PostFinance was looking for a typeface that could carry its voice across every channel—internally and externally, digital and print, official and everyday.

As part of its brand refresh, the company decided to replace its long-standing corporate typeface, Frutiger. The foundation became NN Nouvelle Grotesk, which we carefully reshaped into a dedicated corporate typeface for one of Switzerland’s largest banks.

The foundation stayed the same, but details shifted. Some letters were redrawn, the rhythm fine-tuned. Small interventions with a big effect: the result feels familiar, yet carries a tone that’s distinctly PostFinance. Clear, reliable, consistent – just what you’d expect from a national financial institution.

This new version now speaks wherever PostFinance communicates: on websites, customer letters, campaigns, apps, interfaces, and internal documents. A single typographic voice that adapts to all contexts while keeping the identity unmistakably coherent.

For us, the process was less about invention and more about precision. Taking Nouvelle Grotesk and nudging it towards a new role, where the design DNA remains visible, but the character shifts just enough to embody the values of PostFinance.

It’s a youthful typeface that captivates with both simplicity and originality: the expressive PostFinance Grotesk, whose clear, confident design fully embodies the bold and dynamic spirit of PostFinance.

The ATypI Conference 2026 consists of two parts, each taking place at a different time and in a different location. The main programme will take place in May 2026 in Stanford, USA, with a side programme in autumn 2026 in Sharjah, United Arab Emirates. Both parts have their own branding.

The Stanford program unfolds under the theme “Home Screen” – a concept “that feels both personal and universal, inviting us to reflect on where typography lives today and where it’s headed next.”

As ATypI puts it:

ATypI conferences celebrate typography and fonts, with inspiring speakers from all over the world.

ATypI 2026 Stanford marks a return to Stanford University, a site central to the history of digital typography and computer science. Four decades on from ATypI’s landmark 1983 Working Seminar The Computer and the Hand in Type Design, the global type community gathers again to reflect on typography’s past and to confront the unfinished work of designing more inclusive digital futures.

The conference identity, designed by For Good Measure brings this idea to life through a dynamic interplay of NN Nouvelle Grotesk by Anton Studer and Selva Script by Fanny Hamelin. The two typefaces weave into each other. This typographic fusion is framed by fluid Bézier-style vectors and soft color fades, forming a digital landscape that feels alive: layered, responsive, and contemporary.

QuaJou (Quality in Journalism Association) has been championing high-quality journalism in Swiss media since 1999. They also organize JournalismusTag (“Journalism Day”), the biggest regular meetup for journalists in Switzerland.

In 2021, studio Hej gave QuaJou a fresh new look, redesigning their visual identity, creating a new logo, and rebuilding the website from scratch. The rich blue adds a bold new presence to Switzerland’s journalism quality advocates, while the brand typeface NN Nouvelle Grotesk nods to the long tradition of Swiss typography with a clean, timeless, and highly readable feel.

The first illuminated characters, primarily created for big-city entertainment enterprises, consisted of electric bulbs arranged to form the outlines of letters. BVH BDot imitates this idea and is a perfect fit for KOSMOLINO, the children’s program of Theater KOSMOS in Bregenz, Austria.

From the website of designer Anuschka Fink (translated from the German):

Hubert Dragaschnig once said:
“A theater production requires many different stars – whether it’s the office, administration, stage design, music, acting, directing, technical crew, wardrobe, makeup, etc. – and when all of these serve the same sky, namely the author and the play, a cosmos emerges.”

Inspired by this, I designed a graphic concept for both Kosmodrom and Kosmolino. The two visual identities were meant to share similarities while still remaining distinct and striking. The stars – or the light – of the stage backdrop became a key design element. Reduced to a single “dot,” it symbolizes the stars of the theater cosmos.

Payless is a service that automatically adjusts users’ basic insurance based on their preferences. According to Payless, clients no longer need to spend time comparing different insurance offers, and can save money by being automatically switched to the best available option.

NN Pivot Grotesk is the primary typeface used across all branding materials.

