Slow & Low is Chicago’s largest lowrider festival. This curated community-cultural public sphere exhibition explores and presents Lowrider culture as an original form of American folk and contemporary art. The customized car becomes a way of expressing beauty and self-expression by owners, master craftspeople, and innovative mechanics, through modifications including wire wheel rims with whitewall tires, custom pinstriping and upholstery, airbrush muralism, and other contributing visual aesthetics and material objects.

Lowriding began in the 1940s when Mexican American veterans in southern California used their World War II mechanical training to modify cars, especially Chevys, so they rode “low and slow” rather than “hot and fast.” During the Chicano Movement of the 1970s, lowriders took on political roles through car clubs that offered community services and embraced pro-pueblo imagery like flowers, warriors, and geometric designs drawn from Indigenous Mexican stories. These “mobile canvases” used style as resistance, echoed in the Pachuca/o fashion that emerged as a symbol of rebellion.

That same spirit of crafted expression extends into the Slow and Low festival’s visual identity.

Respira made such an impact on past Slow & Low projects that it became part of the visual language people now associate with the festival. For the 2025 edition, the design team pushed the system forward and leaned even more into Sharp Type, customizing Respira to bring in a warmer, marker-drawn feel for the headlines.

It was paired with Cordier Script and Rosalie to amplify the hand-lettered, lowrider-forward voice the curators were aiming for. Together, the combination honored Chicano typographic lineage without imitating it, giving the full civic-scale identity a grounded, expressive backbone.

Design direction and design by Nick Adam at Span, with design and animation by Kevin Moreland and illustration by Alec Hudson. Curatorial work by Lauren M. Pacheco, Peter Kepha, and Edward Magico Calderon. 2025 Day of Photographers: Ferny Ruiz, Alfonso Monroy, Carmen Ordoñez, and Melissa Reyes. Design media photography by Edward Magico Calderon, Max Herman, Nick Lipton, Katrina Nelken, and Mike Pocious

For nearly a century, Mercury Cruises and First Lady have offered Chicago’s most iconic waterway experiences. Most notably, they partnered with the Chicago Architecture Center to create the world-renowned Chicago Architecture Center River Cruise aboard First Lady. Now considered the No. 1 boat tour in the country.

Despite pedigree, both boat operators faced a shifting landscape as the Chicago River became increasingly crowded with competitors. They brought on Nick Adam’s team at Span to help chart a new course, refining their position and crafting a brand that honors their 90-year legacy. The goal: to set a new standard for Chicago’s cultural and tourism landscape.

Span began by simplifying the name. From Chicago’s First Lady Cruiseline and Mercury Skyline Cruises, to the more resonant, flexible First Lady. From there, we developed a visual identity that bridges heritage and modernity. Channeling both the utility of the working river and the refined character of the vessels themselves.

At the heart of the new identity is a custom logotype based on Clockmaker, a lavish typeface inspired by Elandkay and the architectural lettering traditions of Louis Sullivan and Frank Lloyd Wright. We refined its letterforms to merge Victorian curves, Art Nouveau grace, Prairie-style form, and Art Deco precision—creating a typographic expression of Chicago’s rich design lineage. A signature swash numeral 1 flows like waves and wind, integrating seamlessly into the logotype or standing alone as a monogram. Paired with Euchre, a Chicago-designed typeface full of charm and sparkle, the system balances Midwestern elegance and grandeur with a tone that feels sophisticated yet approachable.

The vessels’ signature green and gold livery became the foundation of the refreshed color palette—elevated, amplified, and extended system-wide. We designed a suite of decorative plaque borders, intricate rule lines, and custom guilloché patterns that evoke both water and currency—offering a sense of timeless craft and detail.

Transforming words into actions

The State of Illinois Department of Human Rights (IDHR) and the Commission on Discrimination and Hate Crimes (CDHC) launched a statewide service to support people targeted by hate. It had a phone number. What it lacked was the public’s awareness and trust. My team at Span was brought in to change that.

Working alongside UIC’s Institute for Healthcare Delivery Design (IHDD), we renamed, rebranded, and reintroduced the service to the public. The result was Help Stop Hate – a trauma-informed, multilingual, statewide service and campaign that reframed reporting not as retaliation, but as care in action.

