Saturate was a creative direction and design studio based in Sydney and Australia’s
Sunshine Coast, crafting communications for modern brands. After almost a decade of operations under the Saturate moniker, the studio has rebranded as Maccoll in 2025. The legacy website combines Volksans with Mono Spec and IBM Plex Mono. The logotype features Volksans Bold with its alternate single-story a.

With the new fall/winter season, Goodbois presents “The Identity Crisis” – a collection born from uncertainty, where art becomes the only place identity can exist.

This project uses Ofform, designed by Marek Suchánek, to express themes of identity, tension, and renewal. The typeface’s sharp, fractured forms reflect the feeling of crisis and change, while the clean layout keeps the message clear and direct. The typography supports the idea of breaking down and rebuilding, visually reinforcing the project’s emotional tone.

Additionally, MuseoModerno by Omnibus-Type is a geometric typeface inspired by early 20th-century European avant-garde movements, evoking a Modernist sense of distance – detached, abstract, and relentlessly searching for new forms of seeing.

The head in this design evolved from an older piece we created for our World Care college jacket. Back then, the head carried a globe. Now we’ve reworked it into a universal symbol for broader mental themes.

The concept of the butterfly with G wings was inspired by its traits of transformation and change, as well as his diversity and uniqueness, reflecting adaptability to new identities.

Photography by NTI and Julian Fischer, shot at Stiebel Eltron.

FROM_SOMEWHERE is an online store that showcases the work of (mostly) Japanese photographers who adventure across the world, capturing the landscapes they encounter along the way. Guided by a love of both travel and photography, these artists frame each scene as it was felt in that fleeting moment. Through their work, FROM_SOMEWHERE invites you to step into that experience—offering the sensation of having visited the place yourself; thus creating quiet moments of joy in everyday life.

The uniqueness lies in their environmentally conscious design. To avoid excessive packaging, the brand embraces eco-friendly, plastic-free materials, every element crafted from natural alternatives. Even the cushioning is thoughtfully designed without plastic, protecting each framed piece with a structure that is both minimal and efficient.

As an additional touch, shipping labels are affixed to a sealing label that can be removed cleanly. This ensures no residue is left on the packaging, allowing it to be reused easily, an often-overlooked aspect of packaging design. Such care not only enhances the experience of receiving the product but also beautifully reflects the brand’s deeper commitment to sustainability.


FROM_SOMEWHERE’s design philosophy emphasizes not just the product itself, but the experience of receiving it. Its plastic-free, environmentally conscious packaging, combined with the ability to reuse the materials after delivery, represents a forward-thinking approach with both commercial and social significance. Simultaneously, the brand continues to value the beauty and quality of the photographs themselves, showing insight into a new kind of lifestyle for today’s consumers.
 In doing so, FROM_SOMEWHERE continues to draw attention as a brand that aligns seamlessly with modern values that embrace sustainable consumption.

Thanks to the FROM_SOMEWHERE team for trusting us in bringing their vision to life – it is always wonderful to work with people who have an equally collaborative spirit.

While both logo and body copy utilize Mono Spec, there are occasional uses of Helvetica.

Poster design for Major Murphy at Bell’s Eccentric Cafe with Phabies and Crooked Spires in Kalamazoo, Michigan on September 7, 2023. All thanks to Baby Teeth Dotted by the great Milton Glaser, this poster echos the charming tones of Major Murphy.

For the Wereldhavendagen (“World Port Days”) in Rotterdam, local design studio 75B combined the heavily-inktrapped grotesque Bauziet with a customized version of Gill Kayo named Wereldhavendagen. The images shown here are from the 2023 edition, but this visual identity is in use since 2021.

The introduction video below explains (in Dutch) the ink traps in the Wereldhavendagen typeface: a reference to the rectangular ports that the city of Rotterdam has excavated along De Maas river over time.

The latest Goodbois collection embodies an ongoing journey towards a minimalistic mindset, seamlessly mirrored in the selected typography. It also spotlights a heightened awareness of our planet’s resources.

The lettering on most of the apparel is based on an upright style of Oakley and echoes the form of small rocks, akin to our prominent backprint where diverse stones harmoniously stack, symbolizing mutual support.

As for the second option, we've reintroduced the cherished classic Caxton. This reaffirms our brand’s identity and aligns with themes centered around the organic origins of nature’s elements.

To achieve the optimal cohesiveness for this collection’s CI, we’ve selected the timeless and neutral typeface Neufile Grotesk. This choice contributes to an overall design that is both contemporary and enduring

Play is a festival that aims to see children and youth in a diverse, inclusive and participatory way. As a free access platform to the arts, through multiple languages ​​and artistic expressions, its desire is to broaden perceptions about education based in the city and its diversities.

Reflecting on the multiplicity of themes and various subjects that the festival wants to address, we started from concepts such as collaboration and diversity to create a connected and plural graphic visual. In addition to this graphic resource, the repetition of shapes suggests movement, printing the idea of ​​mobility, both social and in relation to the city itself.

