HAHN is a construction company in Idar-Oberstein, Germany. Their visual identity pairs Volksans with HK Grotesk.

Doing your own thing. Sounding like only you can. No boxes, no labels, no limits. That’s exactly what The Mars Model is all about. With their 2022 release, Primal Urge, they’re tearing through boundaries and delivering something raw, intense, and unapologetically their own.

The band – Dominiek De Gandt (guitar/vocals), Hans Verbeke (vocals), Tim Jult (drums), Olivier Moulin (synths), and Fred Dufourmont (bass) – pours their souls into six tracks of pure, unfiltered post-punk energy.

For the concept, graphics and lettering, I used three fonts available from my Kustomtype foundry: Bomber TV, Annexxus and Mars Model (used for the band logo). The fourth font in use is HK Grotesk from Hanken Design Co..

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Kenshō Agency's identity for Solar Labs utilises a modification of Laif (New Letters) for the brand logotype, alongside extensive use of both HK Grotesk (Hanken Design Co) and Georgia Pro (Carter & Cone) throughout brand deliverables and communications.

Solar Labs' mission is to bring innovative web3 ideas to life, both for self initiated projects and client led briefs alike. The company strives to be as transparent as possible; providing secure and reliable solutions for web and product development, smart contracts and KYC services.

For the Time Being is an exhibition for Adam Parker Smith in the San Luis Obispo Museum of Art.

The neutral design aims to encapsulate the artwork from various exhibitions while the double-story g in the neutral typeface – HK Grotesk – represents the unexpected symbolism in Smith’s work.

As the Graphic Design Intern I set the typography on the wall and chose the paint. I was also part of the installation process. Adam Parker Smith, the artist, was not involved with the design of the typography.

Check out the entire project on my portfolio.

Solyd Digital is a Barcelona-based technology agency. For their logo, a modified version of Scope comes to use. Their website pairs Cucina for titles with HK Grotesk for body copy. The service page shows a 3D version of the wordmark’s S in the background.

Booch was one of the first successful commercial kombuchas to launch in Ontario, Canada.

As the company has grown, the owner has remained true to her original philosophy of staying grounded, being highly collaborative with local partners, and to create a sustainable beverage company.

Aligned with this mission, she noticed that the lemongrass used in the making of kombucha still had a lot of essence left in its leaves after its first pressing.

She decided to create a zero calorie sparkling water product to stretch the lemongrass flavour further, thereby reducing waste. The result is Squeeze – sparkling water with upcycled ingredients.

We underlined the refreshing, bright flavour of the drink with a bold colour palette, and stayed true to the Booch ethos with the typography and graphics.

In late fall of 2023 2 new flavours were added to the lineup.

In 2013 Jen and Jeff founded Tonic Site Shop, offering customizable templates for websites and Canva.

The redesigned Tonic Site Shop website features IvyOra Display for headlines, quotes, with IvyOra Text for other bits like the newsletter call to action. IvyOra is combined with Sweet Sans and HK Grotesk for text and navigation.

Angel Bakeries is a family-owned baking business which specialises in high quality pita bread. Its focus is to make bread without preservatives, artificial flavourings, and unnatural ingredients. Norbert Extended serves as a meaningful headline font for the look that transports the brand's artisanal focus perfectly. In the design by Awaken, Norbert is complemented by HK Grotesk for text and Sweet Sans for menu and footer.

Barons is a Danish brand and webshop selling “business shirts for corporate warriors”.
Barons use brand ambassadors for the shirts with two well-known sports stars (at least well-known in Denmark), Michael Laudrup and Kevin Magnussen. The website was made by Grafikr, using IvyPresto for headlines and HK Grotesk for text.

With a network of more than 70 satellites and continually growing, SkyFi is on a mission to democratize access to satellite imagery so that businesses can solve their toughest problems and individuals can explore their boundless curiosity. By creating a consumer marketplace, SkyFi is the one-stop-shop for earth observation, with a simple and easy-to-use process that allows you to order archived images or task satellites all from the palm of your hand.

From a type perspective, we found some moments to be large and bold, referring to the use of HK Grotesk, including key messaging and headings. This font works very well at large sizes and we wanted to find some confident and surprising moments, aesthetically matching DM Mono’s more pragmatic construction. We really enjoyed the contrast of both fonts but also it was important to infuse a somewhat ‘technical’ look and feel. When we are showing imagery next to some associated technical information we’d use DM Mono, but for longer descriptions, we would use HK Grotesk because it’s more readable.

Studio Ping Pong worked on the rebranding of College Lab, an overseas education consultancy that specialises in student management and guides them to get admission in the college of their dreams, to stand out from the competition and gain the trust of students and parents alike.

Instead of stressing on the exam results or grades of the students, we decided to shift the focus on what College Lab does right – guiding the students to achieve their goals by honing in their individual skills. With the metaphor of a Northstar, College Lab became their shortest distance to this target. The visual identity focussed on the strengths of the students and how the company effectively nurtured each of them to help achieve their goals.

A fearless typeface (Bely Display by Roxane Gataud) accompanied by the Northstar became the brand logo, ditching the over-used symbols of books and graduation hats. Georgia (Matthew Carter) and HK Grotesk (Alfredo Marco Pradil) are used as brand fonts. The typefaces were chosen to ensure that the brand looks like a legit consultancy in a sea of boring-looking academic platforms. The idea was to stay away from standard sans-serifs and have something that is modern and characteristic. Something sturdy and solid to represent the brand's values.

Using visual metaphors like arrows (for direction), the North Star (their final goal), and stationery, we created a vibrant identity that would not only engage the students but also assure the parents.