Initially piloted as Illinois v. Hate, the helpline's name implied conflict and positioned the state as the protagonist. Moving away from tension to solidarity, the renamed service Help Stop Hate is a three-word promise. Help centers care. Stop signals urgency. Hate names the problem—without euphemism.

Three cuts of Grilli Type’s GT Planar were used, allowing ‘Help’ to lean forward into action, ‘Stop’ to lean back in urgency, and ‘Hate’ to sit still—unignorable. The visual language draws on civic forms: rigid diagonals, grounded color, modular composition. Designed to function everywhere from Chicago CTA ads to community newspapers and rural county billboards.

To reach survivors—not just residents—we kept the value proposition simple and kind. “Report hate, get support” is about access and letting people know: they are not alone.
This is where the secondary type Grenette come in with a quiet strength. Its rounded serifs and open forms contrast the sharpness of GT Planar, with enough tension to hold your attention. It reads almost tender, full of warmth and charm with a subtle nuance that feels hand-touched.

The Not in Our State campaign launched in the seven most spoken languages in Illinois: English, Spanish, Arabic, Polish, Hindi, Tagalog, and Mandarin. To complement the primary sans and serif styles of the identity, each language pairing used two typefaces. For Arabic, we selected Noto Sans Arabic and Noto Naskh Arabic. Hindi used Noto Sans Devanagari alongside Noto Serif Devanagari. Mandarin was set in Noto Sans SC (see Source Han Sans) and Noto Serif SC (see Source Han Serif).

Slow & Low is Chicago’s largest independent arts festival, drawing a diverse, multi­generational audience to celebrate a uniquely American art movement born of the Chicano community. As the Midwest’s premier lowrider festival, Slow & Low is deeply rooted in art, tradition, and community, blending culture and family into a singular arts experience. Far more than a car showcase, it unites metalworkers, painters, upholsterers, textile artists, mariachis, DJs, and folkloric performers in a vibrant display of creative expression.

Founded in 2011 in Pilsen by curators Lauren M. Pacheco, Peter Kepha, and Edward Magico, 2024 marks Slow & Low’s third collaboration with Nick Adam’s team at Span, resulting in the festival’s most significant turnout yet, with over 15,000 visitors in a single day. Over the past three years, Navy Pier has been the iconic backdrop for Slow & Low, with car club members likening the experience to the “Grammys” of the lowrider community.

For the 2024 festival, Span collaborated closely with the curators to craft a gala-like visual identity. This process began with co-founder and curator Peter Kepha’s sketches of chain motifs in archway form, symbolizing growth and achievement—ideals central to Kepha’s life in the Chicano community.

The 2024 Slow & Low identity that Span designed amplifies a story of exquisite craftsmanship and celebration, drawing inspiration from the intricate artistry of lowrider culture. The typographic palette features a customized version of Lucas Sharp and Wei Huang’s blackletter typeface, Respira. Adding a layer of joyful elegance this scribe-like blackletter is complemented by Alejandro Paul’s Burgues Script, based on master calligrapher Louis Madarasz’s work. Rounding out the collection is Lucas Sharp’s limited edition Sharp Freehand, a calligraphic typeface inspired by master letterer Oscar Ogg, and Sharp’s Greenstone that is connected to the tradition of tombstone carving. Together, from chains to script, the festival identity offers a striking, refined edge that mirrors the masterpieces showcased at Slow & Low.

Chicago’s new public park, South Side Sanctuary, revitalizes an unused parcel of land in the historic Bronzeville neighborhood. Founded by The Nascent Group, an innovative developer with a diverse community of creatives, South Side Sanctuary transforms a vacant lot into a vibrant public park aimed at uniting and uplifting community members of all ages. Span collaborated with the founders to craft a dynamic visual identity that captures the essence and energy of the park.

The spirited visual identity designed by Span reflects the form, expression, and movement in South Side Sanctuary’s intentionally inclusive architecture and the diverse activities of its visitors. Unlike most parks, South Side Sanctuary is built for pedestrians, skateboarders, roller-skaters, bicyclists, and wheelchair users alike. The custom logotype showcases uniquely crafted letterforms that echo the geometry of the architecture and site plan. Designed for versatility, these letterforms can be oriented vertically for the beacon sign or horizontally for traditional applications, they also seamlessly uniting to form both a cross and an X. The bespoke stencil letterforms pay homage to Chicago artist Apache Wakefield’s historic Bronzeville bench, while the uppercase letters with descenders underscore the park uniqueness.

