Andrew Wyeth at Kuerner Farm: The Eye of the Earth is a traveling exhibition centered on American artist Andrew Wyeth (1917–2009) and the Brandywine Valley farm that inspired him to create many of his most iconic works, including Groundhog Day, Winter 1946, and Trodden Weed.

Robin Brunelle designed both the exhibition and its catalog, using Forevs by OH no Type Co as the title font. The title lockup also effectively doubles as the exhibition’s logo. In the catalog’s interior spreads, Brunelle draws on the glut of alternate glyphs available in Forevs for a little bit of variation in chapter titles.

Supporting Forevs in the catalog is Obviously Wide (also by OH no Type Co) for subheads and GT Super Text (Grilli Type) for text. In the exhibition, the text face is replaced by Acumin (Adobe) for use on signage.

Photographs of the exhibition at the Brandywine Museum of Art are provided by the museum. The exhibition is on view at the Reynolda House Museum of American Art from February 15 to May 25, 2025; the Brandywine Museum of Art from June 21 to September 28, 2025; and the Cummer Museum of Art & Gardens from October 25, 2025, to February 15, 2026.

After some retailer and consumer feedback, Sxollie approached Noramble to help refresh the brand for the next phase of brand growth. Tasked with delivering a new 4-pack design for the brand’s new premium retail ventures and a visual identity refresh to help the brand communicate more precisely and more effectively across all their touchpoints.

With retailers and consumers confused by the brand’s artificial look, we set out to help the brand look exactly how it tasted and acted: refreshing, bold, and honest.

We paired a cleaner font family with slightly softer colours to give the brand a more approachable look while retaining the bold appeal people love. We applied this approach to the visual refresh and their new 4-pack design to create a more approachable brand that was true to its direction.

Under the theme of “Imagine Democratic Regeneration”, this yearbook explores a diverse range of artistic visions and interdisciplinary approaches on the future of liberal democracy and the democratic design of a regenerative way of life and economic culture in the age of artificial intelligence. It was published by the Federal Ministry for European and International Affairs – Directorate General for International Cultural Relations, Vienna 2024. The bilingual publication (German and English) is available for download from the Ministry’s website.

Lavish Creative is a marketing agency dedicated to helping small businesses stand out and make an impact in their communities, lavishly. Madeline Eddi, the founder and social media marketer behind the screen, sought a brand that would embody values of community, impact, and innovation.

The design strategy centers on creating a bold, confident brand identity with a modern edge. The primary font, Lima, brings a sophisticated yet distinctive character, adding a touch of imperfection that reflects the agency’s openness to exploring new ideas and approaches.

It Is about Time is the title of a book by artist Jari Genser, looking back on 10 years and 16 works.

As Jari puts it: “A painting, a crime. The punishment: to paint it again, then paint that picture, and so on and on. A Sisyphean task – but sometimes you forget which way time flows.”

The hardcover book measures 25×32.5 cm and has 132 pages. It was published by De Gruyter in April 2023, as part of edition angewandte.

Bluprnt, an innovation consultancy focused on the digital workplace, needed a rebrand to be seen as a partner that helps corporate workers through design. Our goal was to create a brand identity highlighting their mission to make work more human-centric. To achieve this, we carefully selected typefaces that communicate innovation and approachability.

We chose GT Super as the primary typeface for titles and headings, with GT Super Text and GT Super Display variants providing a dynamic and elegant look. The typeface collection ensures readability and impact, which are perfect for emphasizing key messages and creating a striking visual hierarchy.

We use GT America for body text, subtitles, and captions. This versatile sans-serif typeface blends clarity with warmth, ensuring that all textual content is readable and visually appealing. GT America Regular, Medium, and Bold allow consistency across various media, maintaining a clean and modern aesthetic.

Additionally, the logo incorporates a unique u element, symbolizing Bluprnt’s human side and commitment to user-centered design.

