Htag is a professional magazine published by Références (Groupe Rossel) for the French-speaking Belgian HR community. The design brief called for an editorial identity that would break with the conservative conventions of B2B publishing – using B2C visual codes to produce something genuinely engaging while remaining credible in a professional context.

The typographic system is built around three families that each occupy a distinct register. Right Grotesk drives the display layer: Compact Dark handles the largest headline sizes, while Compact Bold appears in pull quotes, all-caps section headers, and colour-block infographics. Compact Light is used for quotation marks and pagination. The Narrow cuts – Light for bylines and section labels, Bold for feature section titles – introduce optical contrast within the same family and sustain rhythm across the grid.

Newsreader Text sets all running text – chosen for its optical-size calibration at small sizes and its ability to sustain long-form reading while giving the pages a considered, editorial weight.

Silka anchors the identity – logotype, standfirsts, and interview questions – its humanist tone counterbalancing Right Grotesk's geometric rigour. In colour-block encadrés, Silka replaces Newsreader as body copy, visually differentiating these sections from the main editorial flow.

The grid alternates between strict alignment and deliberate offsets, typographic elements breaking the column structure to introduce visual tension. Colour is used boldly – frank, saturated accents punctuating the rhythm of the pages – an unusual stance for a readership accustomed to the conservative visual codes of HR publishing.

Right Grotesk and Right Serif are paired in a program for a play celebrating the 150th anniversary of Teatr Polski w Poznaniu, in a design by Anna Morawiak and Bartosz Włodarczyk:

This major milestone for the people of Poznań became an opportunity to create a unique publication, inspired by the theatre’s red and gold interior and its distinctive form. In its earliest days, the theatre was commonly called “Pieścidełko” – we embraced that spirit in the book’s design and typography. Huge thanks to all amazing people who contributed to this project.

Right Grotesk and Right Serif were designed by Alex Slobzheninov and are distributed by Pangram Pangram. The stage photography in the book is by Maciej Zakrzewski and Adam Brzozowski. The images showing the book itself were shot by Michał Jaszkowski.

Design for the portfolio website of Joe Garner, a multidisciplinary web designer from California.

The website is set in Right Grotesk and Right Didone by Alex Slobzheninov, and Playground​​​​​​​ by Francesca Bolognini and Mat Desjardins, all distributed by Pangram Pangram.

This poster is part of the ongoing poster series about the NBA. It is a personal visual investigation about the slang and expressions by the NBA commentators.

“Click-click, welcome to your Kodak-Moment my friend” is the expression used by the former Indiana Pacer NBA player (and now NBA commentator) Reggie Miller. And it is what Reggie said during the incredible performance and iconic dunk of the Miami Heat player Dwyane Wade in 2009.

I like the SoLow typeface because it can show both expressivity and technicality. Its aesthetic resumes a time of the past that we remember as nostalgic and far away. A time of transition between analogic and digital, films and sensors, prints and screens. To give a swing of modern taste, I used Right Grotesk in its Narrow Dark style for the smaller text.

Kodak moment, D-Wade,

NBA Series, 2021

The 2025 Czech International Student Design Award campaign uses Right Grotesk by Alex Slobzheninov (Pangram Pangram) alongside Helvetica on the website.

The National Award for Student Design was first announced by Design Cabinet CZ in 2008. It builds upon competitions organized by the state institution Design Centre of the Czech Republic from 1991 to 2007.

In the professional designer competitions organized by the Design Centre of the Czech Republic, students also participated from the beginning, primarily submitting their school projects, which were judged in a separate category. As the number of secondary schools, colleges, and universities educating design students grew, so did the number of submitted works.

Mezi—soudy (“Between the Courts”) is a website of the Office of the Government Representative (Kancelář vládního zmocněnce, KVZ), which is a department of the Ministry of Justice of the Czech Republic. It is headed by the Government Representative for representing the Czech Republic before international human rights bodies.