Span’s eclectic color palette was inspired by the park’s surroundings. Purple and green hues reflect the native-plant landscaping, while pink and teal come from nearby businesses. The Bronze tone is drawn from the four nearby statues that designate the area as Chicago's Blues District center. Additionally, historic and site-specific photographs from the Chicago History Museum’s Street Scenes on East 47th Street collection were selected by Future Firm, Span brought these images back to life with the identity’s distinctive color pairings. Throughout its extended visual language, the supportive typography utilizes expressive setting and the avant-garde alternates of The Future by Klim Type Foundry to maintain an expressive and angular character.

South Side Sanctuary was established through the Public Outdoor Plaza (POP!) program, a part of Mayor Johnson’s ongoing commitment to invest in Chicago. These plazas empower community-based organizations to revitalize underutilized land for recreation, performances, pop-up shops, gardening, and other neighborhood activities. The team at South Side Sanctuary, led by founders Cecilia Cuff and Jasmine Anwuli, architects Future Firm, and Nichole Humphry of Black Girls Shred, transformed a vacant lot into a hub for gathering, growth, and community engagement within Bronzeville, historically an area lacking in investment.

The Peggy Notebaert Nature Museum of the Chicago Academy of Sciences (Nature Museum) has been connecting Chicagoans with nature and science since 1857, making it Chicago’s oldest museum and one of America’s earliest scientific institutions. Following a new strategic plan, the Nature Museum commissioned Nick Adam’s team at Span to evolve its visual identity to broaden its influence in the spheres of environmental action, conservation, and research.

Span worked closely with the Nature Museum to craft a bold new brand identity inspired by native Illinois prairies. The identity system and website were designed to be adaptable to the Nature Museum’s diverse audiences. Visitors get to experience the vibrancy of the Nature Museum as a place to connect with nature, while scientists and researchers can recognize the Chicago Academy of Sciences as a hub for scientific study and public engagement.

Span crafted the wordmark using Céline Hurka’s typeface Tonka, whose flaring stems convey a historic, organic essence — symbolizing the museum’s dedication to nature and environmental leadership. The complementary font, Miles Newlyn’s New Atten, is a charming humanist sans-serif inspired by the voice of naturalist Sir David Attenborough.

The straightforward, confident logo elevates the Nature Museum’s presence and communicates in an accessible, inclusive voice while linking the museum to the Chicago Academy of Sciences.

Inspired by the Illinois prairie, the color palette spans catalpa green to columbine pink to milkweed cream—unexpected blends that reflect nature’s diversity and beauty. The abstract icon evokes butterflies, flowers, and clouds—capturing the sense of wonder the natural world inspires. Beyond its official use, the icon serves as a lens to view the world and when composed into patterns, instills a sense of positive activity.

Span’s identity system for the Nature Museum can use the logotype in a manner that stands alone as a mark of leadership or it can dynamically integrate with the organic shapes and imagery. This adaptability suits diverse scenarios, from advising corporations on sustainability to inspiring new nature champions. In addition to the visual identity, Span redesigned the Nature Museum’s website, signage, and other collateral for the museum and its store.

The Slow & Low retrospective book is the first formal piece of documentation from Chicago’s thriving lowrider community. Independently published by Slow & Low, a local non-profit lowrider organization, this story comes to life through the design work of Nick Adam’s team at Span. The project showcases a photographic archive that documents twelve years of Slow & Low’s events and festivals. Deep personal and cultural context is provided through a pair of essays from Slow & Low co-founder and curator Lauren M. Pacheco and ethnographer, cultural critic, and professor Dr. Ben Chappell.

Working closely with Slow & Low co-founders, Lauren M. Pacheco and Peter Kepha, Span makes every editorial, design, and material decision for this book with a connection to lowrider culture. These nuanced characteristics illustrate a narrative rooted in belonging while emphasizing the object quality of the book. The book’s grid creates an elaborate page sequencing system that balances variation and repetition, highlighting perspective shifts and contextual relationships. Page-to-page, the photographic compositions create a filmic cadence where motion, zooming, and surrounding angles provide the viewer with a sense of cruising. The photo archive is shot by celebrated community photographers, offering an insider’s, first-person narrative. From intimate close-ups that show fathers with daughters to wider shots that showcase the social setting of thousands gathered to celebrate the moving canvases, the photo archive depicts lowriding as a way for individuals and the community to have a voice of creativity and pride. Beyond photos showcasing the elaborate details of custom cars, they show the context of lowriding—Mexican flags waving, Aztec symbols airbrushed, folklórico performances in the background. These omnipresent Mexican cultural characteristics are signatures of heritage and authorship.

