Iguana Tokyo, written and directed by Kaan Müjdeci, is a 2022 feature film that premiered at the Antalya Golden Orange Film Festival. The story follows a small family (mother, father and daughter) whose life in Tokyo takes a dark turn as they immerse themselves in M², a virtual reality game. As the game’s influence grows, their home becomes a tense and perilous environment, with the family’s pet iguana as the sole witness to their unraveling.

This promotional project is composed of two main elements: a foldable brochure and a comprehensive two-part booklet. The brochure, styled as a game manual, pairs with a set of tarot cards designed for the film's characters, offering an imaginative and interactive experience. The booklet blends stills from the film with detailed text, presenting both the visual and conceptual layers of the story. Reflecting the unsettling yet captivating tone of Iguana Tokyo, the catalog balances aesthetic precision with rich narrative depth.

The project’s layered design and tactile qualities draw audiences into the world of Iguana Tokyo, creating an engaging promotional package.

Around 2015, Atipo designed the visual identity of Mamen Diego using Noe Display and Montserrat. From the design studio’s website:

Mamen Diego is an interior design and architecture studio run by Mamen Diego who, after years involved in different companies, starts up her personal project. Her style, without renouncing to the latest trends in interior design, moves between the shabby chic, the ethnic and the colonial. In addition, you can find furniture and selected pieces of decoration from Asia, Africa or South America. […]

The logo is solved with the font Noe Display, an expressive and elegant typeface, of great contrasts and forceful serifs that convey personality and a contained elegance. The font palette is completed with the Montserrat font that provides neutrality and clarity in the information.

The color palette chosen is wide, delicate and harmonious, and refers to noble materials and pastel colors and ends up to complete a luminous, personal, delicate identity and a little vintage.

As of 2024, Mamen Diego’s website is no longer available.

Plackers is a brand of floss picks. Since 2017, the logo was based on Noe Display Bold, with a couple of modifications made to it, including a “laughing” eye in e and beefed-up hairlines. It replaced a previous version using Filmotype Harvard. In 2024, Plackers rebranded again. The new logo uses bold round sans-serif letters, possibly from BC Alphapipe.

On the packaging designs, the logo in modified Noe Display is paired with Averta. The geometric sans is used for instructions as well as the slogans, including “Smile like everyone’s watching”.

TT Norms Pro is used for the branding of Vinca, who produce canned organic and vegan Sicilian wine. The brand logo is based on Noe Display Medium.

Deep beneath a North Mayo bog lies the millennia-old origins of a way of life that has continued in Ireland for over 5,000 years.

A chance discovery in the 1930s began the process of unearthing remarkable evidence of ancient settlers their beliefs and practises, and a vast expanse of walled fields – the oldest known on earth – in which they raised what were then strange and exotic animals.

To celebrate this internationally significant archaeological wonder we put the people
of the past and present centre stage. From the Neolithic farming families who made this land their home to the remarkable individuals that continue to find and explore what lies beneath ground.

Working within the limitations of an existing building we blended strong spacial, lighting, display and contemporary graphic design, considering and incorporating earthy colours throughout to be sympathetic to the landscape and compelling setworks to subliminally re-enforce the environment.

We believe that good design is inclusive of others. Implementing and maintaining this policy is a primary objective; so through our development of visual language we considered the choice of typeface, colour contrast and enhancing legibility and visibility. We designed all layouts to ensure that important content was always accessible. Irish was placed first and larger throughout the design scheme.

Gotham was used for titles and body copy, Noe Display was used for more decorative, engraving interactives. Both helped to create a strong visual language and to tell the story of Céide Fields.

The overall project was shortlisted in the 2022 IDI awards.

