mini studio is a French design atelier based in Paris and Tokyo, founded by Mia Thibierge and Justine Magnat-Biermé.

In 2025, we decided to rethink the identity to establish ourselves within the landscape of French and international graphic design studios.

The logo, inspired by medieval illumination and nature, reflects the founders’ appreciation for ornamentation and precious details—echoing the actual name of the studio.

GT Maru (Grilli Type), with its generous curves and playful demeanor, sets the studio’s name and geographical anchors, Paris and Tokyo. Its inspiration, Japanese signage, perfectly underscores mini studio’s international setting.

It is complemented by Matthieu Cortat’s Louize (205TF), whose typographic elegance, tinged with literary charm, reflects the studio’s affection for printed matter and typography.

It all comes together in the studio’s letterpress printed business cards.
The Japanese text on one of the cards was set in Yoshimichi Ohira’s Zen Old Mincho.

HANSONS is a home improvement company serving Michigan, Ohio, Indiana, Iowa, Nebraska, and South Dakota.

Their logo uses Montserrat in all caps.

The website uses Futura PT for all text outside images, except for the customer review section which uses the old version of Roboto.

The signs in the photo use Arial for the phone number.

Steady Studio is the work of Lance Corlett, who brings a deep passion and dedication to every hand crafted project. Drawing on an extensive range of decorative and painting and gilding techniques, he ensures each piece is executed to its fullest potential.

The new Steady Studio features the fonts Taurus Grotesk by Foster Type for headlines and captions and Martina Plantijn by Klim Type Foundry for body copy. For large display type Lance created a custom font, Steady, in uppercase based on his hand lettering, with refinement from Dave Foster. The display type appears with guidelines and a drop shadow to mimic classic sign painting techniques. The Steady Studio wordmark was also drawn by Lance.

Web development by Seb Digital.

Rakamakafon is a vinyl record pressing plant based in Sofia, Bulgaria. Its visual identity is built around a simple geometric symbol derived from the shape of a spinning record and the mechanics of the pressing process.

The symbol functions as both a logo and a structural device across printed matter, graphics, packaging, and the website. Large elliptical forms reference vinyl grooves, while a restrained palette and industrial layouts emphasize precision, manufacturing, and repetition.

Resist Display is used throughout the identity as the primary typeface. It balances the technical character of the production process with a contemporary cultural and artistic context.

Bianco Bianco uses kimera’s Apparat for its logotype, paired with LL Ivory Mono across its visual identity. Source Han Serif serves for Japanese text. From the website:

BIANCO BIANCO is a Tokyo-based creative studio partnering with established global brands, cultural institutions, and spirited start-ups. Together, we craft culturally informed, cutting-edge strategies and campaigns that spark conversation, remain memorable, and drive results. We achieve this by staying attuned to the cultural zeitgeist and drawing on deep insights from our publications SABUKARU.ONLINE and GATA MAGAZINE. With a strong emphasis on collaboration and a multicultural team’s nuanced understanding of East and West, every project resonates across borders.

Duscha Kistler is an independent mentor and coach specialised in process support for cultural institutions, art projects, funding applications and personal/project-related issues. Her website, designed by Megi Zumstein, uses Easy Grotesk (designed by Alexander Rütten and Olivia Wood of Ligature Type, available with TypeMates) as a standalone font. Easy Grotesk’s sturdy yet playful appearance is part of a colourful and constructive design that seems to mirror Duscha Kistler’s own approach to coaching.

Business cards

Postcards

TT Neoris is part of the brand identity for Unily.

Unily is a company that helps large organizations build internal digital environments (such as corporate portals and intranets) to simplify communication, knowledge sharing, and employee engagement. Our font organically integrated into the brand’s clean identity, making it more cohesive and recognizable.

Apparato Provvisorio is a design service and studio based in Brussels, doing exhibition, interior and product, as well as graphic, editorial, moving/not moving Images.

Designer Christian Scenini used Install Regular throughout the identity, from website to printed materials. The roman used for the faux-embossed type in the background of the website is Louize.

Commune Energy is a Japanese startup dedicated to bringing renewable energy to rural and depopulated areas, for instance by importing/installing EV charging stations. The full brand kit was developed by Studio Kaki in cooperation with branding collective nowthen. It shows a strong emphasis on community collaboration, symbolised by cooperating colourful shapes, and it includes a logo showcasing Easy Grotesk (designed by Alexander Rütten and Olivia Wood of Ligature Type, available from the TypeMates) .