The 112-page photo essay curated and sequenced by Span is printed in full color, with each photo receiving a spot gloss varnish on an already high-gloss, coated paper. The ultra-shiny quality increases the vibrancy and saturation of the candy-colored cars while offering a tactile, family photo-album feel to each image. The front and back matter of the book is printed in silver ink on natural paper, creating a contrast that heightens the reader's attention to the material intention of the book and the cars. The silver ink maintains a reflective quality akin to the engraved chrome of lowrider cars and viclas. Typographically, the body of the book is set in Canela, designed by Miguel Reyes at Commercial Type—a graceful typeface that, like lowriders, defies traditional classifications. This type is set with a sense of physics, each column of text baselines to the bottom of the page and rises to hit different heights—a gesture likened to the hydraulic bounce of a lowrider. The display type is Respira, designed by Lucas Sharp with Wei Huang at Sharp Type, a typeface inspired by blackletter—a style prevalent in lowrider and Chicano cultures.

Stark and dramatic, the cover’s vertically stacked blackletter type is stamped with white foil onto a black textile texture. The form is reminiscent of the letter-based tattoos that read top-to-bottom on the forearms of many within the lowrider community. Words composed like this are also often seen in churches, hanging from banners above the altar—an appropriate reference given the importance of faith within lowrider community members. The smyth-sewn binding allows the book to open flat, minimizing how much of an image falls into the gutter. The book ends with a collection of 360 silver ink photo booth photos featuring over 1,000 members of Chicago’s lowrider community, all taken at the 2022 Slow & Low festival at Navy Pier. In this respect, the book’s back matter functions like a yearbook.

For over 80 years, Mexican-American and Chicano artists, mechanical engineers, and craft communities have shaped the vibrant American folk art of Lowrider culture. For the past 15 years, Slow & Low has hosted festivals celebrating the individuals and clubs in the Midwest.

The Slow & Low curators approached Span with a determination to elevate Chicago’s lowrider festival. More than just a car show, Slow & Low is a celebration of identity grounded in self-expression, social change, master craftsmanship, and machinery. The opportunity to take over Chicago’s largest tourist destination came with the responsibility of placemaking.

Collaborating with the event’s curators, Span designed a visual identity and exhibition graphics that foster a sense of belonging by celebrating the curators' dreams and the individuals of the community. Vivid, dimensional marigolds cascade across images from Slow & Low’s world-renowned and emerging photographers. Marigolds hold significance in Chicano and lowrider culture, symbolizing a celebration of faith, life, and death. The visual identity gains purpose by featuring Slow & Low’s photography, providing the design system with power by moving beyond showcasing stunning lowrider cars and highlighting the individuals in Slow & Low’s community. The juxtaposition of supergraphic flowers in the foreground of each designed item creates a dreamscape aesthetic.

In selecting our typographic palette, we drew inspiration from the cars, customizing Lucas Sharp and Wei Huang’s Respira, a typeface inspired by blackletter found in ancient manuscripts and the plaques within each lowrider. This choice pays homage to the omnipresent role of faith within the community. Complementing this is Miguel Reyes’s graceful Canela, a supportive typeface that, like lowriders, defies traditional classifications.

See also a post about the 2022 edition of this festival.

The Chicago Blend catalyzes Chicago’s vibrant creative scene. With each bag purchased, you contribute to funding the Design Museum of Chicago — a nonprofit dedicated to free, inclusive public programming serving artists and designers from diverse backgrounds, neighborhoods, and age groups. Crafted as a medium roast, this unique blend was conceptualized by the Design Museum of Chicago, carefully roasted by the Metropolis Coffee Company, and brought to life through design by Span.

In the pursuit of crafting The Chicago Blend, the Museum and Roaster embarked on a journey to reimagine the conventional CPG (consumer packaged goods) approach to transcend the confines of brand-focused narratives. Instead, they thought of the experience of brewing coffee at home, recognizing that a bag of coffee holds the potential to infuse creativity into someone’s day. The result is a bag that stimulates the senses and ignites inspiration. Span’s unconventional packaging design embodies the spirit of playfulness inherent in the act of creation. Each element offers a captivating Chicago story that could be read as a didactic of how we got here.

