials have labels set on a circle in Avenir Next Condensed. Supplemental information on the side is Heather’s handwriting, digitized!

McClanahan said about the choosing the typeface:

I was actually scrolling Adobe fonts a while back and FIT stood out immediately, so I saved it and played around with it but didn’t really have an application. When I worked with Heather a few months later, we tried a lot of different artwork iterations and nothing really seemed right and then I stumbled upon FIT again. It was my first time using a variable typeface in print so it was a lot trial and error and fun. True to its name it just fits anywhere and has so many possibilities (I probably did over 50 different versions initially because it was so fun). Also this being a compression pedal FIT seemed natural here. Absolutely brilliantly crafted. Something that also worked so well is Heather was hoping to have someway to emphasize DAR on Darlene because of a family member’s nickname that inspired the theme/name of the pedal. This wasn’t really working with the other iterations we went through and we were ready to ditch it but with how flexible the layout possibilities are on FIT it was a huge win to incorporate that in the final. Most importantly David’s typeface carries the design so credit to his brilliance here and I’m excited to see more of what’s to come from him.

As the font’s designer, I couldn’t be more thrilled with this application of Fit… this is the kind of thing it was born to do!

Packaging

Packaging interior

Motherland Productions DMB is a media company in Greece and Cyprus, specializing in full service production across photography, motion, exhibitions and events.

Website and visual identity for A Present Force, an independent design practice founded in 2025.

It is named “A Present Force” because despite the lack of representation in leadership, women are very much a present force in design. We are a female-founded practice based on a collective model, and the majority of our collaborators (illustrators, software engineers) identify as female or non-binary.

Eklips was chosen as our primary typeface, and it’s paired with Affairs and Diatype.

Blok Design has crafted the brand identity for The Frederick, a new bar and grill in the heart of downtown Toronto. Named in tribute to Frederick Henry Herbert, the building’s original architect, The Frederick’s visual language captures the spirit of convivial gathering and understated sophistication that defines the venue.

The identity skillfully balances contemporary boldness and timeless elegance, evoking a space that feels both refined and playfully expressive. The logotype was created with Nord by VJ-Type. Diatype Condensed by Dinamo and Store Norske Leif by Skriftkompani form the supporting typographic palette, each contributing to the restaurant’s distinctive and welcoming atmosphere. Diatype Condensed brings modern clarity and efficiency, while Leif introduces warmth and character, allowing the identity to shift seamlessly between formal and informal contexts.

Echo is Jesse Mockrin’s first museum publication, accompanying her solo exhibition at the Art Gallery of Ontario. Text is set in Sabon Next for its classic readability, with ABC Diatype providing a contemporary counterpoint in marginalia and notes. Warburg-style spreads photographed by Paul Weeks expand on her research, gathering images from Baroque painting to contemporary culture.

Sage Geosystems aims to define an entirely new category within the energy sector. The Houston-based company has developed Pressure Geothermal technology, which harnesses both heat and pressure from beneath the Earth’s surface to deliver grid-scale power and long-duration energy storage.

Their brand new visual identity was developed by Brooklyn-based Alek Blik with strategy firm General Proxy. The new typography uses ABC Diatype and ABC Diatype Mono throughout. The wordmark is based on FM Bolyar Sans.

Sessions is a growth platform for food brands on a mission to bring original food to every part of the UK.

They give their approach to food brands the slogan “Non-Stop Originality”. To reflect this high demand for originality, the London-based creative studio OMSE developed a visual identity featuring a wordmark with a circled S, evoking the logic of trademarks. The circled S is attached to the various food brands they create and support, strengthening the connection between their identity and these brands.

OMSE further defined bold language, colours, a unique photographic approach with ingredients at the centre, and expressive typography to make Sessions stand out. For this, they used Farmacia by Nguyen Gobber to create titles, signage, and slogans, while all further copy is set in Diatype by Dinamo.

To support its core mission, Sessions also established Shelter Hall in Brighton, a dedicated space for testing and exploring new food concepts and experiences. With seven rotating kitchens and two bars, Shelter Hall builds on the visual language of the core identity while retaining a distinct and unique appearance.

Overall communication and visual identity for the Osterfestspiele Salzburg—design by Off Office (Johannes von Gross and Markus Lingemann), with Leonie Seitz and Robin Christopher Körner.

