Bergen Internasjonale Teater, or BIT for short, co-produces and presents Norwegian and international performing arts, and places particular emphasis on projects that stimulate international collaboration and work across artistic genres. BIT takes responsibility for highlighting the latest in dance, theatre and performance, including the facilitation of a relevant discourse program.

In 2025, Norwegian studio PART was commissioned to create the new identity, coinciding with the move to a permanent home at Sentralbadet after 14 years of nomadic operation. As stated on their website, they drew “inspiration from the energy and cohesion surrounding modern dance and theater. From the potential for friction and the fluidity of dance. From the unpredictability and suspense that come from not knowing exactly what will happen.”

This inspiration is clearly reflected in the use of the typeface Bertin, designed by Roman Seban and distributed by 205TF. Acording to PART, Bertin “piques curiosity and brings the unknown to the fore through expressive filtering.” As secondary typeface, for certain practical details, they used Neue Haas Grotesk (Christian Schwartz, Commercial Type).

The Moraine – Home is Where the Mountains Are

Getting up and out in Colorado: less than 30 minutes from Boulder, Colorado, and in the foothills of the majestic Rocky Mountains, The Moraine brings together urban convenience and breathtaking outdoor access. Watson was tasked with creating a name and a brand that would attract active individuals and families seeking to live, hike, bike, climb, and ski in pristine nature without giving up the urban amenities that the cities of Boulder and Longmont have to offer.

Grounded in a strategy centered on living close to nature, the brand identity draws directly from Colorado’s rugged landscape. The logo abstracts a rock and a house into a distinctive M mark, creating a visual connection between the buildings and the natural environment. The angular geometry of the symbol establishes the foundation for the typographic system. Type moves throughout the compositions with the same rugged, geometric character, creating a cohesive and expressive visual language.

The overall identity remains intentionally restrained, allowing the landscape to remain the hero. A minimal black-and-white palette, paired with a Swiss graphic design–inspired typographic system, introduces references to sports and outdoor culture while maintaining a refined and contemporary character.

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.

MS NOW is an American cable news channel that was originally established in 1996 as MSNBC and is currently owned by Versant. The rebranding as MS NOW (a backronym of “My Source [for] News, Opinion, [and the] World”) took place on November 15, 2025.

As of May 2026, the website uses Cooper Hewitt in Medium and Bold weights for headings, navigation and short texts. Body copy as well as some headlines and teasers are in Merriweather. Provided as variable font, Merriweather is used with its optical size axis set to the smallest size, 7pt.

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.

Showcase is the graduate platform and end-of-year exhibition for the students of the University of the West of England (Bristol) in the College of Arts, Technology and Environment (CATE). The platform and its identity was created in 2020 and refreshed in 2023 by Rhombus under creative direction of James Ratcliffe. Originally launched as a digital showcase during the COVID-19 pandemic, the platform was expanded as part of a broader rebrand accompanying the return of the physical end-of-year show. The website continues to serve as a portfolio space for graduates to present their work and connect with potential employers and collaborators.

The identity takes cues from the “white cube” gallery model. A restrained monochrome palette and generous white space position the students’ work as the central visual element across the website and printed materials. Typography is set in Swiss Typefaces’ Suisse Works and Suisse Int’l. From the article “Showcasing creativity” by The Brand Identity:

The typographic direction maintains the professional look of the brand, thanks to Rhombus’ decision to use the elegant, modern and cutting-edge Suisse font family which, Ratcliffe explains, “felt right for an identity that needed to bridge art and education.” Suisse Works is used for the wordmark for its classical flair and ability to “stand alone as a logo without fancy customisation.” The supporting typeface, Suisse Int’l, was chosen for its versatility and legibility, ensuring a clear hierarchy, and its utilitarian ability to maintain accessibility across the extensive website.

The artwork on the poster to the right uses Velvetyne’s Pilowlava.

