Maruxa is a monolinear script much like Veltro (1934), Kaufmann (1936) and Stempel Elan (1936). It was cast by the Spanish foundry of Gans.

By 1958, it was used for a promotional card by Pensão São Jorge, a boarding house on Rua Castilho, 59, in the Portuguese capital:

Lisbon’s very latest. Inn style. Comfortable rooms and suites. Most attentive Restaurant service. Very select, distinguished and cosmopolitan surroundings. First class. Unsurpassed treatment in Boarding Houses.

The geometric sans used for the address and phone number is Grotesca Radio, a follower of Erbar-Grotesk, also by Gans. “Direction” might be in Grotesca mercantil, a version of the design also known as Longina. “English, Spanish and French spoken” is set in caps from an unidentified grotesk. It’s probably one of the numbered “Grotescas” listed in a 1960s specimen by Gans, possibly Número 1362.

Brite by Scotch-Brite is a new line of kitchen cleaning tools from 3M, launched March 1, 2026, at Target, Walmart, and Amazon. The collection – which includes a Dishwand, Palm Scrubber, and Scrub & Wipe, each with a matching Drain & Dry Stand – is designed to sit on the counter rather than hide under it, targeting Gen Z and millennial consumers who want their cleaning tools to reflect their personal style.

From 3M:

Your cleaning routine is about to get a serious glow-up – the first collection of its kind shaking up the category with bold, beautiful, and thoughtfully-designed tools that prove everyday essentials don't have to be boring.

OH no Type Co.’s Ohno Softie appears throughout the campaign in its Black weight, driving the display typography across packaging, in-store materials, and social content. The font's fully rounded terminals and soft negative spaces make it a natural fit for a product line built around the idea that cleaning can feel good – its warmth and bounce matching the collection's bold fuchsia, yellow-green, and teal color palette. The supporting sans is Poppins.

Product, packaging, and identity design by Katlyn Echeverri, Brand Design Principal at 3M.

Villa Miami is a residential experience by Major Food Group.

How do you capture the essence of Major Food Group—celebrated for its celebrity allure and unforgettable experiences—and translate it into a residential concept as extraordinary as a night at Carbone? For Villa Miami, we developed a brand identity that embodies the opulence and glamour synonymous with Major Food Group while seamlessly infusing the vibrant energy and culture of Miami. From the bold, dynamic naming to the art direction and immersive digital experience, every detail was designed to channel the high-energy allure of one of the world’s most sought-after dining destinations, ensuring each moment resonates with the same captivating appeal.

The typography uses Plaak 41 Bold Ultra Condensed and Inferi Light.

Nachglühen (“Afterglow”) is a project about architectural memories. It collects stories, images and documents about grandmothers, omas, nonnas. and their homes.

The typography takes architectural plans and typewriter documents as a source of inspiration and therefore uses only one type size throughout the publication. Typographic hierarchies are implemented through capitalizing, spacing and placement of text.

The publication is Riso-printed on semi-transparent paper that is fragile in its handling, in order to visualize the tactility of the content.

Initiated and edited by Ella Eßlinger and Clara Richard Gostynski, in an edition of 300 copies.

Few Manhattan neighborhoods capture classic New York quite like Gramercy Park—a desirable enclave defined by its private garden, quiet tree-lined streets, and historic architecture. Bridging timeless elegance with modern livability, The Florian carries this legacy forward.

Watson shaped the brand from the ground up with a strategic naming approach: “The Florian” evokes warmth, greenery, and enduring character—positioning the residence as both refined and welcoming. The broader brand strategy centers on appealing to a new generation of first-time homebuyers putting down roots in New York City.

Drawing from Gramercy Park’s 19th-century ironwork, literary tradition and cultivated community, the visual identity system subtly balances history with forward momentum. A flexible logo suite spans from an expressive wordmark to a pared-back fleuron, enabling versatility across touchpoints while reinforcing a cohesive, place-based narrative. The typographic system reflects the neighborhood's effortless charm and ease while staying rooted it in its quiet sophistication. The neighborhood photography further grounds the brand in authenticity, emphasizing an emotional connection to this iconic New York location.

Both a tranquil retreat and a gateway into city living, The Florian is positioned as more than a residence—it’s a setting for new beginnings, designed for those ready to write their own New York story.