The brand’s multiple digital and print touchpoints for onboarding students were broken down into easy-to-understand infographics and illustrations to engage young minds and ensure that education material does not need to be boring and bland to be taken seriously.

Animation by Aarti Bhalekar

Since 1997, Ada X has organized HTMlles, a feminist media arts and digital culture festival in collaboration with several artist-run centers, arts organizations and research centers in Montreal and elsewhere. Bringing together artists, theorists and activists, each edition explores current socio-political issues through a series of exhibitions, lectures, performances and workshops.

In 2021, the theme of the festival is “Slow Tech”, in contradiction to the term High Tech. The majority of the artists exhibiting this year were inspired by the slow pace and forms of nature. Matières à relations is an exhibition presented as part of HTMlles.

The typeface is Paragon, in roman and italic styles. Originally designed by Chauncey H. Griffith in the 1930s as part of the “Legibility Group” for Linotype, Paragon was digitized in 2019 by Cédric Rossignol-Brunet of Fond de riz and released under the SIL Open Font License. It’s paired with Alfredo Marco Pradil’s HK Grotesk.

Marcin Rusak: Encoded Symbols and Roberto Sironi: Encoded Symbols are two books that are dedicated to the work of Marcin Rusak and Roberto Sironi, as part of a series of monographs on the thought and work of young contemporary designers. Illustrated by a rich photographic series, the books present the results of the designers’ creative thoughts through some selected projects; written by Barbara Brondi & Marco Rainò, the volumes recount the experience of the Design Residency inspired by the theme “Encoded Symbols” Rusak and Sironi were protagonists of, which is part of the broader project IN Residence, a research program dedicated to design that has elaborated new reflections in the field of education and training, as well as in the support and promotion of creative talent, through an intense and recognized activity.

Communication for the collective exhibition Bon Voyage at the Galerie l’Inattendue in Paris, bringing together five artists around the theme of travel.

Source: www.instagram.com Darklit Studio. License: All Rights Reserved.

Sleeve++ is a newly opened store for records and second hand clothing in Leipzig, Germany. The identity was designed by Tami Data (@t__earz) and Charly Wagner (@charl_wag), using Digestive as the primary typeface, with HK Grotesk as the sober counterpart.

Source: www.instagram.com Sleeveplusplus. License: All Rights Reserved.

The Sleeve wordmark uses Digestive Three. The double plus mark follows the aesthetic of Digestive, but it appears to be a custom addition – the standard glyph as included in the font by Jérémy Landes is much plainer.

Source: www.instagram.com Sleeveplusplus. License: All Rights Reserved.

The business cards with debossed logotype were further enhanced by colored edges, DIY style.

“Wingdings & Wingdings 2. Explained in HK Grotesk” is a type specimen that I have designed for Wingdings. This popular dingbat font family features three different fonts that contain a wide variety of symbols. The booklet uses the double page format to compare the first Wingdings version with the second one.

Although it was assured by their creators in the early 1990s that the placement of the symbols was random, the comparison between the two fonts sometimes presents several coincidences that gave rise to conspiracy theories invented by users. The specimen explains these coincidences and other curiosities with text set in HK Grotesk.

Made as a student project at Escola Massana, Barcelona.

The curator’s selection of works by Hungarian artists created specifically for presentation at Fresh Fair 2019 in Tel Aviv is inspired by a current trend and phenomenon with a spectacular impact on visual culture, and observes how fashion and visual art cross paths. In recent years, mostly thanks to Instagram and other online platforms, general awareness about trends in lifestyle and clothing increased immensely which has a direct impact on general aesthetics and an indirect influence on how visual art reflects on everyday life.

Client: Edge Communications
Curator: Fruzsina Kigyós
Design: Hajnalka Illés, Andrea Csuport
Photo: Norbert Farkas
See more details on Behance.

Marsha is a fictional magazine about the violence and misconduct against the LGBTQ+ community. Marsha P. Johnson has been a key figure in the Stonewall Uprising who fought police as they raided the gay bar on Christopher Street. Marsha fought and died for the rights of the LGBTQ+ community. This magazine is dedicated to her.

The magazine was created at LUCA School of Arts in Ghent, Belgium and was part of a zine project.

The fonts used in this magazine are Suisse Works and HK Grotesk. The use of a sans serif like HK Grotesk together with a serif like Suisse Works creates a mixture of modern and classic magazine style and goes together with the older and newer articles in the magazine.

Brand identity created for a wedding photographer.

Dee, the person behind the Finder Seeker brand, is a wedding photographer with a very warm and personal approach and a talent for capturing moments of raw emotions. She wanted her new branding to reflect her style and personality, to already give clients a glimpse of what working with her like. There originated a fresh color scheme, an icon of a face squinting into the shutter. These come paired with classy typography, to give the identity a touch of nonchalant elegance. — Alishu.co

Vote.org uses technology to simplify political engagement, increase voter turnout, and strengthen American democracy.

The typography of Vote.org’s recent campaign combines HWT Artz (2014), Erik Spiekermann’s contemporary interpretation of German display types from the 1920s, with Merriweather Bold (2010), an open-source font by Eben Sorkin. The website uses Clear Sans (2013), another open-source font developed by Dan Rhatigan and George Ryan. The nonpartisan, nonprofit organization has used quite a number of fonts in their communication, some of which are shown here.

Website in Clear Sans.

Numerals and caps from two widths of Rhode (David Berlow), paired with HK Grotesk (Alfredo Marco Pradil).

More Rhode Bold Extendend with multiple shadows.

HK Grotesk with underlines.

Thomas Phinney’s Hypatia Sans on a billboard in 2017.

These digital Valentine’s day cards use Laura Worthington’s Voltage.