The website has won the prestigious Civil Service Achievement of the Year Award. The portal helps courts, authorities, and individuals easily navigate international human rights law.

The website is set in Right Grotesk by Alex Slobzheninov (Pangram Pangram) for headlines and Helvetica for texts.

Posters for two plays by Marivaux at the Théâtre de la Porte Saint-Martin: Les fausses confidences and La seconde surprise de l’amour, directed by Alain Françon.

Design by Pierre Jeanneau, using Tokyto by Benoît Bodhuin and Right Grotesk byPangram Pangram.

Moksha is a New Zealand-brewed, India-inspired gin brand. Borrowing spices and flavors found in Masala Chai (cinnamon, cloves, cardamom), the gin brand pays tribute to its inspiration through a wordmark pairing the name in both Devenagari and Latin associated with illustrations of a lush jungle.

From a Brand Identity interview with Charlotte Sole, Design Director at Tomorrow:

The wordmark was set in the open-source Le Murmure by Jérémy Landes, using the typeface’s catching beauty. On the bottle, it’s seen flanked by the product name – in Farmacia – and a second wordmark, set in Pancho Devanagari by Indian Type Foundry, which quickly nods to the spirit’s ties to India. Depending on the context, the wordmarks can appear close to each other, and sometimes, are even entangled to create a striking lockup.

On top of the wordmark, Le Murmure is also used across the brand for all titles. These three typefaces are also accompanied by Commuters Sans in all caps for sub-headlines, UI, and introductory paragraphs, and Right Grotesk Wide for all body copy.

When Moksha is only sold in New Zealand (for now), one could ask themself what this Devanagari wordmark is here for besides the obvious answer being exoticism, contributing to the Indian feeling of the brand while only the inspirations behind it are actually linked to the subcontinent.

Illustration by Victoria Garcia, copywriting by Hello Elo, packaging production by Porter, photography by Simeon Patience, and styling by Sam Van Kan.

UKTV is a British multi-channel broadcaster, which, since 2019, has been wholly owned by BBC Studios. In July 2024, UKTV launched its new masterbrand U, which sees its free streaming service transition to U and its free-to-air channels become U&Dave, U&Drama, U&W and U&Yesterday.

From the press release:

UKTV’s Creative team worked in partnership with global brand consultancy Wolff Olins on the design system for the new U visual identity, leading to the creation of over 19,500 assets. The decision was made early on to move away from UKTV Play’s teal logo colour.

Peter Allinson, UKTV’s Head of Design said, “It’s always smart to check how well certain brand elements are performing and what value they bring. We found that the UKTV Play teal colour placed our streaming service among many competitors, while coral was a unique choice not used by other VOD brands. The new colour brings warmth and personality to U, making it the perfect fit for us."

"However, it was important for our free-to-air channels to keep their familiar qualities and beloved personalities. So, we distilled each channel’s identity to a core brand colour that felt familiar and was easy to incorporate into our design system. We also wanted a font that suited our diverse portfolio. We chose the ‘Right’ font family for its diverse range, from Grotesk to Serif to Slab variations, providing variety while maintaining a consistent look across our network of brands.”

The rationale behind the new branding is linked to UKTV’s ambitious growth strategy, which is focussed on supercharging streaming. A key driver of this is connecting and better leveraging the brands within UKTV’s estate. The launch of this new Masterbrand supports this strategy by making it easier for users to navigate both online and on-air. The simplicity of the new U brand architecture also retains the names and equity of the existing channel brands that are well-known and loved across the UK.

Right Grotesk, Right Serif and Right Slab are designed by Alex Slobzheninov and distributed by Pangram Pangram Foundry.

Description of the project by designer Patrick Jakhari Sanders (translated from the Dutch with DeepL):

IJsbeer in een ijsklontje van glas (“Polar Bear in an Ice Cube of Glass”) is a work by writer and activist Sem Deeleman. Her stories and poems often balance between fiction and reality. This book explores the world of steel, grinding tools, police and lawsuits, but focuses mainly on the romance of activism.