IMDb:

This captivating exploration of Alvar Aalto, the defining figure in Scandic design and one of Europe's greatest modern architects, focuses on his remarkable and loving partnership with wife, Aino. Theirs was a profoundly humanist vision that put people at the centre of design, and ranged from work in furniture design through to huge architectural projects. They mixed with, and influenced, major figures of modernist art and design including Le Corbusier, Gropius, Moholy-Nagy, and Frank Lloyd Wright. Come on a cinematic tour of their iconic buildings all over the world, from a library in Russia, a student dormitory at MIT, an art collector's private house near Paris, to a pavilion in Venice. Narrated by experts in the field and featuring never before seen archive footage, Aalto tells the love story of an extraordinary couple with a great passion for human scale architecture.

Alias Harbour is used for title type on the DVD cover and posters. Noe Display and Mercury appear in supporting roles.

English-language poster.

German DVD cover.

Personally, I was particularly captivated by the complex details in Andrea Büttner’s prints and woodcuts. My initial design sketches for the visual identity explored the combination of typography and woodcut patterns and an attempt to use fragments of Büttner’s works and her carved forms/line-work. What I found interesting was the complex markings that were left-behind by the sharp edge of Büttner’s carving tools and which range from hairline markings to triangular, gouge-like markings.

An important step in designing the visual identity was finding an appropriate typeface – ideally a classical, but not boring, serif typeface. Noe Display responds to the pronounced and crafted feeling of Büttner’s work. Designed by type foundry Schick Toikka, the typeface is transitional-style, high-contrast headline typeface. Noe Display’s sharp triangular serifs and terminals give it strong and distinctive characteristics, echoing the similar shapes which occur within Büttner’s etchings and woodcuts.

To emphasize a connection to Büttner’s sharp woodcuts within the typographic treatment, I slightly altered the height and appearance of the umlaut. Rather than keeping the two dots that typically appear within the umlaut, I instead swapped-in two triangle shapes that derived from the top, triangular part of the letter t in Noe Display. These triangles also replaced the dot above the letter i.

Intrigued by the small details in Büttner’s work, I then decided to respond by creating my own level of typographic detail through a series of customized punctuation marks that would subsequently be embedded within the texts associated with the exhibition. As a base for the punctuation, I used the same Noe Display-derived triangle shape to then create a comma, colon, period, and apostrophe. The resulting punctuation marks, which appear throughout the typeset materials connected to the exhibition, make a small intervention on the space, yet are elements that may go easily unnoticed upon first glance. This subtle intervention was made in order to focus more attention on the detailed and contemplative nature of Andrea Büttner’s work.

Find more about the exhibition and its typography on the Walk Art Center website.

The Quanta Magazine website uses Noe Display for their headlines, and Pangram Sans for menu and navigation. Merriweather is used for body text, bylines, dates, and subheads. The publication describes itself this way:

Quanta Magazine is an editorially independent online publication launched by the Simons Foundation to enhance public understanding of science. Why Quanta? Albert Einstein called photons “quanta of light.” Our goal is to “illuminate science”.

Located three kilometres from the Brisbane Central Business District, Milton Green spans over four hectares and is home to a mix of national and multinational organisations and government bodies. The precinct fosters a dynamic workplace, balancing permanent on-site amenities including a child care facility, visitor car parking with an ever changing programme of events. A complex site to access from the main arterial road, motorists can find themselves caught in swift traffic flows, often overshooting Milton Green by several kilometres.

Dotdash designed a wayfinding communication strategy built on a street address system. The visual communication and signage system implemented the brand font Noe Display (designed by Schick Toikka from Berlin/Helsinki) as the hero typeface.

Calibre (Klim, New Zealand) was selected as the primary communication typeface. Calibre’s clean, engineered geometry offered clarity and legibility for pedestrians, cyclists and motorists in a busy built environment.

The 16-foot-tall entrance sign was designed by Mithun Architects and Evermark Signs in collaboration with Turnstyle. Its built-in LEDs can be controlled to create different color effects.

