Ramensky is a Polish manufacturer of fresh noodles for Asian restaurants and fans of Far Eastern cuisine. The company decided to expand its retail offerings, so we had the opportunity to refresh its visual identity and design the packaging for Ramen, Udon, Biang Biang, and Tsukemen noodles. All elements of the new image were created in collaboration with illustrator Kinga Offert.

To meet the challenge, we needed the right fonts. We used NaN Jaune for the brand's logo and as the main font on the packaging, giving it a unique character. We also used the Swear font in our advertising materials, adding a dynamic and playful touch to our ads and branded merchandise. This resulted in a rich and engaging brand universe, inspired by Japanese culture.

Slight Twist is a small Neo-Zelander canned cocktail brand launched in 2024. As of summer 2025, they offer a range of 4 different cocktails.

The visual identity is united by colourful backgrounds with overtone patterns over them, changing for every product – and above all, it’s a very typographical identity. The brand typography, from logo to legal notices, is set in NaN Jaune Midi and Mini. The logo features a modified lowercaser w with crossing diagonals and a slant: a literal twist. In contrast to all other information, the cocktail names are presented at a 90° angle, allowing them to be shown relatively large in ratio to the small area of packaging visible on store shelves.

Tanzhaus Basel is a new artist-run house in the city of Basel, dedicated to dance and performing arts in general. Opened during the summer of 2024, it’s aiming to be anchored in the city and mix social and cultural life together.

Knopp+Kiel delivered their identity, formed by a graphic logo (maybe a T mixed with other letters, or a stylized house?) and a proficient use of NaN Jaune Midi Black for the venue’s name and titles on top of a strong pink and red color combo, maybe only for the first season.

All texts are set using PolySans, converging with Jaune in the direction of friendly/quirky sans serifs, which we can only guess is in order to make the art institution look less pretentious and more affordable. However, the rest of the identity principles, grids and such, remains quite tuned-down, simple and serious, to not overdo it in the quirky direction.

On the Tanzhaus website, to accommodate with the very tight line spacing of headings and the recurring umlauts in German, they devised the clever solution of applying a white/transparent outline on the the text, making the umlaut of a line of text appear cut-out in the bottom of the letters of the previous line instead of simply overlaping.

For the opening of the space, Tanzhaus Basel created a self-made mustard showcasing the identity on the packaging.

From 12 October 2024 till 15 March 2025, Fondation Cartier holds an exhibition dedicated to the work of Colombian textile artist Olga de Amaral. The exhibition showcases 80 art pieces created between the 1960s and today.

Angès Dahan Studio took care of creating the graphics for the exhibition, choosing a strong duo of colours, a light red and a darker purple as the recurring cues of the identity, together with NaN Jaune as the main typeface. It’s featured in its Maxi Bold variant for the title with the distinctive closed appertures on a and e. In addition, the Mini Light and Light Italic styles are used for the exhibition texts and signs as well as for the printed matter like flyers and the album booklet.

On the posters, the glass façade of the Fondation and the cover of the album booklet, the dates of the exhibition are set in the condensed Kapra, in all caps. The wordy logo of the foundation is set in Bell with the brand name in their custom script.

Debuted at Expo West 2024, Copper Cow’s refreshing rebrand, courtesy of their in-house team, encapsulates the speciality Vietnamese coffee company’s confident growth from a DTC brand to a retail-ready fan favourite. In revisiting the brand, they opted for an approach that warmly (and excitedly) embraces the customer head-on, unapologetic, joyful and eye-catching. This call for change also aligns with the brand being in the process of converting the first organic certified coffee farms ever in Vietnam, the world’s second largest coffee supplier.

With this rebranding they switched from Poppins that they used since the brand launch in 2017 to NaN Jaune as their hero typeface, with its equally unbridled form, chunky contrast and character. At the time of writing, Poppins is still the main typeface used on the Copper Cow website. On the packaging, the secondary typeface is Extraset’s Rebond Grotesque, another gestural and whimsical grotesque, while the quieter GT America is used to set all mandatory information in its condensed widths. This brings the number of grotesques used on a single packaging to three.

NYC-based designer Andrew Benjamin Morris worked comprehensively across the identity, art direction, illustration and website of healthcare brand Mindful Health. He harnessed the intersection of healthcare and wellness as an aesthetic and conceptual throughline across the brand. Intending to rid mental healthcare of the negative stigmas still often associated with it, Andrew took a kind, holistic approach to the brand, led by the notion of balance – from its poised logomark, representing the interconnected nature of physical and mental health, to its striking use of type.

Opting for Jérémy Schneider’s voluptuous display font Voyage at the wordmark, Andrew utilised its interplay with the forms, contrast and character of Jérémy Landes’ NaN Jaune as the brand’s primary typeface, to embody Mindful Health’s unique intersection. The visual identity uses its Midi and Mini optical sizes, the latter is used on the website, paired with Source Sans. Its ultimately playful shapes and distinctive ink traps not only bounce off the unrestrained, expressive illustration library to create captivating, tranquil visual spaces but offers the brand a typographic encapsulation of the concept behind it: sincerity and play in balance.

