Identity for the 7th anniversary of studio Demande Spéciale. Optima was used for the Oods (“Office of Demande Spéciale”) logo, and a variant of Neue Montreal was used for the body text.

Celebrating seven years of visible work, even though, in truth, the studio’s practice goes back long before time itself was a concept. Whether seven years or seven centuries, the studio approach remains unchanged. Each project is a piece of a broader story, ever-evolving, a story that has always existed and will always exist beyond the boundaries of the present moment.

They explored the idea of research and archaeology, creating their own relics and assembling an archive of all their work.

Visual identity and website for Origines Art & Collection, realised by Not In Paris Now. OAC is an independent art consultancy agency specializing in the creation, structuring, and valuation of collections.

For its branding, Not In Paris Now used Mosa by Alexandre Créquer and Neue Montreal by Mat Desjardins.

A Designer at the End of the Dream Career is a self-published book reflecting on the non-linear paths designers face as they begin their professional journeys. Developed in the final semester of the Communication Design degree at the Faculty of Fine Arts Lisbon, it explores the symbolic and practical weight of reaching the end of academic life.

The project began with a prompt: “A Designer at the End of…”. Each group completed the phrase in their own way, contributing an eight-page chapter that expressed personal and collective reflections. The task was then to bring them together under a shared theme, The Dream Career: the thrill of starting out, the disillusionment that can follow, and the hope that keeps us moving forward.

A unifying visual identity was created to connect all contributions, drawing from diagrams, maps, and charts as a nod to the soul-searching that shapes every designer's path.

Physically, the publication itself is divided into three interwoven chapters, inviting readers to choose their own entry point—mirroring the unpredictable nature of creative careers. Printed with the faculty’s Risograph machine and fully produced by hand—folded, stapled, and trimmed in the design lab—it was released in a limited run of 100 copies, each with a distinct, tactile quality.

My portfolio is finally online! A two-year journey has come to an end.

This is more than just a website displaying my work—it's a complete rethinking of my philosophy in both web development and branding. Dozens of concepts, variations, and design approaches, created from scratch, led to the result you see today.

I aimed to reimagine classic website templates while maintaining the familiar logic of content exploration and adding my own ideas. This is how elements like the sliding contact panel, the detailed project information panel, parallax and depth-enhancing forms, and many others emerged.

The entire visual language was created to be clean and simple—not distracting, but complementary. Small animations, details, tooltips, icons, micro-effects—everything is carefully considered and an integral part of the system.

A huge amount of time and effort was invested in this project, and I am truly pleased with the end result. I hope you enjoy it as much as I do.

Stari is a partner student project created with Virginia Liu for the Color Theory class taught by Adam Ross at ArtCenter College of Design. This project takes the form of a hypothetical blind box series.

In a realm where ancient craftsmanship meets the cosmos, Stari were born: modern talismans inspired by traditional Chinese knots. Each knot threads together unity, harmony, and boundless fortune, while each color carries its own emotional frequency and symbolic energy. To collect a Stari is to collect a moment of synchronicity, and a small reminder that magic reveals itself when we remain open to wonder.

The identity system uses Neue Montreal by Mat Desjardins as the primary sans serif, grounding the brand in contemporary clarity and structure. Lucy Rose by Ellen Luff introduces elegance and sentimentality, subtly echoing tradition and storytelling. Ohno Softie by James Edmondson is reserved exclusively for the logotype, its rounded, plush forms reinforcing the warmth and playful tactility of the blind box experience.

As a category leader in automotive surface repair, Evercoat’s sprawling portfolio had created a chaotic brand. Hyperquake consolidated the architecture into a tighter, more intuitive structure and streamlined the visual identity through a refreshed packaging system. The transformation was accelerated by a strategic marketing plan powered by social and influencer-led content, performance-driven initiatives, and updated traditional collateral. Together, we brought clarity to complexity—ushering in a more cohesive era for the Evercoat brand.

