Mujosh is a Chinese eyewear brand operating at the intersection of retail, fashion and culture. Grafa partnered with the brand to redesign its identity and reposition it for a new generation of consumers, moving away from its existing visual language towards something sharper, more expressive and culturally attuned.

The project centred around redefining Mujosh’s presence through a more reduced and confident system. Rather than creating disruption for the sake of novelty, the ambition was to retain recognisability while introducing a stronger point of view. The refreshed identity shifts the brand into a more contemporary space: one that feels less transactional and more editorial and self-assured.

Typography became one of the defining elements of the new identity. Built around Grtsk, the system uses the typeface’s balance of neutrality and character to create a visual language that feels precise yet expressive. Its flexibility allowed the brand to move fluidly between product communication, image-led moments and even patterns. More than a functional layer, typography became a central tool for shaping recognition and giving Mujosh a stronger voice.

La Malpensante Moda is a special annual print edition of the Colombian magazine El Malpensante, dedicated to exploring the intersection of fashion, architecture, design, and craftsmanship. It is not a fashion brand or a retail platform, but an editorial project.

The first issue of La Malpensante Moda was published in April 2020, during a particularly adverse global moment. Conceived as an editorial experiment with no precedent within the broader corpus of El Malpensante editions, it marked a significant expansion of the magazine’s scope. Five years later, the project remains active and firmly established within the publishing group.

In this first edition, the editorial direction was led by Rocío Arias Hoffman together with Karim Ganem. Art direction was carried out by George Anderson Lozano, with design assistance by Tom Deason.

Headlines are set in Ogg Display by Lucas Sharp, while body text and paratextual elements are composed in Hoefler Text by Jonathan Hoefler.

The edition examines the relationship between design, contemporary aesthetics, and artisanal tradition. It reflects on how individuals “inhabit space” – both their physical environments and their own bodies – through clothing, adornment, and material culture.

Ara of Asa is an interdisciplinary multimedia project that explores the visualization of sound through a collaborative performance and exhibition. The title, derived from native Korean (아침의 파도), translates to “the wave of the morning,” referencing the dual nature of waves as both acoustic vibrations and the rhythmic movement of the ocean. It was presented by Dohoon Kim on November 24, 2024, at Wild Beast, CalArts.

The visual identity is anchored by a dramatic contrast between darkness and light to symbolize the transition from night to morning. This is further expressed through an inverted, mirrored layout where the typography is rotated.

To navigate this split environment, the design uses a rhythmic typographic system featuring Carta Nueva and Ogg Display from Sharp Type. Carta Nueva’s ball terminals serve as a poetic metaphor for musical notes, physically manifesting the rhythm of the soundscape. Across the transition of light and shadow, the typography maintains an organic flow that echoes the fluid qualities found in both water and ambient sound.

“Theatrical – discover through music” was the title of the second edition of the THEATRICAL format, created by se fèmm (an initiative born in Como to make young people discover new local realities and participate in the city's life) in collaboration with the Teatro Sociale di Como. The event made available to Como artists and realities some of the normally closed-off rooms of the theater, offering guided activities based on different musical genres.

The event poster unfolds within a dark space, representative of the dim light inside the theater, in the center of which is the 3D model of a human ear in magenta and cyan tones, representative of the main sense that will guide the experience of the evening.
The main font is Ogg, here modified by increasing the height of the individual glyphs, which gives the event's identity a sense of authority and mystery. The secondary font is Helvetica Neue, used mainly for practical information.

This photography book by Japanese photographer Ryo Ichii celebrates the extraordinary journey of Marie Molliens, the newly appointed director of Cirque Rasposo. Through a stunning collection of images, the book delves into the profound influence of Marie's family on her artistic vision, showcasing the rich tapestry of their shared experiences. Each photograph not only captures the essence of the Rasposo Circus but also documents the last three spectacular performances, inviting readers to witness the magic and dedication that define this beloved family tradition. With every turn of the page, immerse yourself in the enchanting narrative of resilience, creativity, and the unbreakable bonds that unite the circus family.