Balmer Hählen designed the visual identity of the AGI Congress 2024 / AGI Open 2024 in Basel, using Nouvelle Noire’s typeface NN Pivot Grotesk.

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.

Topographies is a photographic journal created by Pierre Escot and published in August 2025. It contains a decade’s worth of pictures, mostly taken at night and forming a poetic ensemble. Its black cover unveils a self-descriptive title, using Roman Grotesque.

Poem written by Pierre Escot using our font. The colophon is set in NN Alena.

NN Swinton is used for the website of The Hashgraph Group (THG), “a pioneering Swiss-based Web3 technology company operating exclusively within the Hedera Hashgraph ecosystem.”

The magazine was issued in five cover variants. Shown here is the one with art by Oklou.

From the magazine’s website:

Ic3y Mag: The Archive Issue (2025) is our debut in print, capturing a moment where music, design, and technology converge. Conceived as a 100-page testament to the notion of archives and how the creative past feeds into the present and future, this issue highlights a roster of artists, collectives, and institutions who are reshaping the cultural landscape.

Featuring: Oklou, Boy Harsher, William Arcand, Gus Dapperton, Tileyard London, Fvckrender, Honeydrip, Pretty Girl, Kučka, Mutek, Centre Phi and Valentin Hansen.

In this first print edition, conversations span continents and disciplines—touching on identity, emotional depth, innovation, and personal growth. With a blend of interviews, visual essays, and concert photography unearthed from our years online, The Archive Issue stands as both a reflection of Ic3y’s evolution and a blueprint for what’s next.

123 pages
6.5 × 9.25 inches

Our logo is printed with silver ink.

IFM Investors is a global investment manager, owned by Australian pension funds, that focuses on long-term infrastructure, debt, listed equities, and private equity investments. NN Nouvelle Grotesk and NN Colroy are in use throughout the entire corporate design.

Design between yesterday and tomorrow – branding for the Museum Bezau.

A new chapter for an old building: the former Bezau Local History Museum has been completely redesigned, both architecturally and in terms of content. Past and present now meet in the historic Bregenzerwald farmhouse dating from 1555. A modern extension, designed by Innauer Matt Architects, complements the listed building with great sensitivity. A bridge to the present day has also been built in terms of communication.

Super BfG worked closely with the Bezau Museum Association to develop the new name, image and all communication materials for the museum. The new look is not a loud break with the past, but a quiet opening – respectful of history, but with a clear view to the future. The design picks up on the architectural language: sections, corners and curves of the new wooden façade become a graphic principle. The lettering remains functional and calm – carried by two typographic voices that combine history and modernity. GT Alpina adds narrative depth, while the neutral NN Nouvelle Grotesk lends clarity and simplicity to the overall picture.

A special shade of yellow is at the heart of the colour scheme – symbolising the dawn of a new era. Combined with natural tones such as wood, milk and honey, it creates a visual connection between built space and creative expression. The striking recess in the letter M becomes a recurring element: as a support, frame and point of orientation.

The branding has been consistently applied to a wide variety of media – from folders, postcards and envelopes to exhibition sliders, stickers and tea packaging. The new website rounds off the project digitally: it not only makes the stories of the Bregenzerwald visible, but also brings them to life.

Since 2023, Alena is the typeface used on the website of life science company Anaveon, which was developed by Schlatter corporate. From Anaveon:

Anaveon’s mission is to harness the power of the immune system for life-changing treatments. The company was founded in 2017 by scientists and industry experts, who aspire to invent and develop therapeutic treatments that benefit patients and society. (...) Today, Anaveon is a global clinical stage biopharmaceutical company that specializes in developing novel treatments for diseases with high unmet needs.

After eight years in the industry, the fashion platform formerly known as Blogger Bazaar—recognized for its partnerships with luxury brands like Gucci and Zalando and its Vogue features—has completely transformed its identity, created by Berlin-based boutique branding studio Sonder Studio.

Rebranded as rauwm – cleverly combining the German word for space (“Raum”) while forming an anagram of the German why (“warum”) – the platform has shifted from purely fashion content to becoming a community-driven space. This new direction allows diverse voices to share expertise on meaningful topics rather than having the platform speak for all experiences.