We can’t assess if Andrew realised it when licensing them but the two fonts, on top of sharing a similar approach to the apertures of round letters curling inside to close themselves, were designed by two designers wearing the same first name.

Nonstop Kino is an Austrian subscription service giving access to 23 independent cinemas in Vienna, Graz, Linz, Krems, Freistadt, Salzburg and Innsbruck for a monthly fee. It’s supported by local, state and European subsidies.

Vienna based design studio Bureau F created the colourful identity packed with playful illustrations drawn in-house. It makes an unmoderated use of colorful backgrounds in the semi-pastel tones to divide its formats in rectangular zones, keeping the use of the black color for the typography and illustrations. Not an inch of white is visible.

For the logo, Bureau F went for a customised version of Droulers Italic, skillfully transforming the disconnected italic into a connected script, making the logo a one-word ligature. Titles are set in NaN Jaune Midi Black in all caps, with longer words often splits between lines, using the letters as massive black graphical / building blocks.

The secondary titling typeface, also a sans used in all caps, is Lexend in its lighter weights and with a wide letter spacing, contrasting with Jaune. The final family in use, only seen on their website so far, is Lastik, a condensed Times-inspired serif bringing some welcomed contrast with the two sans typefaces.

Jaune in use for the titles of Une street histoire de l’art (“A Street History of Art”), a book paralleling classical and urban art history, published by Éditions Alternatives, France, 2021.

The book is a collision of epochs and styles. Written by French researcher Cyrille Gouyette, it aims to reveal dialogues between Renaissance masterpieces and street murals.

Alternatives’ resume (translated with DeepL):

Can the artist escape art history? At the turn of the third millennium, urban art synthesises all styles and techniques, blending the image and the written word, the figurative and the abstract. While some urban artists claim references to tradition, others seem to be completely detached from it. Yet, whether unconsciously or deliberately, all of them, through their style, subject and technique, are linked to a history of art that goes back to prehistoric times. The aim of this book is to show, from a vast selection of artists (over 200) among the most emblematic of the contemporary urban scene, how their creations relate to the history of Western artistic creation, where each era finds its corollary in urban art. As well as showing the permanence of subjects that have spanned the centuries, the aim is to explain the formal codes and decipher the artists' modus operandi to show how street artists assimilate and transcend them.

Freight is also in use for smaller text sizes.

Design: Guillaume Pavius (Assistant) & Line Célo
Printing: Dimograf (Poland)
21×23 cm, 222 pages
ISBN 978–2–07–293256–4

Logo, icon and brand identity for “Feel It”, a party series that takes place in Brescia, Italy, since late 2022. While the first four events were held at Areadocks, the most recent party was celebrated at Fam in July 2023.

The ShowBiS festival is plain: twenty shows, in six venues, over two days. It brings together emerging artists from the dance and music worlds. The event takes place in the heart of the city of Nantes, France. The festival is part of this desire to open up and bring together music lovers and curious people.

The entire visual identity was created with NaN Jaune by Studio Triple (Berlin, Germany) and Retail by OH no Type (Oakland, United States). The latter was used in a very easy way. Ohno’s designers like to take a well-known genre and amplify what we love about it.

See more images on Behance.

Stubs are pre-made strong cocktails, sold in cans. The brand distinguishes itself by the high amount alcohol per can (25% alc. by vol) and by the small format of its cans.

To convey this idea of a strong drink in a small receptacle, Best Studio created a very strong and colorful design composed of overlapped fonts with strong colors and the information added as a golden overlay. Although the logo is set in NaN Jaune Maxi Black, the name of the brand also appears as a pattern background on every can, this time set in Digestive, both typefaces designed by Jérémy Landes and sold in their earlier stages through Future Fonts where they might have been ordered around the same time. A lighter weight of Jaune Maxi is used to set the cocktail names and their description, while Lucas Sharp’s Sharp Sans serves the body copy.

Blue vinyl special edition

Artwork designed by French designer Félicité Landrivon for Nightmares on Wax’s new album called Shout Out! To Freedom…, released at Warp Records in 2021. Photography by Benji Reid.

[More info on Discogs]

Vinyl record label

Gatefold (outside)

Back cover

Compact Disc

NaN Success’ first Use, a few months before its official release at NaN, was for the third LP of Berlin-based music artist Helmut called My Interstellar Love Life. The design plays at the intersection of the shiny artworks featuring luscious slugs, the intense colorimetry, organic shapes of Success Titling and glossy paper finish.

We can see some differences between this early version of Success Titling and the one later released at NaN, among the ones the tear-drop shape for the ascenderon the f – which was replaced with a simpler and sharper wedge in the final version.

NaN Jaune Mini was used for credits and small-sized copy.

A very early version of NaN Success Text is used in all caps for the lyrics and end credits in the music video of the track called “Enough”.

Artwork by Lucia Barlanga, typography by Studio Triple, the designers of Success and Jaune.

single record artwork for “Killing”

Vocations et dérives de la typographie libre, 2005–2021 is an essay about open source typography from 2005 to 2021, with a focus on what extent it influenced the font distribution process. It was written within the third year of my Bachelor studies in type design at École Estienne, then printed with school's presses in January 2022.

