DesignStudio reimagined the identity of DNEG, a world-leading visual effects and animation studio. The new branding reflects the company’s cutting-edge creativity and technical expertise. A key element of the identity is DNEG Script, a custom version of Sans Plomb (from Lift Type), developed specifically for titling. It is paired with Attila Sans (from Kometa) for secondary text, creating a balance between bold expression and clarity.

Back Forum is the must-attend event for Back Market’s most committed pros. The brand wanted a powerful identity to create a real community, evoking a club and team spirit, just like the major sports leagues: the Back Market Champions League.

Studio OUAM created the identity for the sellers’ club, drawing inspiration from sports clubs and integrating the brand’s DNA through elements such as a flag, a series of badges and vintage typography based on Sans Plomb (from Lift Type) and Ivar Soft (Letters from Sweden). This identity was applied to a variety of media for the evening, including a personalized checkroom.

The fresh interface design of Amigo & Amigo mirrors the lightness, playfulness and empathy of the interactive light art studio, which specialises in installations for public spaces.

Their website, designed by A Friend of Mine, features vibrant images and videos documenting their work. Sans Plomb appears as the logo and headline typeface next to the expressive Easy Grotesk for body text, supported by Quadrant Text Mono in capital letters for navigation.

Source: www.flickr.com Kit Karzen/Harris for President. License: All Rights Reserved.

The Kamala Harris 2024 campaign identity, designed by Wide Eye Creative, is built around Sans Plomb, a condensed gothic not unlike the Bureau Grot used by Wide Eye for Harris’s 2020 primary bid – in turn inspired by Shirley Chisholm’s 1972 campaign. This time, though, the typeface is from a French foundry, rather than from Anglo-American origins (Stephenson Blake via Font Bureau).

Source: fontsinuse.com License: All Rights Reserved.

The logo for Kamala Harris’ 2020 campaign used Bureau Grot and an atypical asymmetrical layout.

It’s not clear to me why they made the switch. From a design point of view, the caps aren’t significantly different from Bureau Grot. Perhaps they liked the more constructed, “modern” feel? Personally, I would have gone back to Chisholm’s pick, the all-American Franklin Gothic, which has no shortage of contemporary versions for any use case. (At the risk of friendship bias, I recommend the interpretation from Fonts In Use cofounder Nick Sherman.)

The symmetrical layout for “Harris/Walz” is a much more conventional approach compared to Harris’s 2020 logo, which took a different road than most US presidential campaigns. The new look reflects her move to the center (no pun intended) for a broader audience.

Source: www.flickr.com Eric Elofson/Harris for President. License: All Rights Reserved.

Not the best kerning on this rally sign (AY). The font, Sans Plomb Super, doesn’t deliver that big of a gap out of the box, so something went awry in the typesetting.

Source: kamalaharris.com License: All Rights Reserved.

Source: kamalaharris.com License: All Rights Reserved.

Source: store.kamalaharris.com License: All Rights Reserved.

The supporting face for “WALZ”, running text, and other small bits like “YES SHE CAN” merch is Balto, Tal Leming’s contemporary take on the American gothic genre, such as Franklin Gothic and News Gothic.

The Harris web store adds Sara Solskone and Jonathan Hoefler’s Decimal, a continuation of the Biden/Harris 2020 campaign. Seeing Solskone’s name makes me wonder if maybe there was a missed opportunity to also choose a typeface by an American woman for the main mark. For example, Program by Zuzana Licko, or Utile Narrow by Sibylle Hagmann.

Source: store.kamalaharris.com License: All Rights Reserved.

Source: kamalaharris.com License: All Rights Reserved.

The logo used in this web pop-up is the early version before it was redrawn (see below).

Source: www.instagram.com Jonathan Hoefler. License: All Rights Reserved.

A refined version of the Harris/Walz logo (white outline) launched around August 11. The biggest changes were relieving the pinched curve at the top of the S and enlarging “WALZ” just slightly to the left for optical centering.

Hoefler, whose typefaces (or those of Hoefler & Co.) have been part of the logo for “every Democratic president in the twenty-first century”, recently revealed that the mark was refined on August 10–11, a few weeks after its initial launch. The work – which involved some redrawing and better “WALZ” centering – was done by Leming and Scott Dadich under the direction of Wide Eye’s Alayna Citrin.

Hoefler also commented that, “Trump has used Gotham for years, and NEVER bought a license. Color me surprised! We talked to a white shoe lawfirm in NYC about taking action, and was told, with a laugh, ‘take a number.’”

Ironically, it was Barack Obama’s 2008 run that made Gotham (and its lookalikes) a default for US political campaigns, regardless of party. At least Harris is diverting a bit from that 15-year-old trend.

Atelier Choque Le Goff created a colored visual identity based on a pair of expressive fonts – Sans Plomb (from lift-type) and Numerical Edition (from Elias Hanzer) – for Quintal Atelier:

Quintal is a printing and publishing workshop specializing in risograph printing. It has opened a bookstore specializing in risography open to the public located at 13 rue d'Eupatoria in the 20th arrondissement of Paris.

Studio des formes has created a new, modular and colorful visual identity for la Société des Nouveaux commanditaires. Based on the typeface Sans Plomb (available at Lift Type) which serves as wordmark, monogram and titling font. Neue Haas Unica (available at Linotype) is used for text and information.

Description of the project by la Société des Nouveaux commanditaires, translated from the French:

Developed over the past 30 years with the support of the Fondation de France, the “Nouveaux commanditaires” artistic protocol has led to the creation of over 500 artworks in France and around the world, in a wide variety of contexts and disciplines: visual arts, design, theater, literature, cinema, science and even comics.
From 2023 onwards, “La Société des Nouveaux commanditaires“ will steer, structure and unite and federates this citizen-commissioned approach, a veritable art of democracy with mediators in every region of France.

Le Théatre de l'Union is a National Drama Center in Limoges, France. The new visual identity was created by Studio Bingo. From their website:

[Le Théatre de l'Union] belongs to a network formed after the second world war, throughout France, around directors and poets to whom the state entrusted the the mission of producing, co-producing, welcoming and distributing to the widest possible audience high quality theatrical works.

In 2022, after a change of direction, Le Théâtre de l'Union launched a major renovation including the branding but also programming, more feminist and queer than before.

The logo and the main titles are set in Sans Plomb, designed by Image Format in 2022 and available at Lift Type. You can also regularly find Narly, designed by Zuzana Licko in 1993.