Maldita Envidia (meaning “Damn Envy”) is a Mexican dressing brand whose visual identity, crafted by Guadalajara-based Estudio Cariño, playfully subverts the concept of envy, framing it as a positive drive for culinary discovery. The branding is designed to stand out on crowded retail shelves, drawing inspiration from the high-contrast, hand-painted cardboard signs found in traditional Mexican street markets.

For its brand identity, the studio says:

The graphic identity was developed the same way a dressing is prepared: with small touches—sometimes just a pinch, sometimes bold and dominant.

In order to do that, the wordmark uses Pouler by Alexandre Créquer, with some custom ligatures and a variation on the A for the logotype. In addition, they used Balacar from The Designers Foundry, GT Haptik from Grilli Type, and Quick Writers by Letterhead Studio. GT Alpina carries longer texts.

The News Movement is a social-first newsroom created for a generation that encounters news incidentally rather than intentionally. Founded to serve audiences who care about what’s happening in the world but no longer engage with traditional news formats, TNM sits at the intersection of journalism, culture and platform behaviour.

Rebranded in 2025 by 20Something, the design uses GT Alpina, Brik (Mike Hill) and GT America.

Brnjsmin returns with his long-awaited second album on Verydeeprecords, blending leftfield electronic(a) with bass-driven ambient and not not jazz. A tripping brain dance with a wink for fans of dreamy synths and early Four Tet.

For the artwork and release campaign, Nuremberg-based design studio Complex Pleasures combined line drawings by the artist himself with found images, typographic elements and glossy 3D graphics, creating a unique visual world reflecting the playful approach of the music.

The text is mostly set in Samara Keller’s Tempos Mono. In addition, some glyphs from ABC Maxi Round and LL Fiat77 can be found and the back cover features some customized bits and pieces from CirrusCumulus and GT Alpina.

[More info on Discogs]

From Éditions Pyramyd (translated from the French):

In this optimistic and inspiring essay, Valérie Belmokhtar invites the reader to think about art in today's world. How can we respond to the multiple challenges of the climate crisis? How can we include all creators in the art world?

By tracing the history of art, the author shows that the preservation of resources and the transmission of know-how have been present in the work of many artists for centuries. She draws up an enthusiastic panorama of contemporary creation, presenting the work of men and women whose art can be defined as ecological. Land art, materials recovery, collaborative work: the avenues for reflection are numerous and stimulating.

Titles are set in Sud and body copy in GT Alpina.

Işıl Gün is a Turkish stylist and set designer based in Milan. Each of her projects reflects a sophisticated, eclectic, and irreverent eye, shaped by a unique style that blends retro influences, surrealist elements, bold textures, and strong contrasts—always with an elegant and unmistakable touch.

She partnered with DilloStudio who designed the new identity directly from this coexistence of opposites: a vibrant and varied palette creates unexpected and lively combinations; geometric patterns echo the aesthetics of the 1970s, while surreal compositions mix illustrations, classical busts, animals, and natural stones in a dreamlike, personal language.

The logo features Blackest by Zetafonts, a typeface that merge radical design references with nods to Turkish visual culture. GT Alpina Condensed by Grilli Type and Fragment Mono by Wei Huang are used respectively for headlines and paragraphs.

Design by Mattia Finardi with direction from Marco Fogaccia. Web design and development by Daniele Capelli.

Design between yesterday and tomorrow – branding for the Museum Bezau.

A new chapter for an old building: the former Bezau Local History Museum has been completely redesigned, both architecturally and in terms of content. Past and present now meet in the historic Bregenzerwald farmhouse dating from 1555. A modern extension, designed by Innauer Matt Architects, complements the listed building with great sensitivity. A bridge to the present day has also been built in terms of communication.

Super BfG worked closely with the Bezau Museum Association to develop the new name, image and all communication materials for the museum. The new look is not a loud break with the past, but a quiet opening – respectful of history, but with a clear view to the future. The design picks up on the architectural language: sections, corners and curves of the new wooden façade become a graphic principle. The lettering remains functional and calm – carried by two typographic voices that combine history and modernity. GT Alpina adds narrative depth, while the neutral NN Nouvelle Grotesk lends clarity and simplicity to the overall picture.

A special shade of yellow is at the heart of the colour scheme – symbolising the dawn of a new era. Combined with natural tones such as wood, milk and honey, it creates a visual connection between built space and creative expression. The striking recess in the letter M becomes a recurring element: as a support, frame and point of orientation.

