The Fake Nostalgia calendar was created as a collaboration between photographer Hyungyung Jang and graphic designer Jiun Kwon.

Living as a foreigner in Germany heightens photographer Hyun’s sense of continual misalignment with the places she inhabits. Feelings of estrangement from her present surroundings and the unfamiliarity she encounters when revisiting once-familiar landscapes gradually loosen the boundary between memory and reality. Confronted with this disjunction, the artist turns to images rather than physical spaces to construct an imaginary refuge. The places that appear in her work resemble fictional scenes composed from memory, imagination, and fragmented images, rather than direct representations of actual landscapes. This produces an uncanny atmosphere that permeates her photographs and installations.

Her interest in the ways images stand in for reality expands from personal memories to the fabricated natural imagery produced by consumer culture. Calendar photographs, catalog spreads, and decorative objects present standardized images of nature that function as packaged substitutes for the real landscape. Hyun examines how this kind of “regulated nature” (verpackte Natur) circulates between familiarity and strangeness, unsettling and reshaping our sensory experience.

As a graphic designer, Jiun used a combination of Airport Black and Futura Extra Bold for the typefaces in the Fake Nostalgia calendar. Futura Extra Bold is Edwin W. Shaar’s 1952 weight extension of Futura, the geometric sans-serif typeface developed in the 1920s by the German designer Paul Renner. It became widely used in global corporate branding and advertising and came to represent the visual language of industrialization and mass production. Airport Black (c.1943) is the heaviest weight of and a unique addition to Baltotype’s unofficial copy of Futura, functioning as a kind of American, consumer-oriented Futura.

Just as natural imagery in Hyun’s work is consumed as simulated nature rather than an actual landscape, these typefaces also operate within a relationship of originals and reproductions. Image and type share a mechanism of replication that replaces reality, articulating the artist’s concept of fake nostalgia.

We partnered with Mootown, a small family-owned farm in Maharashtra, India, where cows are lovingly raised, known by name, fed the highest-quality grass, and monitored with RFID technology to ensure their well-being.

We set out to reimagine Mootown’s range of dairy products and, most importantly, their hero product – ghee. Traditionally, in India, ghee was used for age-old recipes and sweets. But today’s consumers are adding it to their morning routines – drizzling it on sourdough, sautéing veggies, even blending it into bulletproof coffee. Mootown’s design reflects this shift, positioning it as a fun, everyday essential for a new generation of Indian kitchens.

Typography played a central role in shaping this identity. We paired Solway, with its grounded warmth, and Dela Gothic, with its bold, playful energy, to strike the perfect balance between tradition and modernity. Combined with a pastel palette, custom illustrations, and conversational copy, the result is a brand identity that feels joyful, contemporary, and full of personality.

With an exponential growth in players of all ages, Winchester City Flyers needs a permanent home to continue to support the vision of girls and women’s development and participation in playing and coaching football.

Following their ethos – Every girl has a chance. No girl turned away. – Winchester City Flyers and strategic consultancy Well Thought approached Ana Bea Studio to create a brand identity for their fundraising campaign Get Behind The Goal, which is looking to create the home for female sports in Winchester.

Central to the brief was the idea that the campaign needed to represent and address people of all ages and the strong sense of community that is felt by all involved in the project and in the Winchester City Flyers.

The logo and brand aesthetic take cues from the football universe, making it clear and recognisable. The colour palette draws from the Winchester City Flyers colours making the brand relatable and familiar to the existing supporters, whilst the combination of typography used in the logo is playful and cool, capturing the attention of new audiences.