Darden Studio’s Omnes Black is the titling font for Nick Jr.

Nick Jr. is Nickelodeon’s preschool programming block and also the name of a dedicated pay TV channel. It’s best known for shows like PAW Patrol, Dora, Peppa Pig, Dinosaurs in Space, Blaze & The Monster Machines, and Baby Shark’s Big Show.

On the Nick Jr. website, kids can watch full episodes and videos, play games, and interact with their favorite characters. Omnes Black – the boldest weight of the family – is here used for headlines, alongside text in Neue Plak.

The heavyweight with the selectively rounded corners also features on title cards in the video clips themselves, as well as for the names of the Wheel of Games podcast and the Party Adventure video game, among other formats.

Omnes is typically used in all caps, with smaller text in several weights from Neue Plak.

Omnes Black is also used for title cards of video clips.

Omnes Black in all-lowercase letters for Nick Jr. Games

Wheel of Games is a podcast format launched in 2024. The identifier uses Omnes Black with distorted letterforms.

Omnes Black with dancing letters, contour and highlight effect, on the packaging for Nick Jr. Party Adventure, a video game released in 2024.

The exhibition Porodica i domaćinstvo: lepršava svakodnevica Dušana Bekara (“Family and Household: The Fluttery Everyday Life of Dušan Bekar”), staged at the Nikola Tesla Technical Museum in Zagreb in the fall of 2024, presents for the first time numerous pieces from the rich œuvre of graphic designer Dušan Bekar.

Dušan Bekar (1931–2019) was an influential art director and one of the members of the development line of Croatian graphic design in the second half of the twentieth century. Raised on the foundations of international modernism, Bekar began his journey in 1949 at the Ozeha agency as an eighteen-year-old, and over the next five decades he developed a unique vocabulary made up of illustrations, typography, calligraphy, photography and three-dimensional objects.

The idea for the retrospective arose from the lesser-known fact that it was Bekar who created the visual identity of the first international Porodica i domaćinstvo (“Family and Household”) exhibition held in the fall of 1957 in the premises of the Technical Museum on Savska Street as part of the Zagreb Autumn Fair (and again in 1958 and 1960). In July 1957, in a juried competition in Belgrade, Bekar’s conceptual poster design was awarded the first prize”. The winning entry was a “meander-house” drawn in single stroke. It became the trademark of the event and served as a key visual in the promotional materials.

Thematically, the 2024 show relied on the exhibits that formed the backbone of the 1957 revue exhibition, which addressed the organization of family life within then newly created urban units and the general improvement of the quality of life of our citizens. As we can read in the magazine Čovjek i prostor (“Man and space”) from the same year, it dealt with topics such as furnishing and organizing living spaces, with an emphasis on furnishing the kitchen and preparing food, furnishing the bathroom and maintaining hygiene, clothing and maintaining footwear, and equipment for travel and leisure. A children’s fair was held as an integral part of, “oriented to meet the needs of the youngest citizens”.

The exhibition posters are based on the “meander-house” key visual which is primarily supplemented by illustrations made especially for the 1957 exhibition, as well as some later illustrations that complement the theme of the lifestyle of the time.

The choice of colors is directly based on the colors of the original billboards, while the typeface choice – Neue Plak – is based on using a modernized version of the fonts used at the time. The handwriting font – Flirt Script – was chosen to resemble as much as possible the calligraphy that Bekar used at that time when creating advertisements and similar materials.

Concept and design by Alira Hrabar Bekar and Dušan Bekar (junior) at BEKAR HAUS. See also the post about the exhibition posters.

The exhibition Porodica i domaćinstvo: lepršava svakodnevica Dušana Bekara (“Family and Household: The Fluttery Everyday Life of Dušan Bekar”), staged at the Nikola Tesla Technical Museum in Zagreb in the fall of 2024, presents for the first time numerous pieces from the rich œuvre of graphic designer Dušan Bekar.

Dušan Bekar (1931–2019) was an influential art director and one of the members of the development line of Croatian graphic design in the second half of the twentieth century. Raised on the foundations of international modernism, Bekar began his journey in 1949 at the Ozeha agency as an eighteen-year-old, and over the next five decades he developed a unique vocabulary made up of illustrations, typography, calligraphy, photography and three-dimensional objects.

The idea for the retrospective arose from the lesser-known fact that it was Bekar who created the visual identity of the first international Porodica i domaćinstvo (“Family and Household”) exhibition held in the fall of 1957 in the premises of the Technical Museum on Savska Street as part of the Zagreb Autumn Fair (and again in 1958 and 1960). In July 1957, in a juried competition in Belgrade, Bekar’s conceptual poster design was awarded the first prize”. The winning entry was a “meander-house” drawn in single stroke. It became the trademark of the event and served as a key visual in the promotional materials.

