Biergarten opened in 2016 as an inclusive neighbourhood space inspired by the communal spirit of traditional German biergartens. Over time, its culture became vibrant and loyal, but the brand’s expression didn’t keep pace. Ahead of national expansion, the identity needed to better reflect its fun, familiar personality. We refreshed the brand around its core truth, Biergarten as the familiar go-to place for connection, expressed through the idea of “Always Familiar.”

The brand palette draws from Germany’s Oktoberfest, pairing warm creams and mustards with playful light blues, all grounded by a unifying navy. Beer illustrations use smudged acrylic strokes to evoke blurry community memories. Each beer character is shaped by real stories overheard at Biergarten’s outlets, with small details that make them distinct and true to their backstories.

The brand’s type family is a reflection Biergarten heritage, familiar conversations, and functional needs. Bungee leads as the primary display face, reminiscent of the woodcut letters that were seen in some of the early Biergartens. It allows for versatile usage with various styles to create unique and dimensional displays, both horizontally and vertically. It is paired with P22 Underground, a geometric humanist workhorse for clarity and function across menus, wayfinding, and body copy. Good Dog is used sparingly for handwritten, conversational moments that inject warmth and personality. Together, the three form a layered system that balances heritage, utility, and friendliness in a premium-yet-inviting voice.

Every year, Biergarten Brewery & Kitchen celebrates the Karnataka Food Festival – a tribute to a state that’s a mosaic of accents, kitchens, playlists, and Friday-night pints. This year’s identity draws from the warmth of the Kowdhi quilt of North Karnataka; square patchworks of reused fabrics stitched into rhythmic geometry, paired with colours inspired by vibrant risograph inks and traditional quilts.

Tiny square illustrations echo Kowdhi’s pattern and pair seamlessly with Bungee, Biergarten’s primary typeface with its bold, structured form. Anek Kannada brings the regional script and language into the system, adding warmth through its semi-rounded forms and generous curves while maintaining clarity at every scale. The stacking of Bungee with Anek Kannada mirrors the layered patchwork of the quilts. P22 Underground anchors the typography with a clean, highly legible foundation for body copy and functional text.

Every year, Biergarten Brewery & Kitchen celebrates the Karnataka Food Festival by incorporating ingredients rooted in Kannada food culture. For 2024, a trip to Mysore led us to Rajamudi, a red rice once favoured by royalty, which became the inspiration for crafting a special Mysore Lager for the festival. The visual language draws from Mysore’s royal heritage, blending the vibrancy of palace interiors, vintage Kannada film posters, and old postal stamps into a lively colour palette that echoes both royal splendour and the state flag.

Expressing this cultural blend, we used Bungee, the brand’s primary display typeface, and anchored this in local context with Anek Kannada, for its semi-rounded, contemporary interpretation of the Kannada script. The softness and rhythmic curves of Anek Kannada offer a striking balance to Bungee’s rigid, modular forms, creating a dynamic typographic interplay across headlines, labels, and motion assets. P22 Underground is used as the supporting typeface, providing clean, legible structure for body copy and functional text.

The videography extends this typographic and visual sensibility into motion. Inspired by 1980s Sandalwood cinema, it features bold, stacked type treatments set against scenes from Mysore’s royalty.

The Slip by Miriam Webster is the first book to published by Aniko Press. The ten stories in this collection are dark, feral and completely unforgettable, full of strange encounters and big feelings. The vision for the design brief was to capture the author’s eye for the absurd and the surreal.

As with all the fiction covers I work on, I start by reading and taking notes of themes, key phrases and visual cues. These stories are great fun – weird, funny, dark, surprising – emotional and complex. In one story, the protagonist dreams of animals:

Black dogs and other beasts that stalked behind you on the back roads. Horses whinnying and bucking in the wind, synchronised and weirdly fluid, changing ways like schools of silver fish ... A nanny goat with two grey kids in tow, offering them her teats …

The dream is a premonition – there’s an escaped goat who has ‘chewed through her rope and fucked off up the hill somewhere’.

I interpret this as a symbol for freedom (perhaps incorrectly, but I’m prepared to run with it). I like freedom, I’m not sure I like goats but goats are pretty weird – they’re esoteric, surreal creatures (occult even!) – which seems a good fit for the collection. The power of the goat is calling.