The titles are made of NaN Jaune, with variable weights from Light to Black. The font was designed by Jérémy Landes and released by NaN in 2021.

Univers Light by Adrian Frutiger (who gave lectures at École Estienne between 1952 and 1960) is used for the running text and the footnotes. It was released in 1957. I think this typeface allows a good contrast with the bold shapes of NaN Jaune typeface.

The choices of bichromy and Nan Jaune makes the booklet a bit more eyecatching than usual academic publications, and sets a hierarchy between the differents contents throughout the layout.

My introduction states:

The open-source community is wide and diverse but usually well studied when it comes to software or programming. Yet open-source typography is fairly overlooked, at least by people who are not type designers themselves.

De la violence coloniale dans l'espace public is the first book of the new Arpentages collection of the young Marseilles-based publishing house Shed publishing, and, as such, the first one to display the collection system developed by Akakir Studio in collaboration with Milène Mahérault.

This first book, written by Françoise Vergès with visual interventions from the artist Seumboy Vrainom :€ works as a decolonial walk through a historic neighborhood of Paris, interrogating the present role of the statues glorifying the colonial and esclavagist past (past?) of the French capital.

This collection makes extensive use of all the three size-specific sub-families of NaN Jaune across titles to captions, while Minotaur by Production Type serves for body copy. The blunt bichromy of the cover, with its bright orange and matte black, the relative big size of the body copy inside of the book and all the typographical choices all contribute to delivering a text far from the (French) academical standards for essays in humanities. We understand the goal of creating books not only dedicated to academics but deeply linked to their contemporary time and diverse public.

The book can be ordered directly from the publisher’s website.

NaN Jaune is featured in a bright orange on this book talking about Québec independence, and the reason why this would make sense to fight climate change. Sentient and Faune are the complementary typefaces for the authors and the subtitle.

Ce qui nous lie (“What binds us together”) was published by Écosociété.

Belgian design collective Moxs created the new identity of the young public theatre La Montagne Magique in Brussels. Created at first by the municipality in 1972, the theatre reopened after a few years of closing, under its new name and direction in 1995 and hasn't closed since.

Moxs created a vivid and playful identity mixing bold colors with photography and illustrations by Yu-Hsuan Wang for the 2021-2022 season. This identity shows once again that one can be playful and talk to/about children without relying on silly and immature tropes. The typographic palette is built using the NaN Jaune Midi and Mini families, from the logo to the body copy, using its broad range of weights and optical sizes to full extent.

Relying mostly on simple grids and rigorous hierarchy, only disturbed by tilted titles inheriting from the logo layout, this identity shows a kind of post-International (Swiss) Design were the main stage is occupied by the typeface, here Jaune, making a bizarre sidestep from the ubiquitous neo-grotesques usually preferred in this graphic design trend.

The 52nd edition of Club des D.A (the French advertising and graphic design award) celebrates top creativity in advertising awards. Designers Charlie Le Maignan, Bettina Comte and Lucas Domingues joined forces to create a unique, bright and bold identity where the message becomes the visual. By creating video loops, they imagined a 100% sharable digital identity. The eloquent result is tailored for social media and screens.

Not surprisingly for an award dedicated to French creatives, they used a selection of fonts born of French designers. Bureau Brut’s Dr (released by Production Type), was inherited from the past years identity of the award by Studio Jumbo, and embodies most of the non-animated information. The variable version of Jérémy Landes’ NaN Jaune is used to full extent as a constantly moving illustrative object.

See the full case study with HD videos on their Behance page.

Parisian ilustrator and graphic designer Aurélien Jeanney consistently uses the couple NaN Jaune and TT Norms as the typefaces supporting his personal identity and the one of his gallery/art shop/publishing house Maison Tangible since 2018.

The couple can be seen accompanying his joyful illustrations on the front sign of his gallery, his website(s), social media, stickers, goodies… The boldness of NaN Jaune Maxi Black reinforces the playfulness and generosity of his illustrative style, the letters being used as proper illustrative, almost haptic elements while TT Norms comes as a friendly geometric counterpart remembering Jeanney's obsession with geometric figures.

Jeanney’s use of weight could be considered as bold on bold, with the blackest style of Jaune being systematically paired with TT Norms bold or black. This might make us remember our childhood illustrated booked in the which lighter styles were scarce. Through his use of bright colors and those fonts, we can see that Jeanney is not here to pretend to be a discreet character.

Le Fooding issued this atypical cookbook as a supplement of their 2018 annual guide of alternative restaurants in France. Long time collaborators of the structure, the AAAAA Atelier realized this layout on steroids, mixing together bold collages illustrating the recipes in their weird way together with a compact use of type.

Together with Avara for the text, this punk cookbook features one of the first drafts of a lighter weight for Jaune, even before the release of the family on Future Fonts. Jaune has evolved a lot since then but the general spirit was already there, especially for the black weight. AAAAA Atelier, trying to push their pulp aesthetic to the maximum, stretched Jaune in every possible way, forcing the contents in the page with a digital crowbar.

Table of contents.