The branding has been consistently applied to a wide variety of media – from folders, postcards and envelopes to exhibition sliders, stickers and tea packaging. The new website rounds off the project digitally: it not only makes the stories of the Bregenzerwald visible, but also brings them to life.

The Film Festival Cologne mainly uses two typefaces. The first is GT Cinetype, whose use was explained by the lead designer of the project, Holger Risse, in an email on May 9, 2025 (translated from the German:

We use GT Cintetype and GT Alpina for text. It’s a perfect fit for a film festival because the Swiss company Cinetype specialized in subtitling film reels. GT Cinetype is based on an engineer’s design for such a machine. A laser applied the text directly onto the film by removing the ink layer.

The second typeface is GT Alpina, designed by Reto Moser and released in 2020. The type foundry Grilli Type describes it as follows:

GT Alpina proudly calls itself a workhorse serif, but delights in playing with the very meaning of that concept. It reaches into the grab bag of typographic history to resurrect shapes some may falsely see as too expressive, resulting in a meticulous family melding these distinct shapes with a pragmatic execution.

This book is a monograph on the contemporary American artist Nina Chanel Abney, who lives and works in New York. It features texts by Richard J. Powell, Thelma Golden, and Jazmine Hughes, plus an interview by Jeffrey Deitch.

The book – hardcover, 309×238mm and counting 280 pages – was published by Phaidon:

Combining representation and abstraction, Nina Chanel Abney’s paintings capture the frenetic pace of contemporary culture. Broaching subjects as diverse as race, celebrity, religion, politics, sex, and art history, her works eschew linear storytelling in lieu of disjointed narratives. Through a bracing use of color and unapologetic scale, Abney’s canvases propose a new type of history painting.

The first definitive monograph on this contemporary American artist presents a collection of more than 300 works, including large-scale paintings, works on paper, sculptures, installations, murals, and commercial collaborations, along with a behind-the-scenes look at the artist’s process. Insightful texts from influential art-world figures and writers underscore Abney’s artistic impact.

Strikingly designed, with an eye-catching acetate jacket, vibrant pages, double gatefolds, and curated inserts, Nina Chanel Abney is a celebration of the artist’s distinctively bold style and innovative approach.

The book uses Neureal Mono by Laura Csocsán for titles, display styles, small captions and page numbers. Running texts are set in GT Alpina from Grilli Type.

Wine label, cap and boxes for Lighthand, a winegrower from Euroa, Victoria. The name is set in lowercase letters from Romie Italic, with a sweeping swash on the final d. Complimentary text is set in all-caps GT Alpina (with Typewriter).

Open-disciplinary design opens up new perspectives by breaking down the boundaries between disciplines and positioning designers in a fluid in-between space. This dialogical process fosters new approaches that not only enrich creative practices, but also provide deeper answers to complex societal issues.

Challenging traditional definitions, this Master’s thesis made by Julia Klass and Corinna Gratzl at HTWG Konstanz explores the dynamics of a design practice where disciplines merge. Designers and experts at the intersections of architecture, scenography, product design, craftsmanship, graphic design, art, and science were visited and interviewed in their work environments. Photographs from this process capture details, moods and traces, enhanced by scans of materials and surfaces.

The resulting dialog illustrates how exchanging perspectives reshapes the role of design today. It also examines whether open-disciplinary work today is driven by a new mindset compared to earlier developments.

The design is guided by the central theme of “opening doors”. Metaphorically, it shifts from “in front of” to “behind” the door, combining two perspectives: the external view highlights structural factors, while the internal view delves into personal insights and introspective reflections.

A publication compiles insights from 13 interviews through quotes and visual material—not to portray individual positions, but to highlight overarching ways of thinking and enable connections.

Find more information on the project website at dialogbeyonddisciplines.com.

The fonts used are GT Alpina (with Typewriter) by Reto Moser for Grilli Type and ALT Riviera by Giulia Boggio for ALT.tf.

In celebration of the 50th anniversary of Nuremberg’s “Kulturläden”, local design studio Complex Pleasures created a colorful book that brings together stories, images and documents from the rich history of socioculture in the city. The book combines individual anecdotes and interviews in an associative way. In our design, quotes, pictures and comic elements complement each other and ultimately lead to the question of the future of cultural work and participation. The graphic design is playful and collage-like and features illustrations by Alex Mages, free arrangements and classic typesetting, using Grilli Type’s GT Pressura and GT Alpina typefaces.