Based in Vienna, Austria, Off Office developed the identity of the annual festival around the use of Millionaire Script and Roman (Altiplano), paired with ABC Diatype (Dinamo). The combination of Diatype’s modern efficiency with the baroque–neoclassical expressiveness of Millionaire, all brought together through remarkably precise and thoughtful typographic composition, perfectly reflects the festival’s ambition:

The festival crosses the boundaries of classical music, featuring a world premiere by choreographer Sasha Waltz and an immersive electro performance.

Spring and Easter stand for the reawakening of life. In this spirit, and with reference to the 2024 festival’s focus on Italy, the design brings marble statues of Roman fountains to life. For the first time, they feel the heat of the sun, the freshness of the water, and—after centuries of rigidity—finally move to the music of the great Italian masters.

The festival was nicely documented by Vincent Forstenlechner and Erli Grünzweil.

Filmoteca d’Estiu is a beloved summer tradition in the city of València. Held in the gardens of the Palau de la Música, the event offers a relaxed atmosphere where classic films, auteur cinema, and recent releases come together. The graphic identity conveys a simple idea—the moment of projection—using typography as an illustrative element to reflect both the intellectual and popular character of the event.

Dazed Maxx is a special new edition of Dazed magazine, created in collaboration with Nike to spotlight the vibrant subcultures of sport across the United States. Edited by athletes Sunny Choi, Bijan Robinson, and Tobey McIntosh, it explores emerging communities in New York, Los Angeles, and Atlanta through interviews, storytelling, and Nike’s AirImagination platform. The issue dives deep into how local sports scenes shape cultural identities, featuring conversations with community leaders and original articles from young local writers. Dazed Maxx is not just about sports but about how creativity, identity, and community intersect through athletic expression.

To celebrate the launch, Dazed is hosting simultaneous drop events in the three cities, offering limited-edition copies, custom merchandise, and immersive experiences that bring the magazine’s stories to life. They use three different typefaces to differentiate the cites: Los Angeles has Respira Black by Sharp Type, a robust yet elegant Rotunda, New York was illustrated with what appears to be ER Univers, and finally Atlanta used Louize Display by 205TF. Blending sport, subculture, and innovation, Dazed Maxx reflects a bold new era of community-driven storytelling and marks the first-ever US edition of Dazed.

Additional fonts in use include Compacta Black (Letraset/Linotype) for the logo and various members of Dinamo’s ABC Diatype for smaller text.

The Museu Terra’s branding and communication design reflect its role as a cultural center focused on sustainability and rural culture, learning from the past to shape the future. Inspired by geological strata, the graphic system symbolizes both the earth’s layers and historical depth. The use of sans-serif ABC Diatype and serif GT Alpina typefaces reinforces this connection across time.

Since its opening in 1988, the museum has evolved into a space that preserves and shares knowledge, fostering reflection on sustainable change from a rural viewpoint. It operates two cultural venues: one rural, one urban.

The name and visual identity are rooted in the metaphor of strata—representing time, land, and legacy—creating a distinct design language that extends beyond the logo.

Hachette has launched Food Lovers Travel, a collection of travel guides dedicated to the best culinary spots worldwide. Fagostudio designed the covers for the first six books: Rome, Seoul, Paris, London, Montreal, and Amsterdam.

The layouts were designed by Hachette. They use My Creative Land’s Roca​​​​​ for the title of this collection, with FinalSix by Type-Ø-Tones for the subtitle and Very Cool Studio’s Gooper for the yellow stickers. The illustrations feature type, too – see the captions for details.

The concept is based on illustrated facades representing these major cities, highlighting their culinary identities, architectural details, local specialties, and lifestyles. Food Lovers Travel aims to turn every trip into a culinary adventure by featuring the best places to eat, whether restaurants, markets, or speciality shops. Eating well is an essential part of the journey.

Eat Amsterdam ft. ABC Gravity (“Wafels”), modified Courier (“Amsterdam”), and more Roca (“Oud Kaas”).

Eat Londres ft. Coney Island (big sign) and Komika Title (small sign)

Eat Montreal ft. ABC Diatype (“Bagels”) and more ABC Gravity (“Traditional Montreal”)

Eat Paris ft. Gooper Italic (“Le Petit Parisien”) and DIN Condensed (“Rue de Cornichon”)

Eat Rome ft. Zing Script Rust (“Trattoria”) and Vampiro (menu board)

Eat Séoul with Hangul lettering