On the website, the logotype is combined with headlines in Barlow Condensed (designed by Jeremy Tribby) and Zen Kaku Gothic New (designed by Yoshimichi Ohira) and Noto Sans JP (see Source Han Sans) for Japanese content.

TT Commons Pro was customized for the international pizzeria chain Domino’s Pizza as part of its massive global rebranding. The new typefaces, Dominos Sans Display and Dominos Sans Text, were based on our bestseller and now shape the brand’s new corporate communications.

Domino’s Pizza is one of the world’s largest pizzeria chains, operating in dozens of countries. It is renowned for its efficient delivery system, consistent quality standards, and a wide selection of pizzas to suit every taste.

This project was a collaboration with the agency WorkInProgress.

I recently designed and built a website for a business coach who works with managers in the IT outsourcing industry.

I chose TWK Continental because the client’s coaching practice revolves around organizational architecture and systemic coherence for IT management. The typeface’s constructed, mechanical DNA and compact architecture perfectly mirror that focus on structure and system design. It behaves like a quiet, reliable workhorse for functional text blocks while retaining enough sharp, Swiss-inspired precision in display sizes to position the brand as premium, modern, and authoritative.

Homepage

Telder has been used throughout the brand identity of Coronet Conservation, including the website, and all associated typography. The typeface appears throughout the website, from the homepage and services pages to the gallery, about, and contact sections.

Designed by HT Fonts, Telder is a contemporary sans serif that combines geometric clarity with subtle humanistic details. Its open counters, balanced proportions, and extensive range of weights make it suitable for both display and text applications.

For a conservation studio whose work requires precision, care, and restraint, these qualities feel particularly appropriate. The website uses Telder Extra Light for headlines, giving them an elegant and understated presence, while lighter text weights provide clear and comfortable reading throughout. Together with the logo refinement carried out by HT Fonts, Telder helps establish a consistent typographic voice across the entire identity.

Website detail

A quote by Coronet Conservation

In 2000, New Zealand Post issued a series of ten self-adhesive stamps as “a light-hearted tribute to the foods, toys, sports and lifestyles that define New Zealand’s culture and attitude”. A sequel to a related series from 1994, it features another ten characteristics of everyday New Zealand life. From NZ Posts’s website:

It saluted the versatile li-lo, a pair of cosy ug boots, the gastronomic delights of the chocolate fish, the hot dog, the meat pie and the Anzac biscuit; and our summer necessities, the barbecue, the chilly bin, pipis (a seafood delicacy) and the classic Kiwi holiday home, the bach or crib.

The typeface chosen by designer Bob Gagnon is Dom Casual.

The first day of issue postmark features Comic Sans with a perspective effect.

Generaxion is a digital performance agency operating across Northern Europe. The agency works with companies on SEO, paid media, and digital strategy, combining data and creative execution to drive measurable results. With offices spread across the region, Generaxion operates as one connected team under a shared culture and way of working.

The Ownership Code is a internal publication articulating that culture. Built around the idea that everyone should treat their work as if the outcome is personally theirs, it outlines a shared mindset rather than a set of rules, encouraging initiative, accountability, and follow-through at every level of the organisation.

In 2024, TT Commons Pro became the new corporate font for Kiwitaxi.

Kiwitaxi is an international service for booking private transfers online in advance, primarily from airports and between cities. TT Commons Pro maintains a consistent style across different languages and formats, ensuring the brand looks equally confident across all mediums.

The logotype uses something else, possibly a modified Axiforma.

Under Approval is a creative digital studio specialising in brand and advertising content. The website is reduced to a short self-introduction, a list of capabilities and a contact form, giving the studio a direct and highly compressed online presence.

The copy centres on lines such as “We make stuff move” and on services including precision 3D modelling, look development, digital simulation, character development, brand films and motion systems. Its sparse structure makes the website feel closer to a calling card than a conventional agency portfolio.

Typefaces in use are Store Norske Ja and Store Norske Ja Mono from Skriftkompani.

Source: archive.org License: All Rights Reserved.

The Inland Printer, published in Chicago, was perhaps the best record of early 20th-century American graphic design. “Specimens” (later “Specimen Review”) was a regular feature in which printers submitted their best work with the hope to be selected and critiqued by J. L. Frazier, editor of the journal. Alexander S. Lawson remembered it this way:

During his 47-year tenure in assembling “Specimen Review,” J. L. praised his contributors most of the time, but he could be caustic on occasion, blasting shoddy work without hesitation. He was particularly annoyed by stunt typography, coining the term “cockroach typography” to describe some of the excesses in style and legibility which came to his attentive mind.

