Founded in 1824, Kenyon is the oldest private college in Ohio. With a curriculum rooted in the liberal arts, Kenyon students and faculty aspire to a nuanced understanding of the world and all who inhabit it. The brand utilizes a robust type system to allow for flex across the college’s myriad brand applications, mainly relying on Gothia Serif by Letters from Sweden and Matter by Displaay, with Spezia by Luzi Type and Publico Text Mono by Commercial Type in supporting roles.

From our case study on moth.design:

The brand is anchored by an updated Kenyon logotype. We dropped “College” from the name and worked closely with Nick Sherman to redraw the former Kenyon logotype adding personality and making the mark more usable—particularly at small scales.

A critical component of the brand strategy was solving how to express the Kenyon identity through its many social channels. We crafted a thoughtful approach that allows brand extensions to flex while maintaining consistency across all of the College’s affiliates.

Kenyon had long ago foregone the viewbook and tasked us with thinking about what’s next. Recognizing that we could never tell the Kenyon story as well as the Kenyon community could, we crafted an admissions campaign fueled by student work and voices. Moth led the print suite, but the strategy was executed across video, web, and social channels.

Kenyon’s signature printed book is a journal of curated student essays and creations that help prospective students see the possibility for the kind of intellectual intrigue and curiosity that defines the Kenyon spirit. Ranging from haikus to math equations, and photographs to musical compositions, the pieces themselves and the careful curation paints a vivid picture of the richness of the Kenyon community.

Matter supported by Publico Text Mono for a poster announcing an Internship & Job Fair

Spezia Sans is used in caps from a bold condensed weight as a complementary typeface.

Pengar på fickan (“Money in your pocket”) is a novel by Danish poet Asta Olivia Nordenhof, translated by Johanne Lykke Holm to the Swedish and published by Norstedts as the first edition in their Scandinavian Star series. For the cover design, Stockholm-based Ateljé Grotesk used Gothia Serif for the author name and title, and repeated the info as a frame set in Asfen.