The goal of this project was to design a book that not only presents Deeleman's story legibly, but also visually reinforces her activist message. The book had to have the look and feel of an activist manifesto.

The design is strongly rooted in activist aesthetics. The overlapping large texts recall a street full of banners, while the use of kraft material refers to cardboard signs during demonstrations. The shape and typography of the interior are inspired by activist zines. The dust jacket also functions as a poster, with a sentence from the book on the back that can be read as a powerful slogan. There are five different dust jackets, giving the book five unique covers.

IJsbeer in een ijsklontje van glas features a book concept and design by Patrick Jakhari Sanders. The publication is printed on Papyrus RecyStar Rainbow Intens Red paper, with printing and binding handled by Dogan Arnhem. The body text is set in Superclarendon by Typodermic, and the dust jacket in PP Right Grotesk by Alex Slobzheninov and Pangram Pangram Foundry.

The Théâtre de la Porte Saint-Martin is a theater and opera house at 18, Boulevard Saint-Martin in the 10th arrondissement of Paris. Pierre Jeanneau did the art direction and graphic design for the current visual identity. The website was designed by 34studio, with
web development by Artishoc.

The website is set in Text and Display cuts of Right Grotesk by Alex Slobzheninov, available from Pangram Pangram. The overall identity eclectically mixes it with more fonts, see for example two posters featuring Moore and Exposure. For more posters from previous seasons, see the theater’s archives as well as previous posts on Fonts In Use.

Right Grotesk is also used for the logo.

Spark is a Peruvian professional fingerboard brand founded in 2018. Their priority has been to bring a modern and different option to Peru’s culture and scene. Exploring different methods, materials, measures and manufacturing techniques allowed them to create boards with a unique shape and style. Each one of them is made with the same passion and illusion that you feel from the first time you use a fingerboard.

We created a modern brand, simple and with stature to stand out nationally and to be able to compete in the wide foreign market. It also supports the variety of colors and design styles of the boards created in collaboration with different artists.

From the C2A Creative Communication Award:

The C2A is an international awards program, and promotional platform for communication designers, agencies, graphic designers, freelancers, digital media designers, and the worldwide creative community. The most excellent campaigns, creative solutions, and ideas are selected and awarded by the renowned international C2A jury.

The website is set in PP Right Grotesk by Pangram Pangram and Founders Grotesk by Klim.

Seems like, by 2024, everyone has recorded their own podcast. Ubah Bulale, the host of podcast series The Armchair Psychologist, used to have a successful career as a tech recruiter, advising start-ups and F500 companies. But she left her career and went to study to become a family psychologist.

In 2020, The Armchair Psychologist started as a small blog where anyone could ask questions about love and relationships. In 2023, the community grew into a podcast. Ubah launched the first episode with renowned academic Noam Chomsky as a guest. Together with some of the most creative minds of our time Ubah and her guests seek to understand how human emotions work and how to love, work and live in these challenging times.

Their visual identity was designed by Schneider Studio.

The idea of the dynamic logo and identity comes from the concept that the human mind and feelings hasn’t been fully explored yet. It is dually capable of a full range of emotions as well as cognitive load. It’s notably messy and enjoyably complex.

The color palette works perfectly for both the podcast and the community. The monochrome black and white identifies the podcast, the new episodes, while the other colors emphasise the community platform.

As a headline font we picked Right Grotesk by Pangram Pangram. It features many fine details, smooth curves, moderate contrast and slightly unusual anatomy. It works perfectly for important updates, such as new episodes and promos.

The secondary font is Feijoa, Klim Type Foundry’s debut typeface family. Feijoa’s base principle – ‘a straight line is a dead line’ – results in a warm, curvaceous nature of the individual letterforms.

All small texts are set in Suisse Int’l from Swiss Typefaces.