It was rare, however, that J.L. simply panned a piece of typography out of hand. In almost every instance, he attempted to criticize constructively and with painstaking detail. He had all of the attributes of a first-rate teacher—always seeking to instruct and improve, and of course, to share his love for the world of print with anyone who would listen.

Month after month, Frazier was the recipient of printed material from every part of the United States and from many foreign countries. He carefully selected a number for reproduction. In addition, he commented editorially on 30 to 40 items, discussing them in detail.

In this October 1917 edition, Frazier selected the work of Oscar F. Jackson based in Lansing, Michigan. “Your work is clever.” he said. “The specimens set in the new Publicity Gothic are particularly effective.”

Source: archive.org Smithsonian Libraries at Internet Archive. License: All Rights Reserved.

Jackson’s ad for Superior Typesetting Co. is reproduced above, likely in different colors than its original. At first I thought Jackson did some clever custom cut for the overlapping “ST” in “Installs”, but it turns out that ligature was included in Barnhart Bros. & Spindler’s font.

Source: www.flickr.com Scan by Stephen Coles. License: All Rights Reserved.

Detail from the Publicity Gothic specimen in Barnhart Bros. & Spindler’s Catalog 23.

Designed in 1916 and released by 1917 (the same year as this use), Publicity Gothic is one of the first typefaces to emulate the bold, rough-edged “poster” or “block” lettering style sparked by Germany’s Plakatstil movement. It beat the heaviest weight of Berthold’s Block by three years.

This printer’s trade card / business card from the 1870s was printed in three colors on gloss coated stock. It features five different typefaces. The bichromatic caps filled with stars and stripes are from Johnson’s National, designed by Julius Herriet, Sr. and patented 1856.

This is an exceedingly rare card, I only know of one example. Its exact date is unknown. Greenback, the bold upright cursive with split shade, was designed by Herman Ihlenburg in 1870 and patented by MacKellar, Smiths & Jordan a year later, so it can’t be any older than that. In 1879, one Robert Malcolm was publishing The Masonic Newspaper from the mentioned address at No. 49 Cedar Street, New York.

“Steam” is in Antique Extended and “New York” in italic caps from a Modern/Scotch. The grotesque used for “Near William” is unidentified.

For a second example of Civil War-era patriotic type, see the “God and Our Native Land” envelope. It features a typeface that is not exactly the same as the one shown here.

I’m Taylor Jane Roy, a multi-disciplinary designer from California. My portfolio website uses two typefaces. The old-style serif typeface Fraunces by Undercase Type infuses playful personality into an otherwise minimal design. This soft and wonky font is contrasted by the consistent rhythm of Maison Neue, originally by Milieu Grotesque.

On her personal portfolio website, Daria Cohen writes:

I’m a Type and Media trained type designer based in Berlin. I’ve worked on Latin, Cyrillic, and Greek with Dinamo, NaN, Swiss Typefaces and Vectro (to name a few) contributing to various retail typefaces as well as projects for Call of Duty, Spotify, Wise, and a generous number of NDAs.

My self-initiated projects revolve around one goal: making fonts my grandma would recognize.

The gravestone on my homepage ties into my passion for death studies. I dream of opening a funeral home someday, but until then, my fonts are free for all death-related projects.

The website was designed and built by Lena Weber, who comments:

Since Daria is a type-designer the goal was to build a home for her fonts & projects, linking to different foundry websites for purchase.

The site is an homage to extended glyph-sets, alternates, carefully crafted letters and – of course – to Daria. 🥀🕊️

On reload random characters are pulled from the fonts, creating encrypted inscribing on the digital headstone: The »Daria Cohen password-generator«?

The site is divided in »the living« (fonts, released and available for purchase) and „the rising“ stuck as for in progress fonts in the bony underworld.

The custom backend allows for font upload, everything else is generated automatically.
Free font conditions hidden in an easter egg. Thank you Daria for your trust to go wild! I really enjoyed working with a type-only asset pool, diving deep into details, digging for glyphs and expressing an idea through placement and color only.
Swipe for a graveyard of discarded designs as well!

Text on the website is set in Daria’s own Onlysans.