The logomark variations are set in MD Lórien with modifications to specific letterforms. Headlines are set in LL Catalogue and supporting copy is set in Founders Grotesk.

When Marinski Heartmades ceramics pivoted from playful dreaminess towards elegant-slash-feminine dreaminess, it was time for a remake. And the typefaces chosen for such direction were Estilo Pro and Synerga.

Each piece of Marinski ceramics is a small, unique ode to nature. Just like each letter is.

Smack Bang uses Motorino by Typeverything for Dopha's logo to reflect the brand’s flexible, modular approach. Its clean, rounded forms help create a cohesive visual identity that can adapt across different applications as the brand evolves. The design is complemented by the typefaces Proxima Nova, El Camino, BN Hamburg Hand and a yet unidentified type.

Eugenio Perazza, founder of Magis, has written a book, designed by studio òbelo and published by Rizzoli in Italian and English editions. An intimate and passionate account of design through the episodes that have shaped the author’s personal and professional journey.

With carefully chosen words, Perazza brings us aboard a journey that traces the birth of Magis, the encounters with great designers of the past, the successful projects and those that didn’t work out.

Founded in Montréal, Ligne is an independent magazine dedicated to art, architecture, design, and lifestyle. In 2025, Ligne brought in Principal to overhaul their branding, logo, magazine layout, and digital experience. The redesign employs FT Habit from Formula Type as the primary typeface and Commercial Type’s Successor for display. The new look debuted in the November 2025 issue of the print magazine.

From a case study of the rebrand on Principal’s website:

The new positioning stems from a simple conviction: design practices can reach a broad public. This is achieved not by simplifying or diluting the subject matter, but by making Ligne’s world more welcoming, vibrant, and open. The logo serves as a minimalist anchor. Understated yet assertive, its simplicity allows it to coexist with rich editorial compositions and an ever-evolving graphic universe. The visual system is built on a bold typographic approach and a flexible grid that modulates the rhythm of the reading experience. Colour plays a central role, utilizing a dynamic visual language that modulates between magazine issues and digital presence, while maintaining total brand consistency.

Coat is a British interiors brand centered on curated paint and a broader decorating universe of tools, supplies and accessories.

Alongside its made-to-order, climate-positive paints, the brand offers primers, brushes, rollers, trays, tape and prep products, making it feel closer to a complete painting system than a paint label alone.

Since the launch in 2020, the identity combines Grand Slang by Nikolas Type, set in uppercase for the logo, with Roobert by Displaay for the wider text communication.

Strategy, visual identity, storytelling, art direction and website for Hannun, a leading voice in conscious furniture.

In an industry shaped by disposable consumption, Hannun’s answer focuses on value and respect – for materials, and for local craftsmanship. Its renewed positioning balances product and mission across the entire journey: design, production and delivery.

The brand narrative connects each piece to its origin, tracing stories of collaboration and dialogue shaped by design. The tone of voice, like its products, is grounded in care, honesty, sensibility and respect. The visual identity finds an editorial balance between form and function, connecting with nature beyond the obvious.

Good design is an exercise in coherence. And a place only becomes a home when it reflects the way you see the world.

Sansiri is one of Thailand’s foremost real-estate developers – a publicly listed company founded in 1984. Over decades the firm has shaped Bangkok’s skyline and beyond, offering a full-spectrum portfolio from affordable condos to premium villas.

Sansiri Luxury Collection is a curated portfolio of ultra-high-end residences, conceived as living artworks rather than mere housing. Collaborations include acclaimed designers such as Anne Carson, Mary Fox Linton, Gert Voorjans, Lorenzo Castillo, and Philippe Starck, underscoring the brand’s commitment to world-class design partnerships.

The brand’s typographic identity is carried by Solare Intense (Nikolas Type).

Visual identity for Dòte, a Milan-based hand-weaving collective active since 2022. Run by Caroline Donaldson, Elena Meneghini and Giulia Pils, Dòte is a workshop dedicated to the production of fabrics and textile objects, a space committed to the study and teaching of hand-weaving, and a research platform focused on textile culture in the broadest sense.

Dòte’s visual identity, curated by Michele Galluzzo in collaboration with Meneghini, is based on a custom typeface designed by Fantasia Type (Franziska Weitgruber + Galluzzo), inspired by the rediscovery of the Svezia typeface produced by Xilografia dei Verona in the first half of the twentieth century. The resulting font, Dote, is currently available on the Future Fonts platform.