Using the Bauziet typeface, characterized by its ink traps, our proposal was to create an identity that would connect and welcome the youth public.

“Bööna” single cover.

Together with my brother, I developed a collaborative visual conception and delegation for the branding and appearance for the second solo album Kohti Unelmii (“Towards dreams”) of Finnish rap legend Särre on behalf Sony Music Entertainment Finland. The album features artists like Jada Kingdom, Marko Haavisto, Gracias, Kari Tapiiri, JVG, Juno, and DXXXA D.

The first inspiration for the aesthetic of typefaces started by studying the cover arts in record stores all over Helsinki, from Finnish folk to classic funk and rap vinyls. The album is described as a crossover of hip hop and funk with the rhythmic influence of dancehall, which you can hear on the first single “Bööna”.

The second inspiration for the cartoonish look was found in the color selection of the Finnish TV series Moomins. Every character has a sort of color palette that creates a corporate look of all covers. With the highlights in Gretoon and the drop shadow in Gimbo, the typography takes on a very distinctive 3D cartoon look. Based on the logo and the information about the characteristics of the artist, Florian Schröpel created the perfect character that represents the title of the album, the love for basketball, and a father of two kids in form of a cloud who is probably the closest to dreams like the boy of the Dream Works logo. The main graphic design was done by me, his brother Julian: I put all the elements together and took the photos of the press and album images.

The album will be released on October 8th, 2021 by Sony Music Finland.

Photos on the covers taken by Melvin Mescudi on behalf Sony Music Finland. Photos on the album cover taken by Julian Schröpel / Simbayu on behalf Sony Music Finland.

“Elämä On Vitun Jees” single cover.

As a sort of special within the covers, “Kun Ma Astun Laivaan” has a hidden inspiration with the feature guest Marko Haavisto, who was known for his musical appearance in the Aki Kaurismäki movie Mies vailla menneisyyttä, known in English as The Man Without a Past. The colors here are taken from the original movie poster.

“J. Lo” single cover.

Another element is the legacy show poster in October 2021 and the final tracklist of the album which uses Futura Display, with Gretoon for the logo.

For the main album cover we decided to leave all the funky psychadelic look behind and end this project with a mature look of graphics and photographs that are inspired from the simplicities of Storm Thorgerson album covers. Numbers in Futura Display, titles in Futura Extra Bold Condensed, and guest artists in Futura.

Deneb is a Quebec company specializing in digital strategy communication, founded in 2020 by Johanie Bouffard.

Conceived by Antoine Goulet, the branding is inspired by astronomy. Deneb is the name of one of the brightest stars in the sky. The typography pairs Poligon with Cosmo Display.

Primot was designed specifically with a vintage gelateria in mind. It’s that moment where font specimen and real life usage meet, yet exceed all the expectations of the type designer.

I particularly loved seeing the variety of sizes in which the logotype – a slightly modified version of the out-of-the-box type – was applied, from cupon and embroidery to neon sign and outdoor signage.

It was thought as a ‘logotype-ready’ typeface, and it was a delight to see the care taken in making the slight customizations to make the wordmark stand out. Because it's so specific, it was not our bestseller by a mile. Also because it’s mostly frictionless to add to your type menu, Primot is our most synced typeface at Adobe Fonts, which may be one of the reasons we are starting to see it more and more. Lastly, because it was made to such specific cases, It’s unmistakable when you see it in the wild.

From Halo Creative’s Behance presentation:

The Dudzik family approached us to carry out a brand design project for a place that exists — and thrives — from the 70’s. They wanted us to come up with a name, design a logo and all the other elements of the identity for their ice cream store.

From the very beginning we knew, that creating a new identity for a place that already exists, and is loved by everyone will be quite a challenge. We understood their need to adjust their ice cream store to the modern standards — after many years of operating, the place needed a refurbishment, and the lack of a brand made it hard to function in the new media, which is a crucial tool in communicating with the client nowadays. We also knew that in this particular project the analysis and strategy building should be swapped with emotions and subjective feelings. Also, that the project will be good and serving its purpose only when it’s approved by the whole family.

At first, we decided the place should bear the name of the family. This was a very important element of the message — after all, people have been going to Dobczyce for the Dudzik ice cream for years.

We’ve designed two versions of the logo — a simple one, with just the name; the other reminding about the ice cream store establishment date. We wanted to make sure, that everyone would recognise the ice cream they know and love for years, despite the visual identity change. In the visual identity we used the ice cream colours: pistachio, blueberry, and raspberry; white and dark green. We wanted the colours to match the ice cream — in pastel colours, made from natural ingredients.

All of the projects were printed out on natural, mate paper coloured in mass and cotton, so that the clients enjoy being surrounded by our identity elements.

We designed a logo, business cards, reward cards, 2 materials, out of which aprons and pillow cases for the guests, labels with the ice cream flavours, a stamp, stickers, ice cream cups, neon sign, signboard, and some elements of the interior decor.

Design and production of the bench and wooden structure by Michał Kowalczuk.