Culture numerique (March 2019), Culture écologique (Feb. 2022), and Culture juridique (Jan. 2025) were published by Presses de Sciences Po in the Petites Humanités (Small Humanities) series.

Designed by Atelier AAAAA, the covers combine Bureau Brut’s Bourrasque and Traulha, paired with OH no Type Co.’s Obviously, Velvetyne’s VG5000, and The Pyte Foundry’s Alcove for “Culture écologique”.

Bourrasque showcases the idea of ever changing life and shapes, the ideas that continue going forward, taking the others with them. As for Traulha, it fits perfectly for the juridical aspect. Round, lapidary and elegant at the same time, it represents the balance of law with its uniqueness.

The book interiors are set in TypeTogether’s Marco, paired with Obviously and the volume’s respective title typeface.

The most positively talked-about event at Eurovision 2025 in Basel was the epic showdown between fan favorites Käärijä (Finland, 2023, in green) and Baby Lasagna (Croatia, 2024, in blue). The returning runners-up duo performed a mash-up of their own Eurovision hits – “Cha Cha Cha” and “Rim Tim Tagi Dim” – before launching into their brand-new part-Finish, part-Croatian collaborative single “#eurodab”. The performance quickly spread online, with critics calling it a “delirium-inducing” performance, creating another viral hit from two performers who often tend to overshadow the winners of their respective seasons.

The at the core of performance’s staging was the exclusive use of OH no Type Co’s Obviously Variable – flashing, squishing, and darting all over the LED screens surrounding the stage, with extra effects added in above their heads for broadcast. The graphics for the first part evoke a classic arcade video game esthetic, with visuals popping up during their segment to say things like “Round 2” and “5x Combo”, before launching into a technicolor mashup for “#eurodab”. Set designer Florian Wieder and lighting designer Tim Routledge created a spectacular show environment that captivated audiences across Europe and beyond.

Otherly is a dairy-free chocolate brand from Edinburgh that uses oatmilk in place of traditional dairy. Rather than leading with functional benefits, the brand positions itself as a celebration of individuality and differences.

Designed by Glasgow-based Freytag Anderson in collaboration with Brooklyn illustrator Tomi Um, the identity centers on fantastical, illustrated worlds populated by quirky characters. Each flavor variant features distinct settings—from underwater realms to outer space, the jungle, beach, moon, and city—where no rule is followed and logic can be broken.

The wordmark uses OH no Type Co's Irregardless, a sans serif with irregular details that mirrors the brand’s off-kilter personality. Obviously serves as the secondary typeface across the packaging and brand system.

Tomi Um’s illustration style dominates the packaging, creating immersive, whimsical scenes printed on home-recyclable wrappers. The design extends across the full brand experience including website, motion graphics, and social content.

The project received a Wood Pencil at the D&AD Awards 2024 in the Packaging Design category.

Design applied to an advent calendar

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.

A safety campaign for Transport for London, designed to spotlight potential hazards across the network. Led by Ali Augur at VCCP London, the design and art direction made the most of short, punchy headlines within a portrait format. To emphasise impact, Obviously was used for its variable weights. The font is robust even when skewed or angled, always holding its strength and clarity.

Illustrator Andrew Hudson was brought on board to create the textured and colourful visuals that run throughout the campaign, adding depth and personality to the message.

Suped Up is the new power-pop project of Brian Dove and Noah Bowman. The band released two singles, “Crosswords” and “No Ghost No Problem” ahead of the release of their debut self-titled album (out April 25, 2025 via Hilltop Recordings).

As one half of said duo, I got to take the lead on creating assets for the new album, which was a great excuse to use some of my favorite fonts (and one of my own)!

The album artwork and cassette packaging uses PicNic for the band name and track listing, with Gayot New Thin for accents and the wider side of Obviously’s variable font for smaller typesetting.

On the album release show poster, Megazoid makes an appearance and Obviously’s variable axes get put to further use.