The typographic concept for this bold and elegant branding combines NN Nouvelle Grotesk by Nouvelle Noire and Woodland by Pangram Pangram.

The Kunstsupermarkt (“art supermarket”) represents a unique annual art event in Solothurn, Switzerland. True to its name, the concept brilliantly simplifies art acquisition to the familiar experience of supermarket shopping.

For the significant 25th and final edition of this innovative happening, Bureau Mia received the honor of designing all communication materials. Their cohesive visual identity for this milestone celebration utilized NN Pivot Grotesk throughout all elements, creating a distinctive and memorable farewell to this beloved Swiss art institution.

Studio Øraya is the music composition and sound design service of Søren Siebel.
In this off generic digital experience, the users dive into an audiovisual atmosphere. Minimalistic, yet maximalist at the same time.

NN Pivot Grotesk is used for information about the service, while NN Swinton does the functional job. ABC Diatype serves for the runtimes.

NN Nouvelle Grotesk is the typeface used for the personal branding of Swiss TV and event host Lukas Studer. His visual identity was designed by Agentur Koch.

Lukas Studer is a compelling sports presenter on Swiss television and a popular host at various events and panel discussions. Human, personable, professional, and composed, he is empathetic yet challenging. Honest, approachable, and most importantly, with a touch of humor, he is one of the most popular presenters of our time.

These characteristics perfectly align with the Nouvelle Grotesk typeface. Confident, elegant, clear, and with a friendly, approachable look.

NN Rektorat is based on lettering created in 1933 by Ernst Keller for the signage of the complex that used to house the Kunstgewerbemuseum Zürich (Museum of Arts and Crafts, now the Museum für Gestaltung) and the Kunstgewerbeschule (School of Arts and Crafts). A custom version is used for new signage in the building.

This custom version of Rektorat is also used for the book shown here. It’s about the re-restoration and conversion of the modernist building for the Allgemeine Berufsschule Zürich (ABZ, General Vocational School Zurich). Edited by architects Silvio Schmed and Arthur Rüegg and designed by Jean Robert and Kati Durrer, it was published by Scheidegger & Spiess (translated):

“Shoe factory” and “fashion joke” are just two of the nicknames given to the new building for the City of Zurich’s trade school and arts and crafts museum, which was considered revolutionary at the time. Today, the spacious building, which was constructed by architects Adolf Steger and Karl Egender between 1930 and 1933, is considered one of the few icons of Neues Bauen in Zurich. With its flat roof and grid façades, the school wing epitomises a modern ‘laboratory for industry’, where great teachers of applied art such as Alfred Altherr, Johannes Itten, Hans Finsler, Willy Guhl and Josef Müller-Brockmann influenced generations of designers and photographers.

In 2016/17, architects Silvio Schmed and Arthur Rüegg adapted the former headquarters of Zurich's legendary art academy to the current needs of the Allgemeine Berufsschule Zürich ABZ with a sophisticated restoration and some innovative detailed solutions. This construction monograph provides an insight into the prototypical problems that had to be solved when adapting the building to current standards, presents the building in its historical dimensions from the perspective of monument preservation and paints a vivid picture of past and future life in this outstanding witness to modernism.

The exhibition Plumes, Poils, Paul at MUZOO, a museum in La Chaux-de-Fonds, showcases the work of Paul Barruel (1901–1982), a naturalist illustrator. Swiss graphic design studio Supero developed the branding, featuring NN Pivot Grotesk in various weights.

Nouvelle Noire designed a custom type family for Theater Basel, which is a key part to the identity designed by Basel-based studio Claudiabasel
. Based on this particular typeface, Nouvelle Noire later crafted a publicly available retail version named Pivot Grotesk.

On this poster, Theater Basel Grotesk (now Pivot Grotesk) is paired with a serif typeface that’s also part of the custom typeface family. Dubbed Theater Basel Antiqua, this branch is exclusive to the theater at the time of writing.