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.

Kluger Hans is a unique literature magazine with a rebellious edge that gives beginning talented writers a change to get published. Each issue has a specific theme that drives the selected content and its graphic translation. Issue #47 focuses on “Confabulaties” or “Confabulations”.

Confabulating is a memory disorder in which a person tells exaggerated, fabricated, or false stories. These untrue stories or fantasies often stem from a dream.

For the cover of this issue, we used the artwork “Anno 2096” by Delphine Somers. The piece depicts a person in a forest, surrounded by monstrous figures. It resembles a scene from a bizarre dream, where fantasies infiltrate someone's memories—perfect for the concept of confabulations. To emphasize the dreamlike quality, we printed the fabrications—and a few extra doodles by Delphine—on top of the artwork in transparent glow-in-the-dark ink. When you got to sleep and the lights go out, the confabulations reveal themselves.

We intergrated the light/dark concept into the interior design by using large black areas with white typography on several title pages.

Featuring stories, essays, and poetry by Hanne Craye, Marcelle Stoutjesdijk, Leonore Spee, Aike Rijntjes, Hagar Schuringa, L.J. de Brouwer, Lieven Stoefs, Keet Winter, Maria Breman, Francesca Birlogeanu, Robbe Ghijsels, Xander Kindt, and Valeria Gordeev, translated by Kees Wallis.

The artists in this issue each engage with our theme in their own unique way. Daan Couzijn explores originality and the question of where ideas come from in the first place. In Delphine Somers’ work, fantasy and history, past and future swirl around each other to create a new narrative world.

Cover of #46 with blue paper saddle

Kluger Hans is a unique literature magazine with a rebellious edge that gives beginning talented writers a change to get published. Each issue has a specific theme that drives the selected content and its graphic translation. Issue #46 focuses on “HET DIER” or “The animal”.

“Kluger Hans is named after a horse that was said to be able to do math, so we should do something with a horse, right?” Of course. “What about saddling the magazine?” Of course. Using die cutting and one printing colour, we designed a paper saddle to fold around the magazine, just like a dust jacket. At first glance, you see some kind of rounded dust jacket, but once you open the magazine, the stirrups become visible and you start to understand the shape. Readers can choose to leave the ‘saddle’ around their copy of Kluger Hans, or unsaddle it so it can graze freely in their bookcases.

For the interior, it’s the animals from an art installation by Felipe Muhr that made the magazine come together. They appear here and there between the horizontal lines of the Granblue font, providing some necessary pops of colour and surprise. The complete arrangement of the installation is on the verso of the cover, showing the true scale of the cardboard figures. Muhr's work is combined with tapestries by artist Elen Braga, which are also appearing throughout the magazine.

Title page with logo illustration by Cara Haverbeke. Kluger Hans was the name of a famous horse around 1900 that was known for its counting skills. Here you can see the stirrup that is folded around the paperback.

The back cover. The names of all the authors in the magazine are stitched together in Granblue.

Title in Nonplus on the spine. The names of the authors run over the spine from back to front or front to back.

The paper saddle that covers the magazine. The two stirrups are folded around the paperback cover. On the front and back of the saddle the magazines logo (banana shaped form) was cut out. Granblue was chosen for this magazine because it resembles the stitching around a leather saddle when used in a long string.

The table of contents provided a perfect opportunity to weave all of the artists names together with the Granblue.

Inside the text is set in the GT Alpina. Titles are set in Granblue with a variety of cardboard animals by Felipe Muhr popping out of the font’s horizontal lines.

Art pieces of Elen Braga compliments Felipe Muhr’s work. Here you can see an interview with the artist.

Corpo Mundo is an aesthetic attempt to understand our environment, through the exploration of diverse writings that question the choreographic experience. Everything is movement within us and around us, from the quantum particle to the Universe. This book attempts to make perceptible through embodied experience this dialogue of energies which make the world permanently become a world.

Each chapter is printed on a different paper with a different ink. Initiated and published by Arrangement Provisoire (lead by editors / choregraphers Jordi Galí & Vânia Vaneau), measuring 23×33 cm, 104 pages.

