Heavenly by Nia is a skin care brand founded by Niamarie Vargas. From Jakarta-based design studo GL*TCH:

Heavenly by Nia was created to help teens understand their skin, embrace these changes with confidence, and celebrate diversity. This brand speaks their language—through bold, digital-native visuals that resonate with their daily lives. The theme of change and inclusivity is reflected in our dynamic typography, blending multiple typefaces to symbolize individuality.

One of the most prominent typefaces in this visual identity is OffBit, a typeface created by Power Type Foundry. OffBit brings a distinct character inspired by bitmap structures—mapping pixels into forms such as dots, rings, plus signs, stars, crosses, bars, lines, and tilts. Within the Heavenly by Nia brand, OffBit functions to amplify the message of courage and diversity through letterforms that feel unconventional, digitally energetic, and instantly recognizable to teens who grow up surrounded by screens. Its modular yet flexible character reflects how every individual is unique in their own way—perfectly aligning with the brand's spirit of celebrating change and difference.

The logo combines a modified TAN Daisy with Silenter and Ambroise. Fonts that are used for single glyphs in the product names seem to include Allura, Times New Roman Italic, and Brush Script. On the website, OffBit is supported by Instrument Sans.

Beer mats

For this project, Another Kind Studio wanted to craft an identity that felt fitting for a site with such a massive legacy. Situated on the grounds of what was once the largest brewery in the world, we designed a new pub brand for Ninety One to honour that heritage while carving out its own modern space on Brick Lane in East London.

From the deep greens and warm oranges to the period inspired typography, we designed the brand to live and breathe in physical spaces and feel totally at home in its surroundings. Explore the new visual identity in action below across tactile menus, custom tap badges, wayfinding signage, and matchboxes.

For the full project please visit the Ninety One project page on our website.

Stacked logo

Logo animation

Drinks menu

Heavy weight team T-shirts and branded pint glasses

Branded matchboxes

Custom beer tap badges for the Ninety One house lager

Hand-painted wayfinding signage by Rayment Signs

In-house poster templates

Brand guidelines

Ninety One website

White Fungus is an art magazine and project based in Taichung City, Taiwan.

Founded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, White Fungus takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of White Fungus is derived from a scan of the can.

The 18th issue of White Fungus features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic Chelsea Girls. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.

The issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”

Table of contents, set in Söhne, Sometimes Times and Athelas

Opening spread for an interview with Eileen Myles, set in Bell and Letter Gothic

Slightly modified Corinthia introduces the word “Hell”. The title of the artwork is set in the lower left corner in tiny DF Kai SB.

Opening spread for “Through the Prism of the Looking Glass”, pairing Lo-Res with Snell Roundhand.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, front cover

In July 2016, Australian electronic group the Avalanches released their second album, Wildflower.

While the front cover has no type at all, except for a sticker with Jersey M54 for the band name, all-caps Arnold Böcklin for the album title, and ITC Franklin Gothic for additional text, the typographic party takes place on the back: it features a different style for each track on the album, with embroidered letterforms. Most of the song names are based on fonts, with or without modifications.

Source: www.ebay.com TRACKNINE22. License: All Rights Reserved.

Vinyl version, back cover

The Leaves Were Falling: Brush Script
Because I’m Me: handwriting?
Frankie Sinatra: Benguiat Caslon (or a digital version thereof, like Emfatick NF)
Subways: Arial Bold
Going Home: Gillies Gothic
If I Was A Folkstar: West Barnum
Colours: Electric Circus
Zap!: (similar to) Strand Midnite
The Noisy Eater: Baby Teeth
Wildflower: Arnold Böcklin
Harmony: Tango
Live A Lifetime Love: Allura
Park Music: ITC Avant Garde Gothic (?)
Livin’ Underwater (Is Somethin’ Wild): loosely based on Williamson Skidoo (?) and an unidentified script
The Wozard of Iz: Pretorian and Futura
Over the Turnstiles: Motter Femina and Turnpike or similar
Sunshine: Broadway
Light Up: lettering?
Kaleidoscopic Lovers: Commercial Script
Stepkids: Kabel Black
Saturday Night Inside Out: Druk Condensed or similar?

The headings for the sides of the vinyl version are in Windsor Extra Bold Condensed.

The art direction is credited to Chris Hopkins at Lost Art and band member Robbie Chater. Hopkins also provided design and illustration, the latter together with Emi Ueoka. Fergadelic (Fergus Purcell) did the butterfly logo. Kris Vierra took care of quilting and textiles.

[More info on Discogs]

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, front cover

Source: www.ebay.com rowerecords. License: All Rights Reserved.

CD version, back cover

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more octagonal caps

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve ft. a naïve sans and script lettering based on Kalligraphia

Source: www.discogs.com License: All Rights Reserved.

Inner sleeve with more Baby Teeth and lettering similar to Williamson Skidoo. The Biz Markie photo is by David Corio.

Source: www.ebay.com bratfordchris. License: All Rights Reserved.

Sheet with five promo stickers

Source: lost-art.com License: All Rights Reserved.

Vinyl record label

Visual identity for Studio Soleil, a yoga studio in Brest, designed by Adèle Mahé, who writes:

The logo: a nod to vintage surf fonts, mixed with a touch of “cocktail” on the beach.
The illustrations: variations on the symbol, where the sun becomes Yogis in motion.
The typography: ultra bold, to break with the codes of the sector's thin and sensible fonts.