The lyric video for the single “No Ghost No Problem” also features PicNic, Gayot New, and Obviously.

Album artwork for Suped Up’s self-titled LP

Album release show poster

Cassette tape

Cassette Jcard front and interior

Still from the lyric video for “No Ghost No Problem”, featuring Gayot New

Still from the lyric video for “No Ghost No Problem”, featuring Obviously

Waterfront Blues Festival has kept Portland’s music community bopping since 1988. As a legacy brand, honoring the loyal fanbase who’s been there since day one while welcoming a new generation of music lovers is crucial. We pored over vintage concert posters to update the Waterfront brand in a way that bridges the past and the present to create something recognizable yet refreshed.

Dean Gothic Compressed by Inès Davodeau and Silvana Display by Siri Lee Lindskrog (both available from Blaze Type) are used for the new website of agency Prototype:

Prototype is a creative house based in Paris, founded in 2017 by Fred Bauer and Sophie Goussin. Prototype is a hybrid structure, both a consulting agency, production studio, and digital factory, allowing us to support you from the advisory phase to distribution, ensuring the effectiveness of your media, whethe audiovisual,print,and/or digital.

The agency logo is set in Obviously by James Edmondson, available from OH no Type Co.

Poster for Superhero & Superhero, the inaugural show for Texas A&M University’s BFA Theatre program as part of the College of Performance, Visualization, and Fine Arts.

The logo was created using Obviously Variable by OH no Type Co. and printed on a Risograph. The secondary font used was Indoor Kid by David Jonathan Ross.

Lupo (Italian for “wolf”) is a small Italian delicatessen that opened in Lyon in the fall of 2024. Located in one of the narrowest buildings in the city, this cozy shop offers a wide variety of products from across Italy, mostly sourced from family-run producers.

Lupo features a logo that is fully and intentionally hand-drawn, evoking spontaneity and generosity, in the spirit of Italian street food. The wolf, a historical symbol of Rome and often seen negatively in the collective imagination, here sheds its unfavorable traits to become a friendly and welcoming mascot.

Larrie’s is a fish & chip takeaway positioned across the road from Merewether Beach in Newcastle, Australia. It aimed to embody the perfect mix of milk bar nostalgia and coastal colloquial to create a venue that will become a true community hub.

Although the identity draws on nostalgic and local elements, it does not rely on them. From the checkered floors, or the mismatched type of your local milk bar to the colour palette from heritage-listed Merewether Baths, we reinterpreted these key characteristics to create an identity that is fresh and appealing.

Red Kap is an American retailer specializing in making workwear since their founding in 1923, starting with a trademark red cap. To celebrate their 100 year anniversary, they hired Nashville-based creative agency Table to give them a brand refresh that is far from the usual uniform.

Previous iterations on the brand included a typical selection of “workman” sans serifs — Trade Gothic, then a gaspipe sans, then Knockout and Gotham (Hoefler & Co) in the mid–2010s, then a techy monospace in the early 2020s.

In 2023, Table decided to shed the “thousand-yard stares and guitar riffs” that is de rigueur for products targeted to the trades, and focus on the fun people have at work when they’re doing what they love. Keeping the Knockout used in the Red Kap logo, Table added Obviously (OH no Type Co) into the mix to take over the heavy lifting. The conversation between the two highlights all the bounce and fun Obviously brings to the brand, like a seen-it-all old timer and an enthusiastic apprentice.

The new brand centers around inviting and playful brand photography set with several widths of Obviously, and a background of the eponymous red. To complete the ensemble, Table designed golden callouts that feel almost like patches that might be sewn onto the garments.

Lastly, the identity is anchored with a neutral grotesk for body copy: most of the time Neue Haas Grotesk (Commercial Type), sometimes Neue Haas Unica (Monotype), other times just Helvetica, Arial, Open Sans or Roboto.