In 2023, Pastai Sanniti, a historic pasta factory in Sannio, enters a new phase thanks to the acquisition by the two-Michelin-starred chef Giuseppe Iannotti. A bold and contemporary vision has transformed every aspect of the brand, leading it to break with the past to project itself towards an innovative future.

The rebranding was born from the encounter between the extraordinary quality of the products and a radical narrative approach, inspired by the legendary figure of Mazzamauriello, a mischievous elf of the Samnite tradition.

Mazzamauriello, a mythical and mischievous figure of the Samnite culture, has become the symbol of the project. This elf, with his pointed hat, has been reinterpreted in a modern key: an alchemist of flavors who wanders around the pasta factory while production is in progress, leaving the mark of his magic. Hence the idea of ​​the brand: Alchemy of wheat.

The logotype and other elements are set inSud. The typeface chosen for smaller text is Onest.

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.

Cowboy Space Corporation is an American renewable energy company founded by Baiju Bhatt in 2024, originally under the name Aetherflux Inc. The startup is focused on space technology, orbital infrastructure, and future energy systems, and is set to build a power grid in outer space o power artificial intelligence.

The visual identity for Cowboy Space Corp. was conceived by Smith & Diction. They chose the freshly released Panell (Displaay) as the main font, paired with Okima (Rellence), TT Autonomous (TypeType), Similar (Or Type), and Talu (Beasts of England). The patches additionally feature Megazoid (DJR).

From Smith & Diction:

We decided to pair Panell with FOUR other brand typefaces. Completely responsible and practical thing to do. But when you’re going to space you gotta look your best, you know?

We chose Similar for body copy and brand support, Autonomous for the “Corp.” in the lockup, Okima for bitsy detail info, and Talu to bring a little bit of western whiskey into the mix.

Website detail ft. two widths of Panell

Website detail ft. Okima, Panell Wide Bold, and Similar Regular

Web footer

I use Monitor for writing text on my computer, and GT Pressura Mono for coding.
Since I was making a page for my new browser extension, I wanted to toot their horn.

Glareless is a browser extension that protects your eyes by ensuring that the background color for text areas is not overly bright.

Typ Recruitment, stylized as {typ_, had the energy of a misfit collective, but the identity told a far safer story. Behind the company lived curiosity, experimentation, grit, and a very particular kind of humor. None of it reached the surface.

The new identity brings that internal culture forward. Built for people who explore before they read, the system filters through behavior rather than brand language.

At the center sits the {typ_ logo, a small manifesto reflecting the idea that identity is never finished, but always shaped by context and iteration.

Instead of a traditional corporate website, we designed a layered desktop-like environment with terminal interactions, overlapping windows, hidden details, and subtle narrative clues. The visual language draws from tech culture and open-source systems, modular, exploratory, and intentionally imperfect.

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.

Ulysses de Santi is a design dealer and curator renowned for his work in promoting mid-20th-century Brazilian modernist culture and design.

Inspired by the cultural richness of Brazilian modernist design, the new identity for Ulysses de Santi combines expressive typography and editorial-inspired layouts. Built around the contrast between geometric precision and warmth, the visual system explores rhythm, spacing, and tension to create a brand that feels both contemporary and deeply connected to Brazilian design heritage.

Editorial compositions, structured spacing and a precise grid carry the discipline of the visual identity into the digital experience. Motion creates continuity between states, supporting navigation without distraction. Projects are presented as narratives, allowing content to take centre stage while maintaining a strong, coherent identity.

The identity was conceived by Daniel Escudeiro, with digital design by Twoo and digital development by Jorge Toloza.

Harvey is the AI platform tailored for legal and professional services, used by top law firms and in-house legal teams – including A&O Shearman, Reed Smith, Deutsche Telekom, and PwC UK – to elevate their craft and navigate complexity. The brand foundation was shaped by Portland-based studio Geist, working alongside the Harvey founders and brand consultant Shawn Farsai, producing an identity that stands apart in a category full of generic tech tropes.