The checkered backdrop pays homage to Chicago’s modern metropolis roots, the grid system created by Edward Brennan and James Thompson. This is done in a graphic manner that nods to Thomas Miller’s iconic 7-Up package he designed at Goldsholl. The prominent squares denote the locations of Midway (MDW) and O'Hare (ORD) airports, resembling a map with the eastern boundary of Lake Michigan. The undulating lines of the lake draw inspiration from Susan Jackson Keig’s Aspen installation and the photograms György Kepes created after immigrating to Chicago.

The playful bubble letters spelling ‘Chicago’ find inspiration in two distinct sources: László Moholy-Nagy’s innovative South Prairie Avenue New Bauhaus school and the stylish, spray-painted names that grace the streets and trains of Chicago. Echoing the iconic ‘M’ of Metropolis Coffee’s branding, three spirited ‘M’s are lightheartedly rendered, referencing a range of Chicago aesthetics – from Oswald Cooper’s 1929 Cooper Fullface to John Massey’s sailboats and Pablo Picasso’s monumental 50-foot, cor-ten steel sculpture.

Even the smallest details have a thread pulled from Chicago’s fabric. The careful type-setting on the back of the bag emulates the style that Professor Emeritus Philip Burton affectionately terms “the zipper rag.” The reflective, metallic bag mirrors Tomoko Miho’s Great Architecture in Chicago poster that was silkscreened onto aluminized paper. — Nick Adam

Embracing the richness and intricacies of Chicago’s design community and history, this bag transcends the conventions of brand allegiance and transactional exchanges. It becomes a tangible testament to the celebration and empowerment of Chicago’s creative ecosystem, invigorating the spirit of innovation with each brew.

The typeface used alongside the custom lettering is ITC Serif Gothic designed by Herb Lubalin and Tony Di Spigna.

As my wife and I prepared for a yard sale, she invited me to make some signs to post around the neighborhood. Along with the For Sale sign, the Yard Sale sign typically finds itself executed in neon-orange Helvetica on black or with marker on construction paper approach. While a markered sign may offer a humanistic style, it often lacks legibility and distinctiveness — essential qualities as I had some excellent albums and DVDs to sell.

Compositionally, these posters are set minimally where the same cut of type operates in three sizes. Type size and letter spacing define the three typestyles, each being one-third smaller than the other. The headlines are defined by four-letter words that rag well when centered. The subheads were written as twelve-character lines that could justify hard to contrast the ragged edge.

Friz Quadrata was chosen for its balance of surgical precision and hand-crafted appearance. The historical usages of Friz Quadrata in Black Flag’s logo, the titling of Scarface, and Law and Order were references I enjoyed and felt my ideal yard sale customer might unconsciously be attracted to. After all, I was selling crime drama DVDs and punk albums.

Several characters of Friz Quadrata were redrawn with multiple variations to align closer to hand lettering. Several characters were redrawn entirely for optimal horizontal, vertical, and diagonal relationships.

Slow & Low co-founders and co-curators Lauren M. Pacheco and Peter Kepha brought design studio Span in to build upon their history and vision by designing the event’s visual identity, promotion materials, and supergraphic environmental signage. More than a car show, Slow & Low is a celebration of identity grounded in self-expression, social-change, master-craftsmanship and machinery. The opportunity to take over Chicago’s largest tourist destination came with a responsibility of placemaking. Together, we did so by celebrating the individuals of a community that mainstream cultures often overlook.

Typographically, the design system employs a highly expressive, showroom approach. Span assembled a suite of typefaces mirroring letterforms found on the eye-catching cars, the chromed plaques of the car clubs, and masthead of the classic Teen Angels publication. The star of the showroom is the swash capitals of Frida Medrano’s Jabin – a contemporary evolution of the Gutenberg bible’s blackletter. Jabin’s curves and contrast are paired with Sharp Type’s dramatic Respira Black, a reprisal of 15th century Spanish blackletter. The supportive type is Archivio Tipografico’s version of Aldo Novarese’s Nova Augustea. This over-the-top, eclectic range of type is united in flamboyant beauty and in holding key roles in history. These qualities – beauty and history – are principles in the artistry and aesthetic of Lowrider culture.