Set in all uppercase, the modified logotype uses Neue Montreal Medium, a versatile grotesque font that felt right at home in the auto body repair industry for its hard working and understated qualities. The custom O is based on the catalyzation process—the precise filler-to-hardener ratio that activates the product. We refined the mark to highlight this signature detail and reinforce its leadership in the category.

To complement the logo, the packaging system combines multiple weights of Neue Montreal and Transducer—each bringing a strong and no-nonsense vibe to the collateral. Transducer provides strong category cues that was inspired by vintage car ads and livery and speaks to Evercoat’s heritage. Neue Montreal becomes the straightforward, utility font that allows for important detail information to be clearly communicated.

Graffiti doesn’t just live on walls anymore, it lives in feeds. Consumed in seconds, from top to bottom. The title goes beyond a slang term, it reflects how we see and scroll through (sub)culture today: fast, fleeting, and often replaceable.

The first issue of TOP2BOTTOM (T2B) dives 144 pages deep into the Swabian avant-garde stretching from Stuttgart to Lake Constance. What started as an open call for submissions turned into a collective snapshot of the region’s scene, blending community-sent photos with personal field documentation collected over the past two years. It’s an analog response to digital noise, a way to slow things down and document subcultural fragments that might be gone tomorrow. Featuring key actors of the southern scene presented in textual contributions and showcased as four special chapters.

For the typography, I used Aether by DDOTT and Neue Montreal by Pangram Pangram. The magazine has 144 pages measuring 170×240 mm and comes with a thread binding. It was printed in Stuttgart in a limited edition of 100 copies – which sold out within 24 hours. Published via T2B Press.

For more insights visit the project page.

Marimar × Fondazione Franco Albini was born as a shared research project, curated by Simple Flair, exploring the use of natural stone in the work of Franco Albini. A dialogue between material and design, technical expertise and cultural value, intertwining the visions of Marimar and the Albini Foundation in presenting stone as a language of building, a tool of continuity between past and contemporary practice.

The exhibition and booklet use Neue Montreal; the accompanying scriupt typeface is Botanical Scribe.

Studio H is a disco music event that takes place in Brescia, Italy. It aims to revive the true disco music of the 1970s and 1980s for new generations. Studio H is a product by HUMAN, see also this previous post.

The background of the flyers are famous disco music covers (details in captions).

Background: Sylvester – Step III

Background: Cerrone – 3 (Supernature)

Hauss and Raum, the new typefaces by Justin Sloane and Huw D. Williams, in use for display and text for Mitome, the world’s first comprehensive mitochondrial analysis testing kit. On their website, they use Neue Montreal.

Hauss and Raum are living up to their promise as a perfect display and text pairing. The futuristic health testing company, founded by Chris Masterjohn PhD, seeks to put mitochondrial health at the forefront of conversations around energy, cognitive function and aging. The forward-facing clarity of Hauss and the organic cellular forms of Raum fit the job perfectly.

Inspired by Imhotep, the visionary architect of ancient Egypt, Immothep Concept embodies mastery, precision, and timeless architecture. Our studio guided the brand through a complete visual strategy process – building an identity that conveys trust, quality, and durability, the core values of the company.

The logo subtly integrates the symbolism of the pyramids with a compass, a nod to precision and measurement, and the letter I for Immothep. This fusion results in a minimalist and structured identity, reflecting architectural expertise and the strength of construction. A refined color palette and contemporary typography further enhance the brand’s sense of confidence and sophistication.

The final identity positions Immothep Concept as a trusted and distinctive name in the Parisian high-end renovation market. Every visual element, from the logo to the interface design, embodies the brand’s promise: “Your space, reimagined.”

NHL power forward Evander Kane launched his wine brand, Dovetail, with a design reflecting his love of wine and craftsmanship rather than his on-ice feats. Inspired by the Japanese-style dovetail joint, the label evokes precision and harmony. A full-wrap design with die-cut accents showcases innovation in the label while subtly referencing the wine’s name. Across the website, social posts, and launch events, the visual identity remained integrated and balanced.

Design by Studio Pumpo, with creative direction by Monique Gamache.

