Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

Visual identity for Project Space Festival Juárez 2025, Operaciones aleatorias (“Random Operations”), at Museo de Arte de Ciudad Juárez.

Free Radicals is a symposium that took place between 23 and 25 May 2025 in Prague, followed by additional events along the course of two years in other European cities. It is dedicated to exploring the state of play around thinking with plants in creative research and brought together artists, scientists, researchers, and creative practitioners.

Its communication was created by type and graphic designer Jolana Sýkorová. She used the free font NaN Holo Gigawide Ultra for all titles and NaN Holo’s Regular for all other texts. Sýkorová makes a liberal use of the blocky and black titling fonts for big headlines in all-caps with a tight linespacing and mid-word linebreaks to accommodate with the wideness of the font. The relative control of the layout is occasionally disturbed by mid-word change in the colour of the fonts and by a recurring pattern of colourful polka dots overlapping the words, like a kind of mold or lichen.

Ikono is a company creating immersive experiences in seven major European cities. By immersive experiences, we are talking about some kind of art-less museums with thematic rooms filled with entertaining installations.

San Diego-based agency Traina delivered a rebrand for the company in 2024. The identity is built around colorful patterns and images in concave rectangular cut-outs in what the agency calls the “Bento System”. The titling font used across all branding is NaN Holo Compressed, always in all caps, allowing for strong and compact headings in big sizes on wide as well as narrow formats such as their mobile website and social media. The font used for texts is the geometric sans Hellix. With its relatively round proportions, it gives a gentle voice to the brand, going in the same direction as the rounded details of NaN Holo.

Wellhub, formerly known as Gympass, is a start-up / service / app originally giving access to multiple gym clubs for a unique subscription. To quote the Financial Times article dedicated to the change of name and rebranding:

Corporate wellness platform Gympass is rebranding as part of preparations for an initial public offering, after being valued at $2.4bn with backers including SoftBank and EQT.

The start-up said the change of name to Wellhub reflected its widening range of services, which alongside access to tens of thousands of third-party fitness centres also included partner apps for activities like sleep, meditation and diet.

The rebrand is also showcased in an introductory video, offering a glimpse into Wellhub’s new identity and vision. It comes with the obvious new logo featuring a twirly icon and a nameplate in an unidentified, most likely modified type, maybe even a custom lettering. It’s a wider grotesque with slightly rounded inside corners, echoing the roundness of the twirl symbol and symptomatic of the 2020s “nice/human” era of the startup/branding landscape.

For all headlines, Wellhub went with NaN Holo in its condensed and narrow styles, often on the bolder side of the weight range. Holo’s rounded details (see the tittles of i j or the shoulder of r) recall the roundness already present in both the icon and wordmark, as well as in the rounded corners of rectangular shapes.

But for all text sizes, UI elements and interfaces, the Wellhub team chose familiarity with the use of the now ubiquitous Inter, while Holo's standard widths would have offered similar proportions and legibility. Was this choice motivated by a desire to save on webfont weights, or more by a conformist spirit regarding text typefaces on the web? We don’t know.

Kilian Reil is photographer, filmmaker and cultural entrepreneur in Bavaria.

Studio d-a-m-k designed his portfolio website in 2024, featuring NaN Holo in its standard width for all typography, ranging from an oversize website menu to the smaller captions. The wider and open proportions of Holo and its occasional rounded details bring a bit of warmth to the minimalist grid-base design.

Spanning the vibrancy and ‘liberated creative expression’ of Africa’s mid-century cultural resurgence from its era of independence to contemporary times, Brooklyn Museum’s Africa Fashion exhibition stands as a testament to the continent’s enduring creativity and stylistic influence on a global scale. Running from June to October 2023, this premiere showcase, unparalleled in scope, brought together an eclectic mix of over 180 artefacts – including couture, photographs, and an array of multimedia displays – to narrate a story of innovation and tradition, weaving together the diverse threads of African and diaspora experiences to reflect on fashion’s integral role in societal transformations. Meanwhile, maintaining and contributing to the ongoing dialogue between past and present design sensibilities.

Courtesy of Director of Graphic Design and Brand Creative Adam O’Reilly and his team, the exhibition identity for Africa Fashion, which took over physical and creative spaces – from enormous flag signage to tactile digital films – opted for a typographic approach that mirrored the show’s confidence, consideration and vitality. With a robust sans and sans serif combination of ABC Diatype by Dinamo and Grilli Type’s GT Alpina for practical secondary text, O’Reilly leant into the dramatic versatility of NaN Holo Compressed from NaN as the headline typeface.

Unconventional in its take on neo-Grotesks, NaN Holo’s contrasting rectangular and rounded details, warm character and rigorous structure made for a hero font that embodied the uncompromising and avant-garde nature of the exhibition, offering something that feels both familiar and remarkably original. This choice of typeface mirrored the exhibition’s thematic exploration of blending tradition with modernity, reflecting the dynamic interplay of historical legacies and contemporary innovations within African fashion. Through such meticulous attention to typographic detail, the exhibition’s visual language itself became a narrative tool, encapsulating the essence of African fashion’s transformative journey.

Description of the project from Stephanie Lüscher's website:

Stormvloed (Stormflood) is an organizational consultancy that focuses on major social themes such as energy transition, housing shortage, and infrastructure maintenance backlog. (...)

The concept of Stormvloed's visual identity is inspired by the upward trajectory of a storm flood, symbolizing the consultancy's commitment to raising the bar in the market. This recognizable and simple visual element represents how Stormvloed takes charge, driving quality and fostering the growth of talents. The visual identity embodies both energy and simplicity, creating a powerful and appealing combination.

