Quivo was challenged to merge three distinct companies into one cohesive brand. To achieve this, the company hired the design studio SERIOUS.BUSINESS to develop a new identity that would encapsulate the combined strengths of innovation and experience, positioning Quivo as the definitive partner in e-commerce fulfillment.

The rebranding strategy was centered around the theme of a thought bubble, an emblem of dreams and aspirations, which mirrors Quivo’s commitment to realizing its clients’ dreams. This concept was intricately woven into the logo and broader visual elements, balancing professionalism and approachability.

The logo utilizes a modified version of Druk Text Wide, adjusted to have a more squared appearance that underscores the solidity of Quivo’s offerings. For general communications, FK Grotesk was chosen as the primary typeface. Known for its mechanical rigor and distinctive sharp corners, FK Grotesk complements the technical yet dreamy aspect of the brand’s identity.

The brand's visual language combines dynamic gradients and bright colors, reflecting Quivo's technological prowess and human-centered design philosophy. This design approach not only makes the brand more accessible but also highlights its focus on aiding businesses in achieving their aspirations through reliable and innovative fulfillment solutions.

Unifying the three original entities under the new Quivo brand has established a unique and inviting identity, enhancing its visibility and appeal in the competitive logistics market.

The catalogue for an A.R. Penck exhibition, designed by French studio SpMillot, has won an award at the 2023 “Die schönsten deutschen Bücher” (the most beautiful German books).

The main headings feature Druk Text Wide, while the body text and captions are set in JAF Lapture.

Rites de Passage was shown at Fondation Maeght in 2017.

Majid Al Futtaim is a holding company in Dubai with over 40,000 employees operating multiple business units including shopping malls, retail, and leisure establishments in 13 countries including the UAE, Lebanon, Egypt, Saudi Arabia.

Within their Leisure business unit, there is Global Snow, and the flagship Ski Dubai snow park. Our brief for Global Snow was summarised down to following statement: “Develop a signature brand experience that embodies Global Snow’s excitement, optimise the booking process, and boost customer retention.”

Matching their ambitious goals of opening more snow parks, we were tasked to build a dual language scalable digital experience that would work across multiple formats – web, kiosk, display, apps and more.

Working with a brand which was “waiting for a brand update” we decided to move forward with typography and set a standard for a communication hierarchy utilising the Druk family for headlines – in Heavy Italic, Wide Heavy Italic as well as Text Heavy Italic and Text Wide Super Italic styles – and Inter for all body copy. For the Arabic headlines, we commissioned 29LT for a customised version of 29LT Bukra Wide Black.

The new special issue of French cinema magazine La Septième Obsession is dedicated to Harry Potter universe, with a 132-pages focus on the topic.

A modified version of Cattedrale was created for the cover as a reference to the original Harry Potter logo. For the inside pages, another gothic font was chosen: Adlibitum. The cover features an original illustration by Juan Esteban Rodriguez.

Illustrated by Lisa Zordan

Illustrated by Adrien Denis-Pasquier

Poster design for a Boxing Day event by Good Company Records in Perth, 2019. The brief called for a “riff on Christmas symbology”, with the final design referencing generic pre-Christian/pagan Yule festivals.

The new special issue of French cinema magazine La Septième Obsession is dedicated to David Lynch's masterpiece, Twin Peaks, with a 132-pages focus on the topic.

Formula Condensed was chosen for this issue, both for the inside and for the cover. For the “Laura Palmer” cover variant, the font was adapted in order to make a neon effect.

Neon variant adaptation

Illustration by Aline Zalko

Illustrations by Lasse Russe

Illustration by Lasse Russe

The new special issue of French cinema magazine La Septième Obsession is dedicated to filmmaker Wes Anderson, with a 132-pages focus on the topic.

Naturally, Futura was chosen for this issue (Futura Black was already chosen for the James Bond special issue), in light of Wes Anderson’s frequent use of this typeface. Of the various cover variants, the cover for Life Aquatic with Steve Zissou features a slightly different title, with Futura shown in outline.

Inside this issue, we find other fonts used for Wes Anderson movies such as Tilda and Archer.