Thematically, the 2024 show relied on the exhibits that formed the backbone of the 1957 revue exhibition, which addressed the organization of family life within then newly created urban units and the general improvement of the quality of life of our citizens. As we can read in the magazine Čovjek i prostor (“Man and space”) from the same year, it dealt with topics such as furnishing and organizing living spaces, with an emphasis on furnishing the kitchen and preparing food, furnishing the bathroom and maintaining hygiene, clothing and maintaining footwear, and equipment for travel and leisure. A children’s fair was held as an integral part of, “oriented to meet the needs of the youngest citizens”.

The exhibition posters are based on the “meander-house” key visual which is primarily supplemented by illustrations made especially for the 1957 exhibition, as well as some later illustrations that complement the theme of the lifestyle of the time.

The choice of colors is directly based on the colors of the original billboards, while the typeface choice – Neue Plak – is based on using a modernized version of the fonts used at the time. The handwriting font – Flirt Script – was chosen to resemble as much as possible the calligraphy that Bekar used at that time when creating advertisements and similar materials.

Concept and design by Alira Hrabar Bekar and Dušan Bekar (junior) at BEKAR HAUS. See also the post about the exhibition catalog.

May 17 — Instagram post 4:5

NUMAcircuit is an annual festival in the Canary Islands, dedicated to artistic experimentation and the exploration of avant-garde forms of creation. Established in 2008, the festival has become a prominent platform for contemporary artists, fostering collaboration and dialogue across multiple disciplines such as music, visual arts, and performance. NUMAcircuit not only offers a diverse program of concerts, installations, and performances but also includes workshops and artist residencies aimed at promoting innovative approaches to art. With a strong emphasis on interdisciplinary interaction, it serves as a meeting point for artists and audiences interested in cutting-edge artistic expression. The 2024 edition marks the 16th anniversary of the festival, which continues to play a key role in energizing the local and national avant-garde art scene, particularly through collaborations with spaces like the Auditorio de Tenerife and TEA (Tenerife Espacio de las Artes).

The visual identity of NUMAcircuit over the last ten years has embraced a blend of minimalist yet futuristic aesthetics, often reflecting the festival’s focus on the intersection of sound, technology, and avant-garde digital art. The graphic design leans heavily on abstract shapes, glitch art, and bold typography, which aligns with its experimental nature. Many of the festival’s posters and digital visuals feature CGI artworks combined with dynamic, flowing elements, often incorporating dark or neutral backgrounds with vibrant accent colors that echo the electronic and immersive music performances.

This visual style takes cues from contemporary digital art, particularly art forms like IDM (Intelligent Dance Music), AI image generation, and glitch, where fragmented visuals mirror the festival’s exploration of real-time sound creation and coding as art. For instance, the use of audioreactive visuals, where the design directly interacts with music, is a key feature of its graphic output.

Additionally, the festival draws inspiration from live coding performances, where code displayed in real-time is projected as part of the visual spectacle. These performances blur the line between visuals and programming, with projections that evolve in sync with the music.

NUMAcircuit 2024 main poster

NUMAcircuit 2024 XL Display

NUMAcircuit 2024 XL Display

May 22–24 — Instagram post 4:5

May 18, Stian Westerhus & Erland Dahlen — Instagram post 4:5

3 Sided Coin solves business problems with play, and our primary typeface, Obviously, reflects that. Goofy, dynamic letters break the mold, mirroring our rule-breaking spirit. Paired with playful graphics, it’s an invitation to join the fun. But we’re not all whimsy. Neue Plak, our body typeface, balances the quirk with professionalism. We are a world-class agency that proves you can be playful and serious.

Fox Pass is 3 Sided Coin’s blog about design, tech, music, agency culture; and everything in-between.

In designing Fox Pass, our goal was to select a typeface that would integrate well with the hero illustration, projecting an atmosphere of fun, relaxation, and a dash of drama. When we came across LL Blankenhorn, it seemed to be an ideal fit. The handwritten quality of Blankenhorn gave it a more personal and casual vibe that aligned perfectly with the “chilling in a quaint Italian town” feel of Fox Pass, while resembling vintage automobile logos. Neue Plak, our body typeface, balances the quirk with professionalism. Fantasque Sans Mono for captions and tags add to the relaxed, cool setting with its wobbly handwritten quality.