Brand strategy, naming, brand messaging, creative direction, art direction, visual identity, logo design by Table, with production by Farmuse.

Principal, Head of Creative and Design: Sean O’Brien
Design director: Ashley Rocha
Senior art director: Shehan Rodrigo, Haley Stone
Graphic designer: Michael Dove
Web design: Elva

For a full list of credits, see the case study on Behance.

Homepage (top)

Homepage (detail)

Homepage (footer)

The Campaign Against Living Miserably (CALM) is a UK-based charity that has been “standing against feeling hopeless, standing up to stereotypes, and standing together to show life is always worth living” since 2006.

London-based studio Output created a brand that is boldly outspoken because the issue CALM campaigns against is often so invisible. Output and CALM wanted the brand to feel accessible, to meet people wherever they are, and to make them feel safe and understood. To achieve that goal, Output paired the affable Obviously by OH no Type Co. with an electric color palette. The result is a brand that is impossible to miss.

Output’s rebrand utilizes Obviously’s multitude of widths to provide a vibrant type palette, often combining different widths in the same line for emphasis. A fantastic example of this is the dynamic speech bubble logo, which uses Obviously Wide to call out the organization’s acronym in the full logo, and morphs into an acronym-only version when space is at a premium.

Finally, the CALM website backs up Obviously with Degular Text (also by OH no Type Co) for body copy.

Rainer, Obviously and Renika, accompanying a cute 8-bit animated illustration of the White House.

Vote Save America (VSA) is a platform for organizing voters and volunteers for progressive causes in the USA. Started by the people behind the popular political podcast Pod Save America for the 2018 midterms, they’ve raised more than $55 Million for progressive causes and helped volunteers sign up for more than 211,000 volunteer shifts — and that’s all before this massive 2024 election kicked off.

With 2024 poised to be the biggest yet, Vote Save America rolled out a super energetic brand, designed to pull in volunteers of all ages and make getting involved in the political process fun. This year, VSA split their volunteer base into two teams — East and West — to compete to see who can contact the most voters before November.

VSA brings in a few outspoken display typefaces for its 2024 campaign; an eclectic mix of styles, all coming together (like we all should) for a good cause. Most are on or have graduated from Future Fonts:

– Rainer (Philipp Neumeyer, released by Vectro), used in all caps, leads the brand and makes a huge impact for headlines. Its backslant appropriately leans to the left.

– Obviously (OH no Type Co) lightens up the palette a bit, its corpulent curves contrasting with the stark linearity of Rainer. Its Normal width is used for headlines, subheads, body text and some “call-to-action” text inside buttons in a variety of weights.

– Metamor Bit (Masahiro Naruse), stands in as an 8-bit video game font, a reference to the new East-vs-West gamification theme. The wide, monospaced forms of Metamor Bit serve as a great 1-2 punch with the super condensed Rainer when used together in headlines. Metamor Bit is not quite used to its full potential here, however — it has hundreds of icons and emoji, variable widths, CJK support, multiple serif options, and a neat texture feature — but it is still a great choice. Metamor is so integral to the 2024 VSA branding that the cute, 8-bit animated illustrations peppered around the edges of the site are based on the style of Metamor Bit’s emoji.

– Renika (Graphix Line Studio) is a handwriting font that adds a personal touch to the very type-heavy brand. It is the only typeface in this group that is not connected to Future Fonts.

Rounding out the brand is a new logo with blocky letters that stack together, which might be custom lettering.

Rainer leaning left, along with Obviously in the "call-to-action" button.

Metamor Bit making a statement below the arrow.

Rainer, Obviously and Metamor Bit helping to gamify the landscape.

Type animation for an event about practicing as a musician. Üben was invented by Musik Raum a.k.a. Martin Schlögl and held at queer muscle, a queer fitnessstudio in Vienna.