See the full case study at serious.business.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

New York Botanical Garden, or NYBG, recently unveiled a new brand identity. It was developed by Wolff Olins and is centered around a new custom typeface: NY Botanical Gothic, or NYBG Gothic, was drawn by Ryan Bugden and also serves for the logo. The NYBG staff writes:

Our refreshed logo is full of organic shapes inspired by natural elements, all of which can be found among NYBG’s collections: flowers, bees, trees, dewdrops, succulents, etc. Our new custom font—NY Botanical Gothic—draws upon notable posters from the environmental movement of the 1960s and ’70s that can be found in our LuEsther T. Mertz Library collection. The Serif forms of the new font pay homage to the more traditional fonts found on historic buildings throughout New York City and across our Garden landscape. Lastly, the new logo evokes the spirit of place of New York City, drawing inspiration from other famous New York icons such as the New York Yankees, The New Yorker, and The New York Times. Our secondary font, GT Super, fits well within the framework of a logo that’s both retrospective and future-facing. Inspired by typefaces from the 1970s and ’80s, it focuses on “the expressive and idiosyncratic nature of calligraphic motions, compelled into stable, typographic shapes”—the perfect combination of flowery and functional.

The typographic palette is completed by Martian Mono by Evil Martians.

Read and see more on the websites of Wolff Olins and Ryan Bugden.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Source: www.nybg.org License: All Rights Reserved.

Source: www.nybg.org License: All Rights Reserved.

Source: www.nybg.org License: All Rights Reserved.

Source: www.wolffolins.com Wolff Olins. License: All Rights Reserved.

Between 2020 and 2023, Atelier Tout va bien, based in Dijon, worked with the GMEM National Center for Musical Creation in Marseille. They first designed the entire graphic identity of the GMEM, with a visual system made up with an animated logo. Then, they developed the various communication materials such as the leaflets for the GMEM season, and finally, they managed the design of the website. At the same time, they carried out the communication for the Propagation 1st and 2nd edition events, as well as Modulations Part 1 and 2. For these events, they designed the screen-printed posters, the imagery for social media, programs material, swag, etc.

The Margin of Error, by photographer artist Emanuel Cederqvist, continues the work started by Axel Hamberg one hundred years ago, depicting Sarek National Park in the north of Sweden. In the book, Cederqvist places Hamberg’s archive photos next to his own taken in the same area.

As a landscape, Sarek hasn’t changed considerably since the last ice age around 10,000 years ago. The difference between Cederqvist and Hamberg's photographs is almost indistinguishable. It’s only the camera and the position in the landscape that set the pictures apart.

The book is designed with both the past and the present in mind, making it feel at home both in a modern bookshelf as well as in a century-old archive.

Two images, taken in the same place, one hundred years apart, meet each other on the cover. The design plays with the conventions of traditional hardcovers using familiar elements in unconventional ways. At the end of the book, text and images flow together in a continuous story creating a unique visual index.

The book was issued by Blackbook Publications.

This Japan travel guide was conceived by Hello Sandwich, designed by Evi O. and Susan Le at Evi O. Studio, typeset by Megan Ellis, and published by Hardie Grant Books. Titles are set in Cako. Body copy is set in GT Super Text, Euclid Square, and at least one yet unidentified Japanese typeface.

Japan is a comprehensive guide written by Hello Sandwich, a local blogger as popular as she is stylish. Design blogger and Japanophile Ebony Bizys, aka Hello Sandwich, has been living in Tokyo since 2010 and has discovered the best of this unique country. All key destinations are covered, including Tokyo, Kyoto, Osaka, Hiroshima, Hakone, Sapporo, Okinawa and Naoshima. Hello Sandwich Japan is for people who appreciate aesthetics, good food and a rich culture, and who will enjoy the neon madness of Tokyo as much as the Buddhist calm of Mount Koya.