The Last of Us is a HBO TV show based on the eponymous cult game released by Sony in 2013. It tells the story of a hardened survivor and teenage girl after a global pandemic destroys civilization.

Title sequences were created by American studio Elastic. The official font of the show and game is Press Gothic by Canada Type. From their website:

Press Gothic Pro is a retooling and major expansion of Aldo Novarese's Metropol typeface, released by Nebiolo in 1967 as a competitor to Stephenson Blake's Impact (designed by Geoffrey Lee). Though Metropol enjoyed a few short months of popularity and use in Italy, Germany and France, Impact won the technological outlasting battle by moving on to film type then to computer outlines bundled with mainstream software, while Metropol never made it past the metal state until now. Too bad really, since this is one of the few faces that could have played well with all the horrendous stretch’n’squeezing of the 1970s.

Press Gothic is paired with various other sans serifs. In the poster shown above, it’s Jay Gothic and HBO Max’s standard Gilroy. The poster shown below has Helvetica Inserat and Neue Plak Compressed for the date. The titles feature Tungsten with Avenir.

Method is a restaurant, bar and event space in the heart of Moscow, Russia. Built on the site of an old ceramic factory, it carries the spirit of Russian constructivist traditions.

Working with interior designers, we came up with a warm yet sharp identity, which marries the flexibility of ceramics, and rigidity of Russian modernist design aesthetics: think black square. The black plaques on the restaurant walls stretch, modify and attach to letters in the identity. Typography is flexible and clay-like - it flows and bends just like pottery.

The visual language of this – not yet rolled out – new visual identity is built on sharp typography. The capitals of Neue Plak (paired with Neue Helvetica for copy) are applied across materials and assets: merchandize, coasters and glasses, interior spaces, event brochures, website, posters and menus.

The international summer festival of Kampnagel takes place annually in August for three weeks at Kampnagel and at selected locations in Hamburg. Since its founding in the mid-1980s, it has been one of the major European festivals for contemporary performative arts from around the world. András Siebold has been the artistic director of the festival since 2013. With his program, he puts a special focus on the entanglement of pop culture and avant-garde and on the interdisciplinary expansion of genre boundaries.

The festival logo and most collateral use capitalized Neue Plak Condensed. For the promotional video and poster, Neue Plak is paired with Zephyr.

Baalbek, Archives of an Eternity is an exhibition curated by Vali Mahlouji. It was shown at Sursock Museum, Beirut, Lebanon, from 28 June to 22 September, 2019:

Baalbek, Archives of an Eternity investigates the site of Baalbek. It reconstructs a complex network of histories and readings, encompassing the pre-historic origins of the site, its rise to prominence, mythologies, functions, occupations, appropriations, its role in identity politics, its role in modern national and political agenda, its hosting of the Baalbek International Festival, and its contemporary reality. The project brings together archaeological, ethnographic, anthropological, cultural, and artistic perspectives to unpack the history of Baalbek from its origins to the contemporary moment. It attempts to ascertain if, and how, Baalbek operates as a signifier, a point of reference, and an identity marker throughout history.

Exhibition graphics and communication design: Mind The Gap
Scenography: Jacques Aboukhaled
Photographs: Christopher Baaklini

Science Notes, published by the University Tübingen in Germany, is a magazine exploring “knowledge and society”. Dealing with a single subject, each issue gathers various members of the institution's diverse pool of researchers, designers, and artists, in order to highlight relevant studies and their potential impact on our society.

This third issue is examining the subject of “reality” and exploring the subjects of virtuality, simulation, and the “real world”. By asking questions such as ‘Can a man love an object?’, ‘How can a vegan burger bleed?’, and ‘Can our brains distinguish actuality from thought?’, its aim is ultimately to inspire a sense of questioning ‘what is real’ in the reader.

As a publication dealing with both retro and futuristic worlds, that’s trying to make the underlying science understandable and tangible, it was designed to feel pointed, dynamic, and surprising.

The magazine uses Primo Serif (Playtype, 2000) as their constant house typeface. In each issue, it is paired with a second one. For issue 1 “Optimal”, art director Sandra Teschow chose Code (Fontfabric, 2011). Issue 2 “Gefahr” (danger) introduced the Neue Plak series (Monotype, 2018). For the third issue shown in this post, Teschow combined Primo Serif with Neue Plak again and added VP Pixel (VP Type, 2017) to the mix. The pixel typeface is used for the magazine logo and for headlines. You can read more about the design process including aspects like paper stock, grids, and images in a report published by Wissenswerte Bremen.