To know more about COMPAGNIE RASPOSO, visit:
www.rasposo.com/

To see more of Ryo's work, visit:
www.zotphoto.com/index.html

Testigos del Fin del Mundo is a curated archive of underground Ibero-American music in book form. Its design is boldly inspired by the blogs and streaming platforms that reshaped the music scene in the past decade, featuring tracklists, sidebars, and credits around each review as if you could click on them. The book also includes fun easter eggs, like playlist recommendations from guest contributors. Through 120 album reviews, Javier Rodríguez-Camacho explores influential sounds and scenes, from Mexican ruidosón to Chilean synth pop, deconstructed Venezuelan club music, and more.

This book was recognized as one of the 10 Best Music Books of 2023 by Pitchfork. It was published by Rey Naranjo Editores. The book was designed by Raúl Zea and Isabella Viracachá.

Self portrait / Otoportre is the title of the first solo exhibition by Turkish sculptor Hakan Çınar. It was held in Zülfaris Karaköy, İstanbul, from 19 to 28 October 2021. The poster, catalog and other materials accompanying the exhibition feature Arthemys together with TWK Everett and Ogg Display Italic.

Title pages of the two volumes. Titles are set in FF Super Grotesk with its alternate a and g.

Texte und Zeichnungen einer künstlerisch forschenden Exploration metaphysischer Themen in Zeiten von maschinellem Lernen (“Texts and drawings of an artistic exploratory exploration of metaphysical themes in times of machine learning”) is my final thesis at the Weißensee Kunsthochschule Berlin.

Inspired by “Wenn die Sterne verlöschen”, the German version of Isaac Asimov's science fiction short story “The Last Question”, I have been experimenting with topics such as immortality, infinity, post- and transhumanism, artificial intelligence, the human body, cosmology and spirituality.

My two-part book is a foreign text collection, paired with my own notes, thoughts and drawings. With content that I have discovered, searched for, found, collected and sorted; stories, theories, essays, visions etc. from science, sci-fi, philosophy and art.

The work has nothing to do with theory or science, rather it is about an orientation towards the poetic, towards an artistic strategy and production. A personal confrontation with the present, with a view to the past and the future. The texts and the drawings are intended to attempt to open up new spaces of thought in their concatenation and to provide access to my thought structure, my universe.

In order to make it clear which contents are mine and which are foreign material, I have decided to use a color coding. So all “personal” contents, i.e. my notes, thoughts, awards and drawings are designed in the color blue — inspired by the infinite.

In my book every text is individually designed. Here, too, I have “quoted” and made the quotation the design principle. This way, the reader will always know when a new text begins or which text boxes belong together. In the best case the reading is linear, but there is also the possibility to read the texts crosswise.

The publication features 71 different fonts in total. Eight of them are shown in the included images, see the captions. The fonts that were used but aren’t depicted here are Akkurat, Aquinas, Arnhem, AT Apoc, AT Oroban, Azzurro, Beatrice Display, Big Caslon, Blazenburg, Brown, Century Schoolbook, Century Schoolbook Monospaced, Chap, Circular, Cirka, Courier Prime, Dia, Digestive, Druk Wide, Elastik D, Favorit, Five Years Later, Futura, Galapagos, Gotham, Gräbenbach, Grafier, GT Amerika, GT Pressura, GT Sectra, GT Walsheim, GT Super, Happy Times At The IKOB, Helvetica, IBM Plex Mono, ITC Franklin Gothic, Lausanne, Lexicon, Lucida Grande, Lyon, Lyyra, Meriva, Mineral, NB Architekt Neue, NB Grotesk, Neue Machina, Nitti Grotesk, Noe, Pensum, Rando, Sang Bleu King, Saol, Scto Grotesk, Serifbabe, Suisse Int’l, Suisse Int’l Mono, Suisse Works, Terminal Grotesk, Times New Roman, Tiny, Value Serif, Whyte, and ZXX.

In the second part of the book there are 112 drawings, where I have illustrated 112 terms from the texts. The respective terms are colored in the texts. The respective figure number is usually close to the term and can be looked up parallel in the drawings book. They are abstract illustrations of some of the most interesting keywords from the texts. Thus the drawings have helped me to better understand the contents of my selected texts. However, they are not a scientific representation but a personal interpretation. In addition, I had the drawings analyzed by an artificial intelligence.

I have used very durable materials in my entire design and the book format is also based on the infinite number sequence of Fibonacci, namely in a ratio of 1:1.618. The paper has a high durability as it is wood-free, there is thread stitching — the most durable way to bind a book.