Artwork by Kyle Letendre

For 2024 TypeCon in Portland, Oregon, local designer and illustrator Kyle Letendre combined influences of American roadside and marquee signage (of which Portland has some prime specimens) to pull off a show-stopping brand that reflects the jovial atmosphere of the conference and its host city. Letendre chose typefaces that reflects the welcoming community that the conference attracts, and also some with special ties to the Portland area, which has hosted the conference for the past two years.

The star typeface is Yumex, designed by DualType (Zrinka Buljubašić and Gen Ramírez) and released in Spring 2024 by OH no Type Co. Backing it up are VCTR Mono, by Portland-based Vectro Type (Lizy Gershenzon and Travis Kochel), and Future Fonts darling Puffling by Ro Hernandez.

Kyle filled us in on his thought process for the brand design:

Yumex caught my eye from the first time I saw it in use, at an exhibition at 2022’s Letrástica. It felt lively and lovely in a way only Zrinka and Gen could achieve, and the family has become a favorite tool since it was released by OH no.

As the primary type for TypeCon, Yumex handled its role beautifully. I initially thought of it for body text, something very easy to read but far from lifeless. And eventually found a way to decorate the living daylights out of it, even turning its italic into a neon sign for banners, the podium, and a sticker. Given that the identity this year had a bit of nostalgia with its focus on signs, I found Yumex very useful in that it has vintage roots, but feels unmistakably modern.

I thought of Yumex as the grounding center of the type used for the conference: Ro Hernandez’s Puffling added a sprinkle of gregarious charm and versatility with its varying widths and weights where needed; and Vectro’s VCTR Mono was our dutiful companion for name tags and spaces where something very utilitarian was necessary. It’s fun to use fonts your friends make, but even more fun when the fonts make you look really good as a designer.

Finally, the 2024 TypeCon website also uses Obviously (OH no Type Co) for “call to action” text on buttons, and Yumex Script in the header.

Typefaces took center stage here along with the 2024 Catalyst Winner, Raven Mo.

The dutiful companion, VCTR Mono on the name tags.

Yumex in action, text and headlines.

Yumex Script in the header

A book cover for De comfortcrisis by Belgian neurotherapeut Tom De Prest. The cover is inspired by the molecule of dopamine in a flashy green.

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.

ATX TV started out as a weekend festival but is now a community of fans and industry, interacting together via their ATX TV Membership Program, The TV Campfire Podcast, Social media channels, and events. This include the annual ATX TV Festival which takes place every year in June in Austin, Texas.

Their identity is made up primarily of different weights and widths of OH no Type Co.'s Obviously family being used in combination together. Obviously is used in the logo, the ATX TV Festival website, merch, festival graphics and on social media posts on all platforms. Most of the text on the website is using Jonny Pinhorn's Karla.

We'd love to give proper credit, but we don't know which agency is responsible for setting up the branding/identity. Over the course of the last few years, different designers (such as Isabel Canales) have employed the existing brand guidelines to promote the festival and community. ATX TV is currently a part of the PMC family.

Momentum. The art of the moment was a joint exhibition by Neues Museum Nürnberg and the Art Department of the Lutheran Church in Bavaria in 2023, curated by Helmut Braun, Thomas Heyden, Simone Schimpf, and Janette Witt.

The design focuses on the visualisation of a turning point – the momentum – as a white fading circle that is surrounded by the exhibition title. Using only black, white and the typeface Obviously by James Edmondson, the design creates a bold atmosphere. As an additional highlight color, the neon orange was chosen for the flyers and brochures. For different media, the condensed and extended font styles equally fill the individual formats.

The exhibition architecture by Martin Kinzlmaier reflects the key visual, by using a light fading circle spotted on the center of the exhibition hall’s floor.

Participating artists: Meide Büdel, Carmen Dobre-Hametner, Manuela Hartel, Angelika Huber, Sebastian Jung, Susanne Kutter, Johanna Strobel, Bernd Telle, Florian Tuercke, Stefanie Unruh, Stefanie Zoche and Benjamin Zuber.