A series of posters by Parisian graphic designer Pierre Jeanneau, made for Joël Pommerat’s theatrical creations Contes et légendes and La Réunification des deux Corées at the Théâtre de la Porte St Martin in the 10th arrondissement of Paris.

Visual identity by CM.SUPPLY for Trppn. On their website, the designers describe the project as follows:

Trppn is a mission to shake up the music industry through a new decentralized community platform. Our task was to give their identity and app a fresh boost and create new ways for them to connect with their audience. We didn't want to create rules right away, so we decided to build a fun tool that let anyone to play around with the trppn look and feel. With vibrant colours and trippy visuals inspired by 90s rave scenes, we hope to inspire the creation of a fresh movement with new possibilities.

There’s not too many family restaurants around these days, but there’s even less like this one. Donatello is a local legend in Warrington, a stalwart of Orford Lane with a reputation that’s almost as big as its two-decade history. While competition has come and gone, Donatello has remained a constant since 1996.

In 2022, the Donatello family expanded to include Don Quattro, a fast-food offering with all the quality customers have come to expect from a Don. As the Don Quattro star rose, a minor refurb at Donatello created the ideal opportunity to refocus the parent brand, polishing one of the jewels in the town’s culinary crown and reminding the young Dons of their place.

The logotype is based on Fragment Glare, customized with a raised O and a stacked LL pair. The accompanying brand fonts are Agrandir and Right Grotesk.

Words by Accompany:

Round and Round is a digital platform that provides Sydney residents know-how and local connections to go circular and further a more sustainable Sydney.

We’re at a tipping point with consumption and waste in Australia. We love to buy the new, the next, the many, and we’re way too good at throwing things away! The latest stats revealing each Australian is producing around 2.95T of rubbish a year. Ow! Each acquisition and disposal we make begetting a black mark on planet earth and big bill in waste services.

This calls for a massive shift in people’s behaviours. It also calls for motivating resources to support and enable more responsible choices and actions.

Round and Round has been developed by Accompany as a tangible commitment and demonstration of our aim to create work that contributes to a better future. We want to drive behavioural change, encourage people to make better choices with their personal consumption and household waste and bring about a social movement that advocates a sustainable agenda.

Words from GrandArmy:

Analog:Shift is the premier purveyor of vintage watches in New York City and beyond. Anchored by their deep, eclectic catalogue of timepieces and obsession with history and storytelling, Analog:Shift is bringing their passion to an ever-growing audience of watch lovers as they expand around the world.

GrandArmy worked with Analog:Shift to construct a 360-degree brand experience, containing an identity platform, visual merchandising system, customer journey packaging design, store design, event design, out-of-home campaign, and brand film—all centered on the intricate, emotional stories that watches tell.

The Brand Identity comments:

The identity takes a systematic approach to capturing Analog:Shift’s multi-faceted audience and goods; beginning with a charming trio of typefaces. [Alex Slobzheninov’s] Right Grotesk by Pangram Pangram Foundry takes centre stage as the primary typeface, with support from Lineto’s Bradford and Milieu Grotesque’s Maison Neue. “Each font in our typeface system has unique merit for its role, but they also all enhance each other when combined,” Creative Director Joe Haddad tells us, backing the prolific family of Right Grotesk alongside Bradford’s nostalgic, storytelling tone and Maison Neue Mono’s mechanical aesthetic.

From Sometimes Always:

Béton is a pop music festival that takes place every summer in the French city of Le Havre. The city went through a long process of revitalisation after the WW2 bombing, hosting a mix of modern urbanism and brutalist architecture that can be found in the buildings such as the Volcano by Oscar Niemeyer, the apartment blocks and St. Joseph church by Auguste Perret, among many others.

The idea behind the graphic work is to explore a rigid grid that emphasises the brutal landscape of Le Havre, paying reference to the ortogonal urban planning, the patterned facades and also the diversity of the artists featured in the festival.

The identity is made with Right Grotesk by Pangram Pangram and Favorit by Dinamo.