Around the two books there is a transparent rubber and they are vacuum packed together. It was also a conscious decision to design the book as a raw book block without cover. It should draw attention to the incompleteness and incompleteness. To draw attention to the fragile personal.

All in all, my project is an investigative activity, which when and then confirms or redefines my views on the relationship between man and the universe and man and machine. In addition, overarching associations also arise. My attitude is fundamentally characterized by curiosity and a thirst for knowledge, which is not lacking in an appropriate skepticism towards the thematic complexity, but which always ventures out into new branches.

The index is set in the monospaced Nitti.

Pages 358/359 feature text in Times, ABC Favorit Mono, Suisse Int’l Condensed and Nitti.

This blue double-page spread is set in FF Super Grotesk again.

The typefaces used on pages 320/321 are Rosart and Ogg Display, with more FF Super Grotesk and Nitti.

Nitti is used for the index of drawings.

Page with a drawing and text in Product Sans and FF Super Grotesk

Fasset is a Dubai fintech company that manages a financial platform, helping people and businesses to “securely save, invest, earn, and move money”.

They use Yapari for their wordmark and made sure it matches the logo perfectly.

As their founder and CEO, Mohammad Raafi Hossain says: “Our refreshed brand reflects the ambition that everyone, everywhere should be able to use their hard-earned money to buy high-quality, globally-traded assets to build their wealth.”

Zora Zine is a media platform made by and for cultural communities utilizing blockchain. Zora Zine Print Issue 001 is a 250-page catalog of luminaries, featuring more than 60 visionary contributors from across the epochal cycles of online culture. Wednesday Studio led the art direction and chose Lucas Sharp’s Ogg with Rasmus Andersson’s Inter throughout the design.

About the print issue they say:

We publish in the DIY spirit of the fanzine to document, distribute, and catalyze the voices of the digital avant-garde. We operate beyond “the intersection of culture and technology,” actively encouraging agonistic discourse between technologists and artists, believers and skeptics, previous and future generations.

About the online publication they follow a special mantra: thinking thematically rather
than topically, crystallizing weak signals into legible wholes, and want to be the curation layer of global hyperculture. They explain believing that technologies are defined by the cultures that run on them.

Zine is a compendium for the complex analysis of Web3 and the proliferation of new cultural formulations within and outside of its direct sphere of influence. Our goal is to diversify the participants in Web3 discourse as much as possible while unifying the intention, expression, and quality of the discussion.

The Donatello retrospective shown at Staatliche Museen zu Berlin’s Gemäldegalerie features branding and visual identity led by two design studios based in Berlin: Polyform and Studio Edgar Kandratian. The studios chose Ogg Display for the show’s typography and messaging. The scale of the project is impressive, and includes the exhibition's advertising campaign, print materials, and gallery text.

Donatello was a prominent figure in the Italian Renaissance. Ogg’s “classical” and refined aesthetic made it quite fitting for the exhibition of the sculptor. The studios’ use of Ogg, from all-caps to all-lowercase to the forward-rolling of the O in the titling, capture the movement and gestures of the typeface, too. Ogg was inspired by its namesake lettering artist’s book jacket designs, and the typeface’s timeless elegance has already made it a contemporary classic.

“Close-ups of the main motifs bring the great emotional power of the works into focus,” says Polyform’s Katrin Middel. “The typography is inspired by ancient and renaissance fonts. A subtle intervention in the typography adapts the orientation of the letters to the viewing directions of the sculptures.”

The physical exhibition closed doors, but you can still take a virtual tour (in German).

The illustration as used in the Adobe InDesign splash screen

Artwork for the release and splash screen for Adobe InDesign 2024 (version 19.01). The design entitled “Play Pond” for the Adobe project was based on the concept of play.

I created a fun vinyl music package. What sounds will this record contain? The illustration and entire series was created in Adobe Illustrator, Photoshop and InDesign.

Album cover for the fictional vinyl record (not used in the splash screen)

Mockup of the fictional vinyl record

Inner sleeve of the fictional vinyl record (not used in the splash screen)

Poster for the fictional vinyl record (not used in the splash screen)

Full illustration showing both sides of the fictional vinyl record

Perros Mediterráneos is a new cultural bar and record store located in Saint Antoni district of Barcelona. Through an eclectic program of exhibitions, artistic showcases, DJ sets, food and wine tastings and much more, this lifestyle and energy celebrates local and mediterranean culture.