After much trial and error, I eventually found the goat that might save my life. Tongue out – not too cute, not too ugly, just oddly charming enough, it’s chewing away in the high country. Being free, being chill, being weird. Being goat. Seems a nice vintage too, should contrast well with some garishly bright text – aiming for the sweet spot where the archaic (story telling; old as the hills) and the modern (the text often plays with form, while poking fun at its own metatextuality) meet. You know that spot, right? It’s a good place.

For the cover’s display type, I wanted something big and bold but with a certain softness and warmth – enter the rock-solid humanist sans serif with a hint of contemporary typographic finesse, P22 Underground. And okay, my handwriting sucks but I want something with a human hand behind it, so I turn to another literary surrealist – help me out, Franz? – the subtitle of ‘Stories’ is set in FF Mister K (a font based on Kafka’s handwriting).

The interior is primarily typeset in Garamond Premier and Underground (with a few wingdings and emojis for good measure). One story, ‘New Directions’ (which contains the titular story – ‘The Slip’ – in a metatextual way) required a very detailed setting; conveying multiple voices: author, confidant, publisher, analyst, patient – and an eel(!) – with the voices often switching between one another mid-sentence (very slippery indeed).

Providing sufficient visual difference between each voice, while keeping an elegant and cohesive overall, was quite a challenge. The story utilises varying degrees of indentation, all-caps, small-caps, italics, reverse slant, underline – and detailed spacing (the eel is getting high, getting loose, mind and text fragmenting). The result is best experienced in print, of course. On that note, do go buy the book, it’s very, very fun.

Description of the exhibition by the Center for Craft:

Something earned, Something left behind is a group exhibition concerned with reconciling a history of craft and exclusion of POC narratives and displacement. It centers on artists working with cultural traditions at the forefront of their practice to engage conversations of identity, healing, and reconnection. This show gives reverence to ancestral homelands, hyphenated identity markers, expectations to assimilate, and the pressure to give up parts of oneself in order to fit a new identity.

Few objects in the world are apolitical in their historical affiliations. How have the cultural, political, and economic decidedness of objects impacted their meaning and worth? These works on view investigate and analyze the transactional and political languages of objects.

The introductory exhibition text is printed on chiffon, while the eight-page gallery guide is Risograph-printed in three colors—black, light lime, and mint—by Woolly Press. Color separations for the cover image were made using the Spectrolite app, developed by Amelia Greenhall and Adam Greenhall.

Several diacritics—ư, ơ, à, ầ—were cobbled together manually for the exhibition materials, as they do not exist in the Migra glyph set. There's one instance of the Cherokee language used in the gallery guide’s land acknowledgment, which is set in Galvji. You can see other recommended Cherokee fonts on the Cherokee Nation's official website.

Something earned, Something left behind was curated by Kehayr Brown-Ransaw, a 2023 Curatorial Fellow at the Center for Craft. Exhibition management by Sarah Darro, Lisette Gallaher, and Marilyn Zapf. Installation by Ian Brownlee, Carrie Helmkamp, Lauren Roquemore, and Devyn Vasquez. Edited by Liz Carleton. Exhibition graphic design by Erik Pedersen / History of Salad.

The Sorani Kurdish text uses the Kurdo-Arabic alphabet, a modified Perso-Arabic script, and appears to be set in Simplified Arabic (as included in Arial).

Built on top of their core belief – Our purpose is not something we do, it's who we are – Chetana is a coaching company for entrepreneurs, founders and leaders who are ready to lead more consciously.

Original wholeness, and genius, can be found in the waters of the present moment. Our identity for Chetana is based on the concept of the ‘river of consciousness’: the soft ripple between reality and consciousness, expressed through soft gradients that play together, a dual typographic system pairing Victor Serif and P22 Underground and a chromatic adjacent palette. The logo uses the Medium Italic style of Gelica.

Nod came to Noramble (originally called Mave Care) needing communication help. However, when we dug a little deeper, it was clear that they needed assistance with strategy from the ground up.