Christian Fleming Design is a NYC-based set and costume designer interested in “adventurous work that illuminates new perspectives on iconic pieces, imaginative work that is inherently theatrical, and by plays that seem ‘unproduceable’ because they embrace the impossible”.

We are genuinely proud of the outcome of this collaboration. The updated identity and portfolio not only highlight the artistic vision behind Christian Fleming Design, but also speak to the thoughtful and intentional process that shaped every detail. It was a pleasure to work alongside such talented professionals, and the final result reflects the strength of this creative partnership.

This project became more than just a design task. It turned into a dialogue between disciplines, aesthetics, and personalities. Together, we crafted a visual language that feels both timeless and forward-thinking, capturing the essence of Christian’s approach to storytelling through space, texture, and form.

Design and art direction by Artem Shcherban; 3D and motion design by Andrew Moskvin.
All typography is set in Neue Montreal.

Description of the project by the designers of Mocci Studio:

The Four Seasons Montreal art collection was thoughtfully curated to create a surrealistic landscape—an urban garden—within the luxury hotel’s walls.

In collaboration with Claudia Emde of emde agency and the Four Seasons Montreal & Marcus Montreal team, we designed an Art Tours map that guides visitors and guests on a journey through the curated artworks displayed across the hotel’s floors.

The “TERRE” (Earth) tour highlights artworks that embody the theme of nature. It includes Pascale Girardin’s striking sculpture that spans from the 3rd to the 12th floor, alongside Michelle Bui and Evergon & Jean-Jacques Ringuette’s still-life prints, which beautifully capture flowers and natural elements in intricate compositions.

This guide folds neatly into a compact rectangle, making it easy for guests to carry and take home as a keepsake of their artistic experience.

Numinous is a small, design-led branding and identity agency built on one goal: to create powerful brand identities that genuinely connect with people. Not just look good on a screen, but feel real, intentional, and human.

This rebrand is our return to those roots. Its modern design and clean simplicity are anchored by a bold story and a heartbeat behind it. A visual identity that strips away the noise and keeps only what matters: clarity, connection, and purpose.

At the core of the new identity is Neue Montreal from Pangram Pangram. It is a versatile, contemporary sans serif that reflects our balance of minimalism and humanity. Its clean lines and understated presence allow our work, imagery, and messaging to take the spotlight while keeping the brand grounded in a cohesive, recognizable voice.

The website was designed and developed in collaboration with Artem Shcherban, who understood our vision from the start and translated it into an online experience that feels unmistakably Numinous.

We are a small studio, and we like it that way. Staying small means staying close to the work, the strategy, and the people we collaborate with. No layers. No corporate gloss. Just honest collaboration and sharp design.

We set out to create a brand for humans, by humans, and this is it. The strongest identities are not just seen or heard. They are felt.

On my website, text is served by three typefaces: Neue Montreal and Sequel Sans are used for body and headings, while my logo is based on Mettars.

Yes – the website is in Danish, but drop by anyway ;).

Capture your subconscious in ultra-low definition. Wake up, speak your dream aloud in any language, and watch it come to life as a dreamscape in the aesthetic of your choice.

Dream out loud: Dream Recorder is a portal to your subconscious. The magical bedside device catches your nightly visions and plays them back as vivid, cinematic reels. Amsterdam based design and technology based studio Modem designed a device to capture and playback low resolution versions of your dreams. The device is published as a DIY project, from shopping list to buidling instructions.

The device’s typography is sparse yet elegant, using Carta Nueva for both clock interface and product logo. The product website uses JHA Times Now and Neue Montreal.

[More info on Github]

Vision and concept by Modem, with soft- and hardware by Mark Hinch in an industrial design by Ben Levinas and Joe Tsao. The illustrations were made by Alexis Jamet.

Tierra Ignota organizes immersive expeditions to remote locations. In less than a year, it has become one of the key references in its sector. What’s surprising is that from day one, they already had the hardest part: a clear narrative, a defined ethos, an active community, and a powerful visual archive.