Beyond letterforms, symbolically, the design system embraces an omnipresence of arches, marigolds, and praying hands – religious iconography important to Pacheco and Kepha given their prominence throughout Chicano and lowrider culture symbolizing a celebration of faith, life, and death. The visual identity comes to life with purpose by featuring Slow & Low’s world-renowned and emerging photographers. The photography gave the design system power, by going beyond showing the stunning, lowrider cars and spotlighting the individuals in Chicago’s lowrider community.

The Great Lakes are in danger of catastrophic impact from an invasive fish generically referred to as ‘Asian carp’. Several stopgap measures have been implemented, but the fish still threaten the Great Lakes.

Tetra Tech (commissioned by the Illinois Department of Natural Resources and Southern Illinois University) hired Span to reposition the fish for human consumption. Our solution was to rename the fish Copi (derived from copious), rendered with a friendly, recognizable logotype and distinct identity system. The Copi rebrand reintroduces these fish to the public as a healthy, delicious, and responsible seafood option that also helps solve an environmental crisis.

Simple and fun, the Copi logo contains a not-so-secret message. The forward-facing fish is created using the negative space within the c and filling the space of the omitted o, horizontally aligned within the geometric letterforms inspired by Futura Black. The stencil form balances hard-working, utilitarian aesthetics with a playful feeling through its assembly of simple semi-circles, triangles, and rectangles. The heaviness of the logo matches the physical qualities of the fish that can weigh over 100 pounds.

The Copi brand uses three supportive typefaces. The bookish Gelasio is the typeface the identity system uses to tell the fish’s story; DM Sans, a highly geometric sans serif that the identity uses for more direct and advocacy related messages; and DM Mono is used to convey facts, data, and source information.

All the typefaces used in the Copi visual identity are open source, making beautiful typography free and accessible to any person or organisation (governmental departments, grocery markets, restaurants) connected to the project.

Nkemdiche: Why We Do Not Grow Beards, published by Ọkpara House, is a classic Igbo folklore that takes place in an otherworldly time when women grew beards. It is a genesis story of African women and their knack for elaborate hairdos that we have come to admire and love them for today.

The cover was designed to celebrate the protagonist Nkemdiche and her beautiful beard. By setting Lucie Van der Elst’s illustration of Nkemdiche to break from the color-blocks we created a sense of dimension around the decorated beard — this is further emphasized by the book’s title dropping behind the beard.

Nkemdiche, an Igbo term that translates to “mine is different”, is set in Minérale, a shapely typeface from 205TF that reflects the unique and creative qualities Nkemdiche was known for in her beard styling. The body text of the book is set in Kigelia from Jamra Patel. Kigelia is “the first-ever system of fonts designed to coordinate in character the most prominent writing systems in Africa”. Begun in 2014, this typeface was designed by Mark Jamra and Neil Patel from in-depth research and consultation with script and language experts, both inside and outside the respective language communities that use these scripts.

Through art and design objects, prints, and various media, Ọkpara House’s mission is to harness the power of good design, dialogue, and academic research as powerful agents to stimulate, reactive, elevate, and reimagine Igbo culture. Through this, they are reclaiming and asserting the relevance of Igbo culture on contemporary lifestyles within and beyond the Igbo community.

The Taste of Chicago is the world’s largest culinary festival. More than just food, activities have included live music from artists such as Janelle Monae, Chance the Rapper, and Los Lonely Boys.

This year the City of Chicago partnered with the Design Museum of Chicago to commission Nick Adam of Span to design materials that would raise money for the Arts for Illinois Relief Fund.

2020 marks the Taste’s 40th anniversary, starting in 1980 with Mayor Jane Byrne continuing today with Mayor Lori Lightfoot. This year the festival won’t take place in Grant Park due to COVID-19, the Taste of Chicago has been reimagined to showcase the diversity of Chicago’s culinary scene while supporting local nonprofits and frontline workers with free meals.

As Chicago is globally known for its style-writing (from lettering to graffiti) our Taste logotype utilizes and modifies a highly-stylized flat brush typeface from OH no Type Company. Swear was released earlier this year through Future Fonts. The custom block lettering is inspired by Chicago style architecture and by Jackson Cavanaugh’s AGI poster.