Cartography by Emily Maffei

A folded mailer / poster hybrid to help promote the School of Art’s new Master of Design graduate program at the University of Arkansas.

Access is the leading destination management company in the country, with over 50 years of experience. They coined the term “DMC” and have continued to redefine what it means. Access sought a new identity that reflected the true nature of their business, and prestige in the event industry. An identity that communicated their driving forces and motivated internal teams around the future to come. FRNDS in Denver brought us on to build a daring identity that balanced warmth with sophistication, and embodied the strategic and creative powerhouse behind the nation's biggest corporate events.

We use the highly-contrasted serif GT Super Display as the display font to push into the neighborly aspect of their new tone and voice. The display font is complemented by the mono-linear geometric sans-serif Roobert, packed with loads of personality and detail.

Read and see more in the case study.

The troubled history of the marriage between Leo Tolstoy (1828–1910) and Sophia Tolstaya (1844–1919) is well known. Both kept diaries and the last years of their married life were witnessed by regulars at the famous family estate, Yasnaya Polyana. Sophia's voice, however, only emerged in the last few decades, through two novels she wrote – Who's to Blame? and Song Without Words. Both works have their first translation in Brazil published in Tolstói & Tolstaia, in addition to one of Tolstoy’s most famous and disturbing novels, Sonata Kreutzer.

The design of the book references visual elements used in musical notation, recognizing music as the starting point and guiding thread of the novels. In the titles, a typeface (Saol Display) that combines the delicacy of rounded endings with violent sharp serifs alludes to the tempestuous relationship of the Tolstoys.

GT Super is used for body text and Neue Haas Unica for the adjacent texts titles. The book was published by Editora Carambaia.

Posters, flyers and website for the ongoing event series Wie wir leben wollen (WWLW) at Z-Bau, Nuremberg. The panel discussions and lectures bring political and socio-cultural topics onto the stage that we have recently only pondered in comment columns or alone in our closets.

The design by Complex Pleasures combines colorful illustrations and a clean and organized but flexible layout system. In contrast to this is the custom swoosh logo based on Nostra Stream. The website was developed together with Mario Igel and can serve both as a platform for upcoming events and and archive. On the posters, the date is set in Ambiant Sans. The body copy uses GT Super Text and GT America.

The exhibition Touch. Prints by Kiki Smith has been staged at the Staatliche Graphische Sammlung München (one of four independent museums housed within the Pinakothek der Moderne Munich) to mark a generous gift from the New York artist Kiki Smith, who has provided the collection with nearly all the edited printwork she has produced over her lifetime.

To accompany the exhibition a 256-page catalogue has been designed by Buero NOC with Friederike C Hamann. The body copy and captions are set in GT Super Text while all titles are set in all-caps SangBleu Sunrise.

SangBleu Sunrise is part of the SangBleu family, available from Swiss Typefaces.

The logo for the Staatliche Graphische Sammlung München is designed with Univers Next Pro 220 Condensed Thin.

Maisons et Ambiances issue 03, 2021, Reperages

Born in 1989, the Swiss magazine for design, architecture and interiors, Maisons et Ambiances, received a new look. A new formula was designed under the artistic direction of the Lausanne studio Frédéric Held.

The watchwords “dream” and “luxury”, which the publication aspires to, aim to give back to the magazine an aesthetic place in the home, in the same way as a beautiful book. The studio has worked in this direction; a quality of content for a quality of the layout.

The railway was also revisited to welcome, interest and make the reader discover (or travel). The reading rhythm has been designed to be more straightforward in order to provide a clear vision of where we are. To give the reader the “attitude” of the section, to have the impression that each page, each section has been tailor-made.

The impressive iconography and contemporary editorial style were important allies in the design of the various pages. The layout aims to magnify this richness with a certain subtlety and rigorous typographical treatment.