The art direction was guided by a very clear principle: don’t compete with the content. Tierra Ignota already had a strong visual and narrative presence. What it needed was a framework, not a stage set.

Within that delicate balance – finding a visual language that felt distinct but didn’t compete, that wasn’t overly minimal or too trendy – typography played a key role. It gave warmth and clarity to the brand without adding noise or relying on decorative tricks.

We combined three typefaces to build this structure. Romie, by Margot Lévêque, brings subtle warmth and a reference to editorial design that supports the project’s narrative voice. Neue Montreal, by Pangram Pangram, provides visual clarity, structure, and a rational foundation that balances Romie’s softness. And to add a technical layer, Nitti, the monospaced typeface by Bold Monday, brings in visual cues from mapping and field note systems. Its 19th-century grotesque heritage introduces a different texture, activating a secondary voice without disrupting the overall cohesion.

We consciously distanced the design from the usual codes of the sector – no NGO greens, no lofty templates, no “ethnic” elements, no handwritten type – and moved toward a set of references that felt more editorial, documentary, and technical. The inspiration wasn’t a travel portal, but a field desk: a place to lay out maps, photos, notes, and records, not in rigid order, but with inner logic.

The color palette followed that same principle. We avoided sterile whites and harsh blacks to prevent unnecessary contrast, letting the photography, the true protagonist on the page, breathe and rise above the brand.

The result is a living visual system, capable of holding the story without interfering. A clear, flexible framework that doesn’t need to be rebuilt with every update – just unfold, like the project it supports.

Crossword is a 2024 feature film starring Sarah Ramos, Harvey Guillén, Aurora Perrineau, and Michael Vlamis. It was directed by Michael Vlamis and written by Vlamis together with Kyle Anderson.

Following the death of their daughter, Tessa focuses on her acclaimed children’s book series, Lily Learns, while her husband, James, attempts to find solace in the daily crossword, but quickly unravels as it takes on a mind of its own.

Poster artwork by YENCE Studio, using Neue Montreal.

From the Austin Film Festival website:

Over the course of one week, Crossword tracks an unraveling couple’s fragile emotional state as they grapple with the death of their daughter. Anchoring by powerful, grounded performances by our two main characters, we feel for both husband and wife as they each attempt to navigate life and marriage in the wake of tragedy. The film is a masterclass in allowing the audience to discover the plot as it unfolds: it never tells us directly what our characters are battling, but it shows us in their every glance.

The tension mounts as the husband becomes increasingly anxious and paranoid, and the wife becomes increasingly frustrated by his antics. As the man, possessed by his own guilt from the fatal accident, devolves into a volatile frenzy, the audience begins to question whether we can trust his version of events. The suspense builds and builds with each eerie incident, culminating in a shocking turn of events that leaves us questioning everything we know about this world and its characters.

The chicken or the egg? That’s not the question. Eggsquisite, on view at Hectare Galerie in Brussels, sidesteps the tired binary debate in favour of branching reflections where the egg becomes a symbol of form, fragility, promise and delight. The e in the o, the yolk inside the white, the softness within and the shell without — everything about the egg speaks to mystery, simplicity, and potential.

Bringing together works by Catarina Silva, Felieke van der Leest, Joohee Han, Kanano Ebisawa, Miki Asai and Xiaochuan Zhang, the exhibition explores the egg as object, symbol and material. Through contemporary jewellery, delicate fragments and organic shapes, Eggsquisite creates a playful and poetic display – somewhere between a nest and a treasure box, rupture and rebirth.

The visual identity, designed by Studio des formes, mirrors the show’s gentle tension between graphic strength and symbolic lightness. The typeface, Collapse by Keussel (published by Blaze Type), balances soft curves with structural clarity. Eggsquisite ran until 14 June 2025.

Studio des formes is a creative design studio established for over ten years in Paris. Their approach is rooted in dialogue and exploration, allowing them to craft original and powerful visual concepts tailored to each context. They work across art direction, graphic design, UX/UI, editorial design, motion design and signage for institutions, companies and cultural organisations.