Website for international design agency Shed. From Awwwards:

Shed are an agile, international team of strategic thinkers, brand designers and interior architects who have shaped ambitious brands for over 25 years.

The website was designed by Issac Powell and Thomas Aufresne. The headlines use Owners by Jeremy Mickel, while the body and small texts use either Sequel Sans (OGJ Type) or Reckless (Displaay).

The design of this book pays tribute to the unique world of Pierre Sala (1948–1989). The layout, inspired by his theatrical background, plays with words and spaces to evoke stage and movement. Two distinct typefaces, Janson Text and Hauser – one literary, the other more graphic – reflect the duality of his work between narrative and visual expressiveness. The color palette, inspired by the 1980s, with vivid and contrasting hues, captures the energy and originality of his creations, such as the Piranha chair and the Clairefontaine notebook desk.

The monograph was published by Éditions Hors Champ. See more images on the website of Mathilde Lambert who worked on the book’s design with and for Undo-Redo.

Freelance support during the strategic realignment and rebranding process of Maytoni, an interior lighting brand based in Münster. Building on the redefined brand essence and the tagline “Shaping Spaces and Stories,” we developed an evolution of the corporate design. Core elements include a new typographic identity, a revised color system for categorizing lamp categories, and a reimagined visual language. In addition to the graphic implementation of various touchpoints across areas such as traditional business stationery, editorial design, retail, and social media, the collaboration also included consulting on topics such as product development, collaborations, content production, and packaging.

The brand and marketing strategy for European markets was devised by Jan Wagner van der Straten / Maytoni. Carina Mähler worked with Jan Wagner van der Straten on the brand creation, using Suisse Int’l by Swiss Typefaces and Romie Regular by Margot Lévêque. The 3D renderings for the catalog cover are by P1 Studio.

“There are no seasons, no rush, no trends - only the natural rhythm of making things that feel true,” the founder told us. Drawn to the deep resonance of human presence and imperfection, we arrived at the name for a “meaningful things store”: Zoia’s Fingers.

The identity had to accompany the carefully made objects, delicate yet playful across its range of applications. We keep our fingers crossed for Zoia, and for all her thoughts, gestures, and feels.

The logo is composed of Eyja, and short copy is set in Herbik. Both are available from Counter Forms. On the website, type is set in Libre Franklin from Impallari Type.

A truck is parked in the street, showcasing minimums furniture and the typeface TheSans on its side

Founded in 1999, minimum einrichten is an interior design and planning firm with stores in Berlin. They claim to offer the finest furniture, home goods, and accessories. The company uses TheSans for its logo, magazine, and social media.

The word minimum is a classic in type design: a row of nearly identical strokes where spacing and rhythm quickly become visible. Calligraphers and type designers have long used it to practice consistency. The logo still carries that little exercise.

Company catalogs

Company catalogs, inside

LINII is a creative agency based in Moscow. They have issued merchandise in the form of a calendar where you are the main thing of the day.

In this alternative calendar, instead of work calls you’ll find “doing nothing”, instead of planning meetings – “a date with yourself”, and instead of deadlines – “arrange the best day for yourself”. CoFo Sona is used throughout.

This one goes out to John who’s looking for more in-use examples of Daisyland.

For ages 8–80
A good beginner’s book. easy enough for children, appealing enough for adults.
Clear Project Instructions · Knotting Diagrams · Full-Color Photos

On 23 pages, the DIY book presents patterns titled Neat Knots Wallhanging, Wings of String Butterfly, Fish Story, Twice as Nice Plant Hanger, Beaded Beauty Belt, Beach or Books Tote, Jump Ropes, Message Center, Mr. Happy, Ring Around a Towel, and Pretty Hang-up.

Kids Can Macramé was edited and art directed by Mickey Baskett, with photography by Jimmy George and illustrations by Jackie Stephens. Cathy Bonds, Rose Brinkley, Michelle Menough, Carol Millsaps, and Lynn Witbeck are listed as co-authors.

All of the typefaces were available from VGC for the Photo Typositor. Daisyland – an ornamented variant of Erwin by Murray Fuchs – and Jerry Matejka’s Soul were originals by the Florida-based phototype company.