Théâtre Théo Argence in Saint-Priest is celebrating its 90th anniversary with a new visual identity designed by Léa Audouze and Jérémy Barrault. Posters, brochures, and window stickers featuring colorful streamers, using the Maroni Condensed font by Calame.Bureau.
The typeface used for the season booklet is Capraia by CAST; the website, coded by Studio Travers Média, additionally uses Inter by Rasmus Andersson.

Tatenda Chidora is a Zimbabwean visual artist based in Johannesburg, South Africa. His practice investigates and celebrates the multiplicity of Black expression, using performance and play to explore themes of place identity and manhood.

The design challenge was to create a portfolio website that showcases the range of the artist’s cultural, commercial and personal work while within a clear distinctive editorial voice. The site is inspired by a series of Zimbabwean passport books, where micro text frames large visuals. Tatenda’s work is cardinally editorial and we wanted the site to feel like a tactile concise printed photo book contrasting the never-ending scroll of the digital world.

The logotype uses CoFo Kabeltouw, a modular typeface with an industrial look that invokes the artist’s personal identity and universal adeptness. The type combines a strong technical look with the warmth of manually painted letters; mirroring the vernacular typography that animates the streets of most black/African communities all over the world. Times New Roman and Inter Tight are two meek typefaces that frame the artist’s vibrant and dynamic photographic work in an expanse of black space, the primordial source of all life and every image.

Lanorma has developed the identity for Goods, a Japanese matcha brand created to bring ceremonial-grade tea to a European audience. The project distils the visual philosophy of Japanese craft down to its most essential components, using colour, space, and restraint as the primary carriers of meaning. The aim is to present an ancient product as a contemporary lifestyle proposition coherently across physical retail, premium packaging, and digital channels.

The typographic system relies on precise composition and generous spacing, creating visual breathing room that signals confidence without coldness. This approach bridges the meditative quality inherent to the matcha ritual and the directness demanded by a discerning European consumer, resulting in a presence that feels neither nostalgic nor generic.

To maintain consistency across the range, a flexible visual system was built around the natural tones of the product itself: deep greens, warm off-whites, and muted earth hues that reference both origin and purity. Organic forms and soft geometry appear throughout, grounding the identity in craft without resorting to literal illustration. The system holds its visual temperature across every format, from primary packaging to retail environments, adapting in scale while remaining unmistakably the same brand.

Index_Georgia operates at the intersection of visual research, a cataloguing system, and a contemporary archive documenting the evolving street art landscape of Georgia. This cultural essay was built in the Swiss Style, featuring a 4-column grid and utilizing only a single font weight of Inter – chosen as a digital homage to Akzidenz-Grotesk,

When the Chief Justice of India compared the unemployed, lazy, chronically online youth who rant against the system to cockroaches (a comment which he retracted later), Boston University graduate student Abhijeet Dipke, with help of anonymous friends and ChatGPT, made a satire political outfit named Cockroach Janta Party.

Within a week it became world’s fastest growing online political movement, gathering hundred thousand signups in website and 20 million followers in Instagram, surpassing India’s ruling Bhartiya Janata Party and main opposition party Indian National Congress combined. Its AI-generated videos and meme content caught the fancy of GenZ of India. Government crackdown in form of blocking its X handle for “threat to national security” also helped in its popularity.

Hana Mulaku is a contemporary jewellery brand built around the belief that value already exists within overlooked materials, inviting people to look again through process, observation and transformation.

The typographic pairing work together to balance atmosphere with precision – pairing cinematic, literary softness with quiet contemporary structure to create a typography system that feels refined, restrained and deeply intentional.

Collier is a contemporary, visually balanced serif that brings warmth, tension and cinematic elegance to the identity through its refined proportions, subtle irregularities and literary character.

Inter is a sans serif providing a quiet structural framework for the brand. It's clean, contemporary and restrained, allowing clarity and precision without overpowering the atmosphere of the serif.

Packaging

Care card

Instagram post

Label tag

Poster design

Colour palette

Letter mark

Nomad Electric delivers comprehensive utility-scale renewable energy solutions, pioneering solar, wind, and hybrid power plant technologies.