Source: vimeo.com License: All Rights Reserved.

If, back in 2000, you liked to shake your booty to DeFalla’s seminal “Vai Popozuda” (“Go for it thick-assed girl”), you might enjoy to discover a younger generation’s take on the same subject. “Bounce”, the song featured in this post, was written and performed by French artists Blasé, Manast LL’, and Rowjay.

The music video is a work by Paris-based Wwwesh studio. It places the musicians in a home shopping set where pills are advertised that will make everyone shake their booties. The visuals pick up on all stereotypes regarding the media, from dazzling colors to false physicians to rotating pillboxes.

You might miss a bunch of ground-shaking male dancers, but while you are here, just enjoy how splendidly PVC Banner fits in. The typeface was designed by Hélène Marian and released by Production Type. PVC Banner was conceived to best fill all surfaces horizontally and is just one member of a larger, frisky family that you should check out if you like your letters to “dance, dance, move yer ass.”

Other fonts featured in the clip are ABC Favorit by Dinamo, Ogg Display Italic by Sharp Type, Commercial Type’s Druk and Adrian Frutiger’s Avenir.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Source: vimeo.com License: All Rights Reserved.

Ogg Display and Pano are paired on this poster by Benedikt Luft:

Schirn At Night is a biannual party at Schirn Kunsthalle in Frankfurt, Germany. I had the chance to take care of the visual identity for the party back in March 2020. The theme this time was “Fantastic Creatures of the Night” and was accompanying the big exhibition Fantastic Women which was showing the remarkable female contribution to Surrealism.

Words by the singer and songwriter Mariana Blair about her EP Letters:

This EP reflects one's artistic growth seen from a circular temporality; in which we all start a process from one point, and instead of ending in another completely different one, we tend to return to the same places, people, memories, situations, songs, and ideas but grown and transformed.

We based the design on a fairy ring to show the circular temporality and at the same time, represent the melancholic and romantic magic atmosphere of the album. This EP is a letter that Mariana wrote to herself. Her name is set in Wired and the album title in Nautica Line, both with widened proportions. Smaller bits are added in Graphik and Ogg Display. “A poem” uses Nautica.

Back cover with track list

Graphic used for the record label and for the cover of an accompanying notebook

Vinyl record with label

Announcement on social media

Bookmarks

I’m Aidan Molloy, a copywriter and digital designer currently working at Grow, a digital agency specializing in experiences and destinations. My portfolio site features Editorial Old by Pangram Pangram as the H1 and ABC Diatype by Dinamo Type as the primary font for body copy, labels, and links. Varying weights and cases allow Diatype to be the sole font on a complex case study page and maintain a strong hierarchy. The site was built on Cargo, featuring a good deal of custom CSS and vanilla JS.

Photo: OH!MANA Studio. License: All Rights Reserved.

The Bedside Table Project, conceived by the artist Pedro Valdez Cardoso, grants several artists the opportunity to make use of one of the most intimate spaces that we have in our homes: the drawer of the bedside table. The artists are also asked to choose a different flower for each project, which will be displayed in a vase on top of the table.

Most text is set in Helvetica Now, with selected words and lines using Ogg Display Regular and Italic.

Photo: OH!MANA Studio. License: All Rights Reserved.

Photo: OH!MANA Studio. License: All Rights Reserved.

Photo: OH!MANA Studio. License: All Rights Reserved.

Photo: OH!MANA Studio. License: All Rights Reserved.

A nostalgia heavy visual identity for production company TeaTime Pictures, created by Little Troop. The identity relies on Commercial Type’s Druk Wide and a modified Ogg Display by Sharp Type. Ogg has been heavily squashed and faux-italicized with an additional stroke added for thickness and some slight rounding. Additionally some secondary type is set in The Temporary State’s Panama and GUST e-Foundry's TeX Gyre Heros Condensed (see Nimbus Sans).

Identity for menswear brand gajiroc. The word “gajiroc” means “as time goes by” in Korean. Just like its name, the company makes clothing classy, so it can last long. Ogg Display was chosen for this very specific reason as well.

Both gajiroc and Ogg reinterpret the classic into the contemporary taste. All the applications were designed to align with the idea of the mood and the core values of the company. Even the elegant serifs of Ogg look similar to the silhouette of gajiroc’s clothing.