I decided to create a heterogeneous and cheerful structure, as well as a modular but “arranged” layout. The idea that you can go from a photo report of a sumptuous interior to a selection of objects that you covet was very appealing to me. I wanted to mark this richness. The striking contrast in the layout between the different sections is quickly apparent. A mixture of fluidity and control.

Despite the fact that there is a page template for each section, we felt that the flexibility of the grid was very important. From one issue to the next, you have to be able to adapt in record time. Sometimes the number of photos or pages available varies considerably. Several possibilities for margins, columns and alignments have therefore been implemented. The reader wanders around and is surprised by the variety of combinations forming a single whole. A modular typographic grid with the only restriction, or almost the only restriction, is the coherence between the headings in each issue.

The choice of typography was designed to be classic and timeless. The condensed look of the headlines (Berthold Akzidenz Grotesk Condensed) used generously and impressively set the tone of the magazine.

The GT Super Text of Grilli Type also plays a role in the visual balance and reading pleasure. It allows a subtle relationship with the various, often high-end, themes of the magazine.

Maisons et Ambiances issue 01, 2020, Studio-Project

Maisons et Ambiances issue 05, 2019, Dans Le Viseur

Cover of Maisons et Ambiances issue 03, 2021

Exhibea unveils its new brand identity for Galerie Perrie, a professionally curated collection where anyone can buy art online from the comfort of home. With Galerie Perrie’s visually astute audience of collectors, gallerists and art enthusiasts in mind, the Exhibea team knew an elevated and highly crafted design solution was essential.

The typeface used throughout is Neue Haas Grotesk. A restrained color palette of black, white and sand is based on the influence of light and Galerie Perrie's work and mediums. The neutral colors allow for use across all applications and alongside any artwork. Exhibea worked closely with Galerie Perrie's founder, Gabé Hirschowitz, to create a digital experience that made contemporary art accessible to a wider audience. Neue Haas Grotesk is combined with GT Super Text, used for artwork information.

Transit Filmfest is an independent film festival in Regensburg, Germany. The lovingly curated program excites cineasts with an interest in underground directors and off-the-mainstream productions with international relevance. The 2020 edition dedicated to the topic “utopia” was highly impacted by the Covid-19 pandemic and will be caught up in the following year.

The artwork pairs 2D flower illustrations with Grilli Type’s GT Super Display/ GT Super Text and GT America Extended/Expanded. It was realized by Philipp Dittmar and Sabrina Zeltner at Complex Pleasures.

The book Mulheres Míticas em performance (“Mythical women in performance”) celebrates the sixth anniversary of the theatre group Mulheres Míticas through the publication of two plays, O Deszerto (“The Wilderness”, by Felipe Cordeiro and Gabriela Figueiredo, inspired by Carlos Franz’ novel) and Classe (“class” by Guillermo Calderón), plus a number of essays revolving around them.

The project uses visual resources found in archives to organize plays, essays, interviews and collateral text, placing the book as part of the group’s living memory. The cover and back cover externalize this concept through the exposition of the object’s technicalities and symbols that dance over those structures.

14×21 cm, 320 pages, published by Javali. GT Super Text and GT Super Display are used throughout.

For over a decade, and almost in secret, Scott Avett has amassed an impressive body of artwork. Though known primarily as a member of The Avett Brothers, Scott’s formal training was in visual art. We designed and co-edited a monograph that catalogs his work and documents his creative process.

The typographic palette was carefully chosen to balance a host of tonal qualities and specific use cases. GT Super Display, a striking contemporary serif from Grilli Type, provides the lion’s share of typographic personality. Its sibling, GT Super Text, imparts an appropriate formal quality to the essays. With its simple, rounded, typewriter-esque forms, Optimo’s Hermes Condensed provides a stark counterpoint to GT Super’s razor sharp serifs. Dia, a blocky, quirky sans from Schick Toikka, is peppered throughout the book in titles and headings. Dia’s lighter weight is paired with GT Super Text in interviews to provide a visual tone-of-voice change from interviewer to respondent.