We implemented a complete brand transformation using our “unselling” methodology, repositioning Nomad Electric from a conventional energy contractor to an advancement-driven technology pioneer. The strategic redefinition centered on the concept of “never stop” – continuous energy, innovation, and operations – while developing a sophisticated identity system that speaks to engineers rather than boardroom executives.

Perfora in use for the Blender Conference 2026 in Austin, Texas (Blender as in the open-source 3D software, not the kitchen appliance.) The identity was designed by Autotroph, a company with a focus on Blender and the host of the Blender Conference North America (the original branch takes place around Europe). This is the second installment of the North America conference. Additional fonts include Gooper, Obviously Narrow, Inter, and an unidentified ballpoint script.

Shizen Salad is a modern custom salad brand based in Osaka, Japan. The goal was to provide a vibrant, healthy alternative that balances everyday affordability with premium quality, serving as a fresh new hub for local professionals and residents.

Our challenge was to build a highly approachable identity that instantly communicates freshness, while maintaining an elevated, trustworthy feel. To balance this friendly and dynamic symbol, I needed a typeface that could provide a sophisticated, grounding anchor. I selected Value Serif by Colophon as the primary typeface. While the brand’s core concept is everyday-friendly, Value Serif brings a crucial sense of modern refinement and high-quality craftsmanship.

Its elegant proportions and contemporary, sharp wedge serifs create a beautiful contrast with the organic curves of the symbol. This typographic choice allowed the brand to scale seamlessly from physical eco-friendly packaging to digital UI/UX, ensuring the visual language remains both inviting and decidedly premium across all touchpoints.

The logo and slogan use Futura. On the website, headings in Value Serif are combined with text set in Koburina Gothic and Inter.

Karolina Stelmach is a real estate agent who knows how important a professional offline and online presence is. We’ve created a personal branding that communicates her personalized approach to clients, as well as reflects her nature and passions. The visual language oscillates between greens and a burgundy palette, and the offer is shown through artistic filters making it look like paintings. Choosing a property is like art, isn't it? We’ve also created a range of printed materials: from an unusual presentation deck, to business cards and stationery. We are delighted that Karolina will stand out in the vast pool of online creators.

Fundiciones de Ódena, S.A., or Funosa for short, is a Spanish foundry that produces cast iron components. Founded in 1916 and based in Òdena, Barcelona, the company manufactures parts for multiple sectors, including automotive, agriculture, construction, machinery, and railway infrastructure.

Their new website combines Scope with Inter. The logo is based on Futura Black.

Bonabola is a contemporary brand for padel gear and apparel, created to move away from the aggressive visual codes that dominate the category, positioning itself as precise, product-focused and modern.

The project is built around a clean and essential system. The mark, inspired by the intersection of two balls, references the pair-based nature of the sport. The logo is a custom type design whose rounded inner corners and softened joints echo the geometry of the symbol, creating a cohesive visual system. Generous tracking enhances rhythm and refinement.

The corporate typeface is Inter, selected for its tech-clean, minimalist character. Its neutrality and clarity support the brand consistently across product, packaging and digital applications.

Upstream is a venture capital firm in Utah that supports founders in the intermountain west and beyond. Their logo uses Volksans. On the website, Manrope is used as the display typeface and Inter for smaller text.

The founder of Third Rail Advisors approached me to create a simple but bold logo for his new business. The name “Third Rail” was inspired by the electrified rail on a subway track: they aim to empower and embolden their clients’ business strategies. Their new logo needed to work for more serious business documents, while also being contemporary and dynamic.

I looked to NYC’s iconic subway identity for inspiration. Three vertical lines form a subtle abstract graphic representing the subway tracks. The stripes can live alongside the logomark, on their own as an icon, or can be extended to form a super graphic. The logomark uses the typeface Inter, similar to the MTA’s Helvetica, with added legibility for digital use. The letterforms’ verticality complements the rail graphic. The chosen shade of blue is vibrant, high contrast, and bold while still functioning well in a professional context.

Mammoths may be extinct but their name lives on, and this time representing a very bold clothing brand that is essentially a wearable provocation. With Mamuti Edgewear, you can state your mind with a shirt, cap or pencil case, and the minimalistic design allows the messages to really speak volumes.

It was so refreshing designing without any censorship or restraints, and the typography complemented the brave attitude perfectly. As a special treat, manicule's index finger was turned into middle finger.