Spores. Magical Mushroom Photography is a book by Broccoli, an independent, women-led publisher of “unusual delights”:

To see a mushroom is a kind of magic. It is embodied evidence of total serendipity, a beguiling conjunction of time and place, weather and circumstance. It is also evidence of the unseen, thriving life that surrounds us. In this 208-page photographic foray, more than 90 artists capture mushrooms in settings both natural and supernatural—growing on the forest floor, popping up in our homes, gleaming in a fluorescent glow, and arranged like alien flowers. Each image invites readers to look closely, revealing new dimensions of the mushroom’s magic.

Designer Jennifer James Wright used Dahlia as the title typeface, supported by GT Alpina. Cover photo by Matthieu Visentin.

Drawing upon the rich heritage of Jalisco’s agave craftsmanship, ALMAVE infuses centuries of distillation artistry into each bottle of their non-alcoholic Blue Agave spirit. With Iván Saldaña's expertise and Lewis Hamilton's passion for greatness, the brand blends tradition and innovation to create a revolutionary product.

Almave’s brand identity was designed by Industry and Oscar Olivas in collaboration with Copper and art direction from Marrufo. It uses TT Norms (logo and headlines) and Bastardo Grotesk (body copy and social media). The accompanying serif is unidentified. [edit: it’s GT Alpina, see comments.]

The logo is based on TT Norms Black with a bevel effect.

Ciencia y Solidaridad (“Science and Solidarity”), a publication by Aquí Nos Cuidamos gathers the stories of community leaders in Puerto Rico. We highlight the stories of eleven community leaders and how they use science to address the needs and priorities of their communities. The impact of the leaders portrayed in Ciencia y Solidaridad extends beyond their hometowns. They serve diverse communities in different regions of the archipelago, including residents of public housing, the elderly, people with disabilities, and the deaf community, among others. We celebrate their work through an illustrative publication filled with visual references to their projects and stories.

The publisher’s brand typefaces, Libre Franklin and GT Alpina, are used throughout.

About Morgenmete:

Breakfast is our window to the world.

Morgenmete is an independent publisher dedicated to exploring the humor and absurdity of life through the lens of breakfast. We believe in print, and in celebrating the best meal of the day, and we love that breakfast is a topic that speaks to both universal experiences and unique traditions in imaginative ways.

Although Morgenmete takes inspiration from iconic food magazines like Lucky Peach and The Gourmand, as well as industry classics like Bon Appétit and Saveur, we aim to publish stories by contributors who don’t come from traditional food-writing backgrounds. Breakfast is the starting point for our editorial, but our diverse cast of writers, illustrators, and photographers interprets that topic in endlessly creative and varied ways.

About the issue:
Morgenmete’s Always Connected Issue believes the breakfast table is the best lens through which to examine our screen-based culture. It’s hard to get away from being extremely online, and breakfast is no exception. We examine what this means for the first meal of the day with deep stories, tantalizing photo essays, delicious dishes, and plenty of hot takes. Come hungry.

The cover is set with a custom wordmark designed by Tina Smith. Layout design and art direction by Tim Lampe, set primarily in GT Alpina, GT Alpina Typewriter and Freigeist. Cover photography by Ren Adkins.

Parenting is an unpredictable journey, filled with both challenges and moments of pure joy. GoldBug, founded in 1968, is a woman-owned distributor of infant and children’s accessories.

Drawing inspiration from the notion of growth and adventure, Scorpion Rose Studio crafted a brand identity that resonates with modern parents. The logo, typography, and color palette were carefully curated to reflect the brand's commitment to quality and reliability, while exuding a sense of optimism and playfulness. The new logo was designed to pay homage to the previous Goldbug logo which featured a butterfly, as a way to carry the brand’s legacy into this new chapter. Illustrations featuring subtle imperfections and photography highlighting candid, authentic moments, further reinforce the brand's message, capturing the spontaneity and joy of parenthood.

The GoldBug rebrand exemplifies the transformative power of strategic branding in creating meaningful connections with consumers. By embracing the ethos of “Everyday Adventure,” GoldBug has reaffirmed its position as a trusted partner for parents, offering innovative products that enrich and simplify their lives. As GoldBug officially unveils its rebrand, we look forward to seeing the brand continue to thrive and grow, empowering parents to embrace the unpredictable journey of parenthood with confidence and joy.

View the full case study at: scorpionrose.studio/goldbug