LL Circular in use for the new identity of the Nordic Museum in Seattle, as designed by Turnstyle. The logo uses a similar, but different sans serif. It is probably custom drawn. Occasionally, Circular is paired with Noe Display for headlines.

Dedicated to collecting, preserving, and educating since its founding in 1980, the Nordic Museum is the largest museum in the United States to honor the legacy of immigrants from the five Nordic countries: Denmark, Finland, Iceland, Norway, and Sweden. The permanent collection of more than 78,000 items represents the material culture brought or produced by Nordic immigrants from 1840 to the present, and it also includes contemporary objects from descendants of these immigrants. — Nordic Museum

In 2018, the Museum relocated from its original, modest building to a brand new, 58,000 SF facility on the shores of the ship canal in Seattle's historically Nordic-centric Ballard neighborhood. Turnstyle was tasked with updating the museum's logo and graphic identity system to commemorate this momentous change. The biggest challenge for the rebrand was a perception issue—we needed to shift people’s expectations of the museum from its humble roots to its ambitious new mandate. — Turnstyle

Flyer for the Viking Days event.

Detail from a news mailing featuring Noe Display.

The Passenger is a bookazine published by Iperborea that brings together long reads, investigative journalism, literary reportage and narrative essays, with the aim of telling the story of the life of a country and its inhabitants, understanding its shifting culture, the development of its identity, the debates, the issues, the problems, and the wounds.

Tomo Tomo made the identity and the layout of The Passenger. They used a typeface series with a strong personality, Noe (in Display and Text cuts), and worked a lot with the typography due to the literary approach of the magazine. The subsidiary typeface is F Grotesk, more neutral and useful for infographics and small text. The images are from the issues about Japan, The Netherlands, and Iceland.

The magazine Willkommen in der Großregion, unsere Gemeinsamkeiten und der Reichtum unserer Unterschiede (“Welcome to the Greater Region, our commonalities and the richness of our differences”) for the EVTZ – Secretariat of the Summit of the Greater Region, fully illustrated, presents many events and activities to do in the Greater Region – which includes the Saarland and Rhineland-Palatinate (Germany), Wallonia (Belgium), Lorraine (France) and Luxembourg.

This project has been realized in close collaboration by agency Human Made (Luxembourg) who produced text and illustrations, and Céline Kriebs who was in charge of the editorial design and the typographic choices. This 84 pages magazine is printed on Cocoon offset and Cocoon gloss. In order to create a maximum of possibilities in the editorial concept, three typefaces were used: Noe Display by Schick Toikka, Karla by Jonathan Pinhorn and Roboto Mono by Christian Robertson.

Series page and viewer.

As the producer of a number of well-known series — including the world’s longest running showcase of documentaries on television, POV — the brand of American Documentary itself had historically taken a back seat to its series. In order to elevate American Documentary as a consumer identifiable organization in its own right, Type/Code created a logotype set in Commercial Type's Dala Floda that stands in stark visual contrast to the branding of American Documentary’s series.

That new wordmark lives in a complementary brand environment that features Schick Toikka’s Noe Display and Noe Text for headlines and body text respectively, and Sharp Type’s Sharp Grotesk 19 & 20 for navigation and informational text. Combined with a flexible color palette, the effect is a recognizable ecosystem that plays nicely with a wide array of original media and artwork from disparate filmmakers and styles, while giving American Documentary an authentic voice.

As of early 2018, American Documentary hosted an enormous corpus of content, distributed piecemeal across American Documentary’s own website, its subsidiary Community Network, and PBS’ streaming platform. These properties, built on content management systems not designed for creating editorial experiences, did a poor job of making films and their tangent resources available to both the wider public and to employees.

The new web platform strives to aggregate all of this content, and nests it under clear and actionable navigation items. The navigation prioritizes categories like “Watch” and “Engage” — allowing users to explore American Documentary’s full array of media, agnostic to its broadcast origin. The other half of the navigation scheme leverages American Documentary’s most recognizable series — POV and America Reframed — to give users direct access to media they may have seen over broadcast. Elevating series also allowed American Documentary to more overtly identify itself as the parent of POV — a series long thought to be its own, independent entity — and to introduce its Interactives division as a new series of content on par with POV and America Reframed.