Chapter opening featuring exclusive illustration from Charles Berberian (The New Yorker)

Futura contours for Life Aquatic with Steve Zissou.

Stylized Futura for The Darjeeling Limited title.

Tilda for Moonrise Kingdom title – as used in the movie.

Stylized Futura for The Grand Budapest Hotel title.

Stylized Archer font for the upcoming movie The French Dispatch.

X·gender is a student project, realized at the Politecnico di Milano.

Throughout history, the concept of gender has been used to define, limit and control people in every way, inside and out, from self-perception to family ties, from social status to civic roles, from behavior models to interpersonal relationships. X·gender was born from the desire to investigate the multiple nuances of the expression of sexual identity, supporting the personal freedom that everyone should have. Measuring against the conventions and rules imposed by today's society, where everything is categorized and pigeonholed, what x-gender aims to do is going beyond these social labels. “Social label” means a word that is used to catalog a person in a particular social group, often used in a derogatory and discriminatory way. The public is promoted and sensitized towards a fluidity of gender, where everyone can shape themselves to their liking, can create their own being and express it freely, without any external judgment. The work presented is an advertising campaign with the aim of raising awareness and critical sense around this topic.

Message promoted: Gender identity is something that goes beyond those categories that once established are fine forever, because being in direct contact with the personality of each individual, it is extremely subjective and variable conditioned by innumerable factors that lead it to have millions ways of expression. The campaign talks to a young, fresh and dynamic public, openminded and close to cultural and social issues. The project presents a teasing part, where it starts to be expressed the theme faced, and let the people become curious about it. It has outdoor digital billboards and a landing page.

After a certain period of time, x·gender reveals itself, by substituting the outdoor billboards and opening the real website. An Instagram page has been launched, too, in order to collect first-person experiences, told as stories, and to create empathy with the public. At the base of the posters there is the visual technique of photogrammetry, that consists in creating 3D models, in this case of people, from a series of pictures taken all around the person chosen. For the copywriting, the focus is around the word “frame”, that contains different meaning, from the idea of shaping personal identity to the concept of celebrate it. Each poster has a serial number, another reference to the social labelling.

Graphically, the project has a specific aesthetic, with different elements that find a balance together, creating an interesting mix. Regarding the fonts: for logotype applications I used Pilowlava from Velvetyne, a font that seeks a balance between viscous energy and controlled geometry. Pilowlava is used alongside Druk Text Wide from Commercial Type – another design with a strong personality. Its wide presence of black contrasts pretty well with Pilowlava, used in white with a black outline. Anyway, for web applications, Druk Text Wide font has been replaced with another, similar one, that is Improvenu Wide, which was easier to manage.

The new special issue of French cinema magazine La Septième Obsession is dedicated to James Bond, with a 132-pages focus on the topic.

The layout and typefaces are slightly different from standard issues of the bimonthly magazine. There is one typeface that changes with the subject. Futura Black was chosen for this issue, in reference to No Time To Die. The other typefaces are the same as with every special issue: Druk Text Wide (Commercial Type), Sabon (Jan Tschichold), and Aperçu (Colophon).

The right page is illustrated with book jackets of James Bond novels, including the one for Goldfinger featuring Tea-Chest.

Editorial design for the Resort 2019 issue and the Holiday Guide for warehouse Bergdorf Goodman, led by design director Elina Asanti and senior designer Stefanie Brückler for NR2154. The typography uses the complete set of DSType’s Keiss typefaces both for text and headlines, along with a few weights of Druk Wide and Druk Text Wide.

Materia is a design studio based in the Hudson Valley region of New York that focuses on crafting furniture, lighting, and objects that amplify the inherent beauty found in raw materials like stone, brass, calfskin, parchment, steel, porcelain, and wood.

The independent creative studio Athletics worked with Materia to develop a new identity that serves as a foundation for the next chapter of the brand’s evolution. Athletics provided a color palette, typographic system, and responsive visual language that is organic yet refined, rich yet understated, modern yet timeless.