Once we had a strong brand core and the difficult conversations, we could make the intangible–tangible. We started with a new name and brainstormed many perspectives. We knew we wanted to create a sense of community with the brand, so we landed on the name NOD. You know, the thing that men do when they sort of know each other and walk past each other in the supermarket.

Once the name was nailed down, we moved on to the visual identity and messaging of the brand. Knowing it was for a male audience, we wanted to keep it simplistic and remove the industry jargon from everything the brand did.

We used a black-and-white color scheme with blue as an accent colour and Century Gothic to help create some impact on the packaging. The logo is based on P22 Underground.

The brand launched in December 2021 and earned media coverage in their local news outlets, creating a massive buzz for their launch. We continue to work with Nod to ensure consistency and growth in everything they do.

We guided Affection BLVD's slow fashion journey. We crafted a timeless logo and imagery, eliciting emotions and self-confidence. The graphic elements enrich the nostalgic feel of the brand, providing a roadmap and setting a confident tone for their business.

Our client wanted to translate their sentimental vision into a brand design that not only attracts but also mesmerizes viewers, evoking specific emotions. The client's difficulty in articulating their vision in words posed an additional hurdle. They sought a studio who could listen, understand, and create a cohesive brand identity that embraces the client’s sensibility.

We crafted a logo that perfectly encapsulates the brand's essence. Drawing from the sentimental and visual nature of the client's vision, we provided attentive listening and patient revisions, allowing the client to see their vision materialize. The resulting branding not only sets a solid foundation for their business but also enables them to navigate the slow-fashion industry with a tone that resonates deeply with their audience, while evoking the intended emotions.

Photography: Morgan Sizlak
Makeup: Dara Meutia
Styling: Sofia Gozali
Model: Sabi

F37 Bella by F37 Foundry in use by Moving Brands for the brand identity of Blank Digital, a New York-based retouching and digital capture company. From Katy Cowan’s post on Creative Boom:

Blank was looking for a more effective strategy in order to help establish relationships with the top luxury, fashion and media businesses of the world. Moving Brands explained: "We defined their brand narrative as ‘realising image potential’ – an ambitious stance that focuses on the real business benefit they offer. The monochromatic identity system has an attitude and an edginess to appeal to their high-fashion audience. The mark references Blank’s own editing process; it appears to be at the point of mid-creation, but still elegant.

“The soft colour palette and typeface nod to the family-focused values and love of tailored, crafted elements, and characteristics of the business that were often referenced in workshops with the Blank founders. Most importantly, the system provides a sophisticated, flexible foundation from which their own work can shine.”

The small sans serif caps that is used for website navigation is P22 Underground.

2X 12AX7 Fuzz Unit.

With the Valve Klipper Distortion Unit, Fausto Pérez aimed “to capture in a pedal one of the ingredients in the signature sound of Tony Iommi of Black Sabbath: the distortion circuit of the Laney Klipp amplifiers he played in the early ’70s.”

The typeface for “Valve Klipper” was apparently chosen in reverence to the period, too: Released in 1965, Countdown was big in the 1970s. The Faustone logo is set in caps from Futura Display (1932), while the interface labels and other small type show Gill Sans (1928) [edit: it’s Johnston Underground, see comments]. The script used for “Hand built in Spain” on the MKII model (see below) reveals that these stompboxes are not really from the 1970s: Sloop Script was first issued in 1994.

MKII Distortion Unit.

Good design is people first. Nuebar is formulated by a naturopath, is vegan, uses ethically-sourced ingredients and places an emphasis on sustainability and the plastic-free and zero-waste lifestyle.

We are a small company in Sydney, Australia, run by designer and typographer Kerry Wood. The design of the products is just as important to us as the formulation and the effectiveness of the products – and the history of the humanist P22 Underground is the reason we have picked this typeface. We believe that educated product design can only ever make the product better for all.

P22 Underground is a humanist typeface. The readability and the person-centered nature of the typeface made it the perfect fit for these human and ethics-based products. Moreover, we chose it to denote the type of plastic-packaging-free shampoo, conditioner, or bodywash bar that Nuebar creates. Not only has this typeface been used to visually denote the type of product, but the embedded nature of the type helps the visually impaired know what product they are about to use. The Nuebar logo uses Albertus Nova.