Visit the case study at Type/Code for more information.

Logotype, website text style guide and color palette.

Homepage.

Film page.

Watch index page.

Obviously.

Anagraph’s commitment to excellence in editorial design for Anxy continues along its unwavering trajectory with “The Masculinity Issue”. The content details many sides of this thorny topic, with Obviously, Beastly, and a spattering of Beatrice Display doing the heavy lifting for titles. Covik Sans makes a small appearance in footers and page numbers. The magazine’s masthead uses Noe Display.

Beastly.

Beastly.

Obviously.

Beastly.

Beatrice Display.

Beastly.

Obviously with alternating widths.

Beatrice Display.

Graphic and exhibition design for Miguel Fleta. El hombre y el mito (“The man and the myth”). An exhibition in the Instituto Aragonés de Arte y Cultura Contemporáneos (IAACC, also known as Museo Pablo Serrano), dedicated to the great Spanish tenor on the 80th anniversary of his death. Despite his short stage career, lasting from 1919 to 1935, Miguel Fleta has been described as one of the most significant opera singers of the 20th century.

Exhibition curators: Sergio Castillo & Alejandro Martínez. Organization: Gobierno de Aragón.

Dr. Lhotka Organic Products is an antimicrobial tooth & mouth care series on a purely natural basis and in certified organic quality. The four products of the series are the result of an intensive research process in which Dr. Roberto Lhotka compiles certified organic herbs in such a way that their strengths are perfectly effective. For people who want to do themselves good - developed and manufactured in Austria.

Branding of the dental care product range by dentist Dr. Lhotka.

Website

How do our inner worlds define the lines we draw and the space we create?

Boundaries shape the way we live, love and work—but what do our boundaries say about who we are underneath? Our third issue looks at personal space from the inside out through intimate essays, revealing reported features, insightful interviews, gorgeous photography and more.—Anxy

The magazine uses a variety of typefaces: Noe Display is used for the Anxy logotype; articles are typeset in Maax with some streamers set in Maax Mono; headlines in this issue use Larish Alte (Radim Peško), more Maax (using its striking stylistic set No. 01 with geometric alternate shapes), Ogg (Sharp Type) and Alias Type’s Harbour.

An impact investment firm focusing on infrastructure and natural resources, Vision Ridge Partners accelerates financial support to sectors including renewable energy and EV charging networks. We created a new brand identity system to better match their prestigious reputation in the sustainable investment space.

To mirror their unique positioning and prestigious reputation in the sustainable investment space, we paired an uppercase sans serif (Maison Neue) with a distinctive, modern serif (Noe Display and Noe Text) to strike a balance between traditional and contemporary.

Many National Trust sites were home to, and shaped by, people who challenged conventional ideas of gender and sexuality. In 2017, 50 years after the partial decriminalisation of homosexuality, National Trust explored LGBTQ heritage with a programme called Prejudice and Pride.

The Prejudice and Pride publication takes inspiration from the 1980s Silence = Death poster and some of the featured National Trust house decor. Art direction and editorial design by Anna Lincoln.

Packaging for 500 ml of Cafè Fred Finca La Florida, Guatemala.

Our most gourmet coffee, 16 espresso ready to serve or have in your fridge. Ideal as a gift or to take a dinner or meal instead of wine, you save the 16 espressos it contains and the after-dinner moment becomes something different because everyone can combine it as they like. Diluted with water, mixed with milk, integrated in a cocktail, sweetened with sugar ... You can even warm it up if you want to try a hot coffee with different properties. We only use specialty coffee from a single source. The grain comes from the La Florida farm in Guatemala, its coffee is also organic.
— Cafè Fred