Stormvloed uses NaN Holo in 2 widths all over the place. The compressed bold style makes the huge size titles compact, such as the name of the project taking 100% of the width of the screen. All the texts are set up in NaN Holo Narrow, either Regular or Bold, a choice that reflects the voluntary simplicity underlying the project.

Agency: KesselsKramer Digital
Art Director/Designer: Stephanie Lüscher, Roland Cos
Creative Director: Merijn Straathof

In 2018, HiRaw! set out on a bold mission to transform the way BARF (Biologically Appropriate Raw Food) is perceived in Vietnam. Their dedication to excellence propelled them to become a leading pet food manufacturer.

As HiRaw! experienced rapid growth, they faced the need for a brand overhaul. Together, we collaborated to develop a visionary brand strategy that would embody their core values of compassion towards all dogs and cats. The guiding principle of HiRaw! revolves around the concept of “Deliciously Raw for All”. This ideology inspired us to create a strategic cohesive brand platform that unites and celebrates the love, joy, and individuality of dogs and cats within HiRaw’s brand universe.

The essence of rawness takes center stage within the brand identity, resonating throughout the entire system, including typography, graphic elements, illustrations, and art direction for photography. This infusion of raw authenticity imbues HiRaw! with a distinctive and lively personality. The custom typeface MN Raw incorporates the texture and essence of mixed food, further enhancing the raw aesthetic.

Alongside MN Raw, we utilize NaN Holo Narrow and Condensed as complementary fonts for context display. With rectangular counters and rounded curves, NaN Holo adds a delightful touch like the chub. Its intentional mix of rounded and squared details brings surprise, character, and warmth when used. It exudes a reliable and original human touch, without overpowering the overall design

To make our packaging even more memorable, playful, welcoming, passionate and relatable to customers, we have reworked each recipe name. With a focus on enhancing shelf presence, our packaging is strategically divided into two panels. The front panel takes center stage, showcasing the HiRaw! logotype in a prominent and eye-catching manner. This ensures that our brand stands out among the competition. On the back panel, we have thoughtfully incorporated all the necessary English and Vietnamese content. In addition, we have added humorous touches to the barcode, injecting a sense of joy, excitement, and personality into our HiRaw! pet characters.

Design: M — N Associates
Creative direction: Duy — N
Art direction: Anh Nguyễn
Designers: Quân Nguyễn, Bảo Trương, An Phạm, River Nguyễn
Production: Thảo Nguyễn
Project management: M — Lan, Quân Nguyễn, Dao Võ

Portfolio photography: Wing Chan

​​​​​​​Digital retoucher: An Nguyễn, Phúc Trần
Food photography: Minim
Cinematography: Lâm Uy Huỳnh

More info, images and information on Behance

Dancing Sands is a distillery located on Golden Bay, one of most remote places of New Zealand. They craft gins and other delicatessen products inspired by traditional New Zealander products and tastes.

The whole identity, from logo to labels to running texts, is set in Luke Prowse’s NaN Holo together with warm and vivid colors as well as linear geometric illustrations. The whole denotes some light Art Deco references with a breath of simplicity. Holo’s wide proportions and occasional rounded features bring affordability and warmth to the whole.

SCOZY (68 pages, 99×210mm) is a book about the work of designer/illustrator Stewart Armstrong, published in an edition of 50 copies by Knowledge Editions:

SCOZY is Stewart Armstrong’s first published body of work, an exploration into understanding why he likes things. A selfish and indulgent rummage around in some unreliable memories of memories of memories. Internet confirmed (and unconfirmed), image-saved-to-desktopped, mangled and presented in various resolutions.

It includes a poem by Jamie D Huxley (a.k.a. Energy Fool).

SCOZY features three type families from NaN on top of Arial Bold. NaN Holo, Holo Mono and Tragedy are mixed together, even in the same paragraph and sentence, in a strong sans-plus-serif combination.

Frow is a new mobile app / social media account dedicated to vinyl collections and live music performances.

Their identity, initiated by Studio Triple but deployed by Frow's in-house team who took care of designing the website and app, shows ATF Alternate Gothic (in all caps) for most titles For all the heavy lifting of running text and UI it’s supported by NaN Holo, both in its proportional and mono versions, depending of context. The typographic contrast is expressed in its simplest way: the compactness of Alternate Gothic differs from Holo's more loose and comfortable rhythm, characterized by its wider-than-normal capital.

The identity balances between its voluntary restrained spirit (limited color palette of off black and greens, solid typographic choices), with a light touch of late psychedelic vibes, from the custom drawn lettering of their logo to the more expressive sticker language deployed on their social channels.

For the design of the latest EP of Chichester’s Traams, Stewart Amstrong chose a grunge approach, mixing together his own illustrations with graphic elements inherited from Great Britain’s late ’70s early ’80s underground CB radio (counter-)culture.

On top of a generous amount of hand-drawn letterings, the typography deploys Luke Prowse’s NaN Holo for most textual contents. Amstrong, to double down on the photocopy æsthetics inherited from its collage, applies a roughening effect/texture on the text, blending it smoothly with the other graphical elements.

Art Direction: Stewart Armstrong & TRAAMS
Design & illustration: Stewart Armstrong
Additional illustration: Daniel David Freeman & Beth Longmore
Cover image: Emily by Scarlett Platel
Band photography: Steve Gullick

The artwork contains elements originally published in Eyeball Cards: The Art of British Radio Culture by William Hogan & David Titlow.