The first edition of Visious’ Daily Report Vol.01 is finally here! This zine was first published during the latest Jakarta Art Book Fair by PRESSENT : The Pilot Edition 2018 which is held on 21-22 July 2018. If you happened to come, you’ll know that the fair was full of hype and excitement, and our zine was out of stock very quickly. — @visious.co

Daily Report is a zine, reporting about our daily studio life, delivered in a casual style and serving as a visual exploration medium for our designers. The typography is playful, with a restricted colour palette (blue and red) and a compact typeface selection. Headlines are set in Adieu, with Almendra for body text. The guest roles are for Opposit (magazine logo) and Lazybones, a 1970s Letraset release that that could be described as an obese version of Cooper Black Swash Italic.

Umbriago, a direct interpretation of Cooper Black Swash Italic, is in use for the goodies together with another handful of typefaces. The Pyte Foundry is represented with Umbra, Houdini and Mortar. Druk Text Wide Heavy and Heavy Italic are seen on a number of stickers, along with Digestive and good old Brush Script.

Unpacked: magazine, a map showing the studio location in Jakarta, stickers.

Sticker set. Most stickers use Druk Text Wide (used for REVISION CLUB, Wake Up!, work work, client client) and a selection fonts from The Pyte Foundry (Visions: Umbra, Qobul: Mortar, the small type slab serif is Houdini). Other typefaces are Umbriago (Happy, OK), Brush Script (Brainstorming), Digestive (right hand corner, partially visible). Most sticker designs are used within the zine in a blue/red version.

Spread. On the left hand page, bigger text in Adieu, small text in Almendra. The typeface used on the right hand page is Lazybones.

Convent Carmen is a new cultural and gastronomic space born in the neighborhood of the same name, El Carmen of València. Located in the old Carmelite convent of St. Joseph and St. Theresa, Convent Carmen is defined as an open space both to the locals and newcomers, a convent open to the community where they can participate in different cultural and gastronomic events.

We have designed a logo in black and white, where the letter T is transformed into a cross through a neon green square as a reference to the physical space that once was a convent. The logo was designed in two versions (horizontal and vertical) so that it can be adapted to different application needs.

Thus we have a visual system dominated by the use of the reticle, typography, photography, positive and negative and a point of color. The color helps us separate the different areas: green for cultural events, red for everything related to their gastronomic offer, blue for the future hotel, etc.

The typeface family chosen for the development of the brand and the pieces is Commercial Type’s Druk, sans serif and bold, in several versions, condensed and extended. As a complementary typeface we have Schick Toikka’s Chap, a classic but contemporary font that refers to the reconversion of this religious space, now open to the public.

Client: Calma Ventures
Architects: Francesc Rifé Studio

Book covers for Biblioteca Áurea, a collection of classic novels that is (re)published by Editora Nova Fronteira in partnership with Amazon Brazil.

Don Quixote is very hard to read: it's quite long, boring, old and it's written in old Spanish. The intention of this magazine is to modernize Cervantes' classic and make it attractive to younger publics, placing it out of context and using photography and typographic variations. The editorial concept and the art direction are based on the mental distortion and inconsistency of the main character. He maximizes or minimizes everything according to his own interests, seeing everything in black and white, just believing nothing but his delirious truth. To foster its reading, the complete novel would be divided into 12 issues; this is number 1.

See the full mag on Behance.

The Co. is a premium work experience that uniquely weaves life and business together through an inspired sense of adventure and purpose. Everything we do orientates you towards a successful business adventure. Whether it is connecting you to the best of the neighbourhood, making sure you are in good company or providing quality, design focused facilities, we are committed to your world working well so that you can get get on with your walk.

For The Co. identity, Singapore-based design studio Parable choose to “put aside pre-conceived notions of the style and design artefacts that usually come up with the "office" genre.” With vivid colors and a neat palette of grotesk typefaces composed of Stratos and two widths of Druk , they “focused on experiencing and speaking to people on the ground afresh to understand the meanings and unique stories that come along with the people behind the Co and its community.”

Some typographic elements coming from Input (arrows, punctuation marks) and elements from wayfinding and compasses completed the system.