For the 2025 Brand Builders Summit, Australian designer Jacob Cass of Just Creative created a strikingly modern visual system that feels energetic and high-impact.

Cass used a very typographic approach mixing P22 Type Foundry’s Constructivist and Bifur—two early 20th-century display faces with strong geometric presence—with Mark Simonson Studio’s Proxima Nova, whose clean, contemporary forms bring support and balance like only a workhorse can. With a simple but bright color palette—black, white, gray, and hot pink—giving the artwork momentum while subtly echoing Just Creative’s own brand language.

The result is a typographic identity that feels confident, contemporary, and well-suited to a digital-first conference focused on creativity and brand building.

The logo combines P22 Bifur with what looks like Sweet Sans.

María Eugenia Alonso is 18 years old when she loses her father and must leave Europe to return to her native country, Venezuela. The impact of the exchange of Paris in the midst of cultural effervescence of the 1920s by the monotonous and conservative Caracas inspires her to write her impressions in a diary. This is the motto of Ifigênia, the diary of a young woman who wrote because she was bored, from the Venezuelan Teresa de la Parra (1889–1936).

The typography in P22 Bifur, a digital interpretation of Cassandre’s Bifur (1928), refers directly to the time and place that the novel was written. The pieces of the letters, on the cover, was a graphic metaphor of deconstruction of the female protagonist expected resignation at that time. The book jacket was conceived as a wrapping paper envelope that holds her diary (the book). The colors were borrowed from the Brazilian graphic artist of the same period, J. Carlos.

The book was translated to the Portuguese by Tamara Sender and published by Carambaia.

This book by Beatriz Azevedo is a close reading on the Manifesto Antropófago (“Cannibal Manifesto”) by Oswald de Andrade. Book design by Bloco Gráfico (Gabriela Castro, Gustavo Marchetti, Paulo Chagas). They used Silva Text and FF Mark for the interior. P22 Bifur C (with modifications) is featured on the cover.

Published by Editora Cosac Naify in May 2016.

El Ressol is a dairy farm which hit the market, offering artisanal cheeses and yogurts. 

The task was to design their logotype and labels. The client wanted an up-to-date solution, that could be easily adapted in case new products were added.

The geometric shapes of the logotype remind you of pieces of cheese. In the labels, colors and polygons were combined in order to create a code, which indicates the maturation and type of milk of the product.

To expand its range, the Domaine des Claires now offers square stackable mignonettes with 20cl of Pineau des Charentes. To differentiate the pineau from other products while retaining an air of family, I suggested a sober and refined label that draws inspiration from the Art Deco style of the Royan countries. Printed on Tintoretto paper, perfected with a touch of gold.

“Dalla Terra is a contemporary take on the Italian enoteca. Situated in the heart of Covent Garden, London. Dalla Terra pays homage to the roots of the classic enoteca, as the bar’s name translates literally as ‘from the earth’.”

Andreas Neophytou modified SangBleu Sans and cleverly rotated the D and T to produce a simple wineglass mark.

W is turning 40 this year, which prompted me to take a closer look at the magazine. I’m glad I did. Perhaps it is part of their anniversary celebration, or the fact that it’s the “Big Fashion Issue”, but September was particularly typographically rich — filled with interesting type choices that reach beyond the usual grasp of “mainstream” fashion glossies. Of course, it’s probably owed to the direction of Anton Ioukhnovets, who was always playing with type in his designs for GQ.

“Who” section opener using various optical sizes of Benton Modern and Graphik. See below for more info about the type.

Table of contents.

Three optical sizes of Benton Modern Italic compared: Display, Titling and Banner. The thin strokes (hairlines) get thinner, spacing gets tighter, and shapes get narrower as the intended size increases. Click to enlarge.

With ultra thin hairlines designed for extra large settings, Benton Modern Banner is put to good use for this anniversary feature.

Benton Modern Display in use for a deck (between text and headline sizes).

A pair of department pages. Click to enlarge.

 

Besides Benton Modern, the only staple typeface used throughout the issue is Graphik, a fairly rigid Grotesk that has the necessary, unadorned plainness to contrast with Benton Modern’s spike-heeled glamour. Together, the two expansive font families offer enough variety, weights, and widths to facilitate text-heavy pages like those of W’s departments, where multiple short articles need to be distinct, readable, and attractive.

Benton Modern and Graphik Narrow set a series of blurbs in the “Most Wanted” section.

Each of the features in the September issue showcases its own typeface that suits its subject perfectly. Let’s start with the cover story…

FF Pitu for a feature on Penelope Cruz. The two pages on the right are cropped. Click to enlarge.

Penelope Cruz wears FF Pitu, a strikingly sharp and assertive number that not only fits her well, but also happens to be a nice pairing with the thick-thins of Benton Modern. It’s a showy accessory, the well-placed hat or scarf that caps a thoughtfully assembled outfit. The W designers set it unabashedly huge for the opening page, letting it break in a way that emphasizes the rhyming title.

W gets medieval with LTC Goudy Text. Click to enlarge.

For a delightfully dreary fashion shoot set in the Dark Ages, an English Blackletter like LTC Goudy Text is an obvious choice. But some of the shapes of this particular Textura even have the same wilting posture as the models, who stand slack, as if held up by marionette strings. The whole look is inspired, I suppose, by the nodding heads and lifeless bodies of medieval folk art.

P22 Bifur. Click to enlarge.

Fast forward to modern times where the hard edges of retro-futuristic ensembles are introduced by P22 Bifur. The design originates in the ’20s, a digital interpretation of A.M. Cassandre’s first typeface, but for today’s audiences it is a flashback to the mechanical geometry of the techno 1980s.

A feature opener using Neutraface Slab and an uncredited illustration.

One more feature that is worth a mention opens with Neutraface Slab and a typographic illustration (spelling out “Large”) that immediately reminded me of Stefan Kjartansson’s absurd and amusing Cumulus and Foam. Whoever drew this strange and lovely lettering for W (likely Ioukhnovets himself), with its hairline slab serif letters ballooning into abstract amoebas, could have been inspired by C&F. The fashion is strikingly reminiscent of the typeface, too. So much so, that I felt compelled to add my own comparison (below).

The fashion styling of Edward Enninful paired with a typographic interpretation in Cumulus & Foam.