In an article on our website, we explore product design for disabled people and how our design and typography can be helpful.

Sidebearings is a typography resource for designers, type designers, and type enthusiasts, designed and developed by Robert Toman.

It aims to answer the question of where to start with learning typography. A user finds books, articles, blogs, and software recommendations for their studies.

For their own website, creative agency Spruiker in Glebe NSW, Australia brought together a serif and a sans, Darden Studio’s Dapifer and P22’s Underground. Both typefaces are used with a twist: Dapifer is featured exclusively with its Stencil cut, and Underground in petite caps. Dapifer Stencil was specified for the big centered text in the hero graphic, but also for smaller texts of medium length. Thanks to its familiar Old Style skeleton and robust constitution with low contrast strokes, it remains perfectly legible even in this unusual application.

Dr. Lhotka Organic Products is an antimicrobial tooth & mouth care series on a purely natural basis and in certified organic quality. The four products of the series are the result of an intensive research process in which Dr. Roberto Lhotka compiles certified organic herbs in such a way that their strengths are perfectly effective. For people who want to do themselves good - developed and manufactured in Austria.

Branding of the dental care product range by dentist Dr. Lhotka.

Website

The Brand New Conference

is a two-day event organized by UnderConsideration, focusing on the practice of corporate and brand identity — a direct extension of the popular blog, Brand New.

The visual identity for the 2015 edition, dubbed “Grit to the Future”, combines Underware’s Tripper with Obsidian by Hoefler & Co., both released earlier this year and hence in line with the event’s name. This couple is complemented by Georgia (the 2011 Pro version, including the newly added Light weight) and, for smaller items, P22 Underground.

Read about the thoughts that went into the typeface selection on the conference website:

At first we thought that using a stencil font would be too easy as they can be trendy and there was no real concept behind it other than “it’s cool”. We couldn’t shake Tripper though, so we pushed a little bit: what good is a stencil font if you are not going to use it as a stencil? That led us to thinking about a long-forgotten time when subway cars in New York were drenched in graffiti. […]

The second [element] is a reflection on the contrast of yesteryear’s nasty New York with today’s very affluent, sometimes opulent, money-demanding New York — the one where the 1% thrives. Before you think this is turning heavily political or social, don’t be fooled: What we were really looking for was an excuse to use Hoefler & Co.’s Obsidian. We really liked this combination of grungy, dirty, rebellious stenciled graffiti with this super elegant, finessed, luxurious serif. […]

Makeshift magazine’s massive rebranding was headed by designer firm Rifle who gave the magazine a unique brand identity and editorial system. The use of the idiosyncratic Clearface strengthens the identity further and has inspired a sort of revival for the typeface in the digital era. The website also follows the print publications visual identity well. The design process is documented in this article on Re:Form’s Medium page.

Formed in 2011 and redesigned in 2014, Makeshift is a field guide to hidden creativity. From homemade aircraft in Nigeria, drug smugglers in Mexico to Haitian communities pushing back against marginalization, Makeshift uncovers creative solutions from the economic fringe. Makeshift is part of a new breed of magazines passionate about their content, form, and community. We designed the magazine on its beginning, so now we had the challenge to work over our own designs for giving Makeshift a new look and feel.

On the Creative Review blog, in-house designer at Vintage Books, James Jones, explains his typographic approach to designing six covers for paperback editions of Jeanette Winterson books:

"[…] I couldn't find any images that were bold enough to carry Jeanette's world," he says. "This quickly progressed to purely typographic covers before I began introducing some hand-drawn illustrations. […]

"I knew the images I wanted to create would be fairly vibrant and somewhat surreal in their finished outcome, so a much cleaner sans serif typeface was needed to compliment them," he says.

"Any hand-written type would have detracted too much from the images. The illustrations began life as simple line drawings, but they lacked the flair and imagination that Jeanette brings to her writing."

Kelli Anderson:

I created hundreds of graphics for Airbnb to help frame their listings into conceptual groups (broken down by country, by city, by theme, and by "wish list.") Saturated with the common thread of travel-enthusiasm, but with an eye towards showcasing the diversity of the places depicted. AD (for Wish List graphics): Andrew Shapiro.