From the website of Canterbury Tech Summit:

The world is evolving at a rapid pace, and with it comes both uncertainty and opportunity. What better time for our Canterbury Tech community to come together – to collaborate, share insights, and explore how we can accelerate the growth of Aotearoa New Zealand’s tech sector. We warmly invite everyone involved in tech and anyone curious about where it’s heading, to join us for the 2025 Tech Summit.

The conference’s identity typeface is FH Lecturis, which is paired with Inter and the visitor’s default sans serif on the summit website.

Valencia Plaza magazine celebrated its 15th anniversary in 2025 with two publications that compile and review this period.

A design project divided into two complementary volumes: on the one hand, a yearbook that reviews fifteen years of context and transformation in the Valencian Community, organising content and voices within a clear structure. On the other, an edition built around images, where the photographic archive of this digital newspaper offers a freer interpretation of the period and allows the photographs to set their own pace.

Typography plays a central role in the Estiu’s design. Schotis, by Juanjo López, sets the tone for the publications and articulates the hierarchies and typographic system, bringing identity and coherence to the whole. The supporting sans is Inter by Rasmus Andersson. The magazine’s logo (not part of this design) is in Capitolium by Gerard Unger.

Two distinct but connected publications, conceived as a way of looking back and building memory from the present.

Founded by the Art Directors Club in 1996 as a showcase of emerging creative talent, ADC Young Guns is a portfolio-based competition for creative professionals 30 years of age or under that has grown to become one of the most coveted accolades in the global creative community. The competition is open to professionals from advertising, graphic design, illustration, photography, filmmaking, animation and beyond.

Winners join the eclectic ranks of creative superstars like the Oscar winning ‘The Daniels’, James Victore, Jessica Walsh, Stefan Sagmeister, Olimpia Zagnoli, Menno Kluin, CALMATIC, Dana Tanamachi, Christoph Niemann, Ohni Lisle, Kerby Jean-Raymond, Mah Ferraz, AV Rockwell and Tré Seals.

Every year, the One Club for Creativity invites a past Young Guns winner to reimagine the creative direction. The YG23 branding was created by me, Khyati Trehan (YG19 Winner).

The YG23 visual identity draws from what all winners share: a restless, hands-on spirit that keeps them moving and pushes them past the obvious. It’s a telltale sign they’re going places, and the branding channels that momentum.

The key visual is rooted in a design school assignment I loved: cutting squares out of animation keyframes strips and rearranging them in an 8 by 8 grid to create compositions that had visual rhythm.

What’s great about ADC Young Guns is that winners don’t win alone. The cube award serves as a physical reminder. Beyond individual recognition, the YG23 award celebrates the collective spirit of the Young Guns class. One face bears the recipient’s name and four others feature fragments of every winner from this year’s cohort. The hope is that recipients see friends and future collaborators amongst that body of text.

See the full case study on my website.

Digital brandbook cover

Brown, Bodegón argentino is a restaurant in Adrogué, Buenos Aires.

This branding project has the clear intention of elevating the local voice. Graphic elements referring to fileteado porteño, combined with the Dress font family and a considered color palette, create what feels like the perfect menu for this restaurant.

The different layer options and combinations included in this font family by Typesenses helped the designer reduce detail when the logotype becomes smaller. In full-color display applications, however, the name shines with the ornamental elements the font offers.

Supporting typefaces are House Script (for “Bodegón argentino” and “El gusto del ser Argentinos”), Mendl Serif, and Inter.

Thanks Esteban Perera for sharing this brandbook. Congrats for the stunning use of my typeface!

Brand application on the front side of the restaurant

Reductions. As the logotype becomes smaller, ornamentation and detail disappear.

Logotype in poster images. Colors and graphic resources match with the logotype style, all of them emphasizing the Argentine food experience. The address is in Inter.

An example of a blackboard in tune with the brand spirit, featuring lettering based on Mendl Serif

Decorative assets referring fileteado porteño highlight the Argentine spirit.

The City of Fribourg’s previous logo was twenty years old. It was time to adopt a new visual identity that symbolically reflected the specific characteristics of the cantonal capital. A competition was held to select the best design, which had to be bilingual in order to respect both the wishes of the municipal parliament and the history and current affairs of the city. The new corporate identity was designed by a joint venture of FF studio and Volontiers.