Inspired by movement, bodies, the sun and the ocean, this identity embodies a yoga open to everyone — free and alive. Here, there is no rigidity: only breath, intention, and fluidity.

Adèle used Mosa Black for the logo with a customized S, designed by Alexandre Créquer. Other texts are set in Velvelyne from Velvetyne and Rethink Sans, available from Google Fonts.

The script used on the flyer is Oooh Baby by Rob Leuschke.

Que me toquen una cumbia!! (Y algo más) by Bianca Forischi is a homage to cumbia, the most listened-to genre in Latin America. The zine explores its vibrant visual language, tracing its evolution from the 1950s to the present. Structured as a timeline, it moves through key formats: vinyl, cassette, CD, and pendrive, reflecting how cumbia’s identity have transformed over the decades.

The zine was Forischi’s graduation project for her studies in Rotterdam. It was made while working at Can Can Press in Mexico City and will soon be available from their store.

Outer cover of New Paltz, New Paltz

New Paltz, New Paltz by Mike Powell is the first book published by Double Negative. It’s a restless bildungsroman set in New York City concerned with everyday life, its frustrations and joys alike. The book is short and bittersweet, inspired by poetry as much as prose, especially the frank absurdism of writers like Charles Portis and James Tate. The style is simple but wonky, full of false starts and anti-climaxes—“clumsy beauty,” the book calls it.

The design is a response to this and the many touchpoints shared by author and designer: Keith Shore’s blobby illustration, Lorraine Louie’s yuppie surrealism, Susan Kare’s iconic desktop logos, Andy Warhol’s jazz album covers, and New York City parking signs, which inform the selection of ClearviewHwy and Highway Gothic.

The colors—a dirty purple, yellow, and gray—come directly from the book’s language: the “dim yellow lighting” of a dive bar, “a purple-gray mastiff” at the dog park, and the “yellow and purple flowers” a landscape architecture firm had planted in a city park to try to rewild the city with native plans, giving it a “calculated wilderness laid out in the middle of the city, like an apology for everything we had built around it,” which of course includes the numerous grays of concretes and buildings.

Outer front cover of New Paltz, New Paltz

Interior cover spread for New Paltz, New Paltz

Interior spread for New Paltz, New Paltz

Nestled in the heart of the vibrant Saint Germain neighborhood of Paris, Au Buci offers a unique blend of homey intimacy and eclectic design. We deliberately mixed various typefaces, papers, colors, and textures to evoke the feeling of entering a beloved personal space, stepping away from traditional, predictable branding to mirror the distinct comfort of a home rich with stories.

Our brand essence extends into a subtle layer of sensuality throughout the hotel’s branding and physical space, from inviting materials to an interior design that plays with light and shadow, alongside curated art that stirs emotions and connections. This approach goes beyond aesthetics, creating an environment that invites guests to immerse themselves deeply into their senses.

The work of our graphic designer, Arthur Alazard, was instrumental in realizing this vision, marrying visual appeal with intimate personal touches. Our collaboration with artisans like Atelier Bulk and Julien from 6 Lettres further infused our branding and space with a tangible warmth and depth. They helped ensure that every printed material and the storefront’s letter painting not only captured Au Buci’s essence but also contributed to a sensory journey that defines our space as an intimate refuge in the midst of Paris, offering a retreat that celebrates both Parisian elegance and the cozy comfort of feeling at home.

The BUCI wordmark is custom drawn. So is the B initial, which is inspired by Vivaldi.

We have restyled the crackers packaging for Romagna Piada.

A versatile and bold race typography with hand-drawn illustrations underlines the simplicity of the ingredients and the traditionality of the territory. Shapes and colors that make you fall in love … with Romagna.

Formula Condensed (Pangram Pangram) is used in all caps, stacked and justified, with mid-word linebreaks and featuring the font’s wide alternates. It is paired with two script typefaces, Satisfy (Neapolitan) and Allura (TypeSETit), as well as CMRDD, a rounded variation of Computer Modern Sans Serif, derived by Paul Bernhard from Donald E. Knuth’s original Metafont design.

Handprinted silkscreen on a tote bag. Just relax!

For the lovers of a healthy breakfast and FF Sari.

mymuesli is a Bavarian start-up that offers organic cereals which can be custom-mixed on their website. The available ingredients allow for “566 quadrillion possible muesli variations”. Furthermore, mymuesli offers a ridiculously diversified range of ready-made flavors, too: There is a special mix for bikers and one for hikers. Instead of one “Kids” mix, there is a “Princesses” edition for girls and a “Pirates” version for boys. I can confirm that all those varieties actually exist; I’ve seen more than a dozen of them at the supermarket.

All muesli tubes feature big FF Sari Black paired with confident Futura caps. FF Sari was designed by the late Hans Reichel. It is the improved version of his own Barmeno (originally published as Barmen for H. Berthold AG in 1983). FF Sari was released as FF New Barmen (1999), but had to be renamed soon after due to a legal dispute. If you are curious what Reichel has amended in the remake (apart from adding two additional weights and a wider language support), just compare the ‘e’ in FF Sari to the one in Barmeno.

The special editions for Christmas 2011 and 2012 featured Metroscript. In 2009, mymuesli relied on the even more festive Flemish Script. The “Love Crunch Muesli” was another excuse to deviate from the FF Sari & Futura norm: Valentine’s Day was celebrated with Ministry Script. Other gift specials like the “Thank You Muesli” or the “Congratulations Muesli” use Good Vibrations. Scroll down all the way.