In June 2025, Harvey launched its first out-of-home campaign in New York – “Practice Made Perfect” – with Geist and Daybreak, where typography carries the entire expression: the wordmark, headlines, and display copy are all set in TWK Ghost (designed by Nolan Paparelli and published by WELTKERN), its refined high-contrast shapes giving Harvey the editorial gravitas of a legal journal while signaling craftsmanship and precision. ABC Diatype by Dinamo is used as a supporting sans-serif for body copy and UI – a measured counterpoint that lets TWK Ghost hold the emotional and visual weight of the brand.

Seamless Data is a New Zealand integration platform for utilities, local government, and other asset-rich organisations. The website positions the company around system connection, workflow automation and resilient operations, with dedicated sections for local government, utilities, FME products, case studies and training.

The site combines technical product messaging with a more human layer about trust, partnership and long-term support. Its structure moves from platform overview to sector-specific applications, product modules, testimonials and case studies, giving the business a clear B2B sales flow grounded in infrastructure and public service use cases.

Both the logo and the website use Store Norske Skandia from Skriftkompani.

Studio Freight delivers brands, digital experiences, campaigns, and special projects to move missions forward. Their global team works across categories, continents, and capabilities to transport client partners from where they are to where they want to be.

Recently, the studio introduced a new brand and website, ending its “speakeasy era,” with a clarified promise of Moving Missions Forward and an unfolding ecosystem of initiatives, including The Manifest. The new logomark draws on the narrative depth of crests and hieroglyphs, combining a horse, a key, and an F that together hint at a pegasus.

The identity pairs JJannon (by Optimo) with Publico Text Mono (by Commercial Type). JJannon carries body copy and longer reading, where its editorial heritage and slightly austere contrast bring intelligence and care to the studio’s writing. Publico Text Mono anchors headlines, eyebrows, and supporting marks, where its monospaced, data-vernacular texture lends the brand the cadence of annotated research. Together, the two scale between quiet and loud, giving the system the feel of brutal elegance.

MN Metis Sans is a custom handwritten-style sans serif created for Metis, a barley milk and fruit milk brand designed for Gen Alpha by M — N Associates.

The typeface was developed as part of a broader identity system centered around Vitrô, the brand’s playful mascot and character universe. Inspired by the spontaneity of doodles, internet stickers, and the imperfect visual language commonly found across Gen Alpha culture, the font embraces soft curves, chunky proportions, and an intentionally loose rhythm.

Rather than pursuing polished neutrality, MN Metis Sans was designed to feel alive, expressive, and slightly awkward in a deliberate way. The goal was to capture the confidence of imperfection without falling into overly childish or generic territory.

The typeface includes three weights and full Vietnamese diacritic support. Small details throughout the system reinforce the relationship between typography and character design, including a custom .notdef glyph rendered as Vitrô’s head in the typeface’s own proportions.

Across the Metis identity, the font appears throughout packaging, merchandise, digital touchpoints, stickers, and motion assets, functioning both as a readable system and as an extension of the brand’s playful personality.

The visual identity for artist Kea Elisa is shaped by intuition, presence, and inner energy. It’s guided by the mantra “Own your space. Own your power”. The design strategy centers on a deliberate tension between raw expression and architectural clarity, making the process of transformation visible rather than concealed.

The signet combines custom lettering with typography. The hand-drawn K was conceived as an expansive, dynamic gesture, intentionally breaking away from standardized norms. This custom lettering serves as a point of origin, carrying the personality and “inner energy” of the brand into a physical, visible form.

The typeface Söhne Breit acts as a precise, structural counterbalance. While the signet represents movement and intuition, Söhne provides a sense of permanence and geometric rigor. The wide, space-filling typesetting of “EA ELISA” creates a powerful typographic foundation, mirroring the balance between an inner creative process and an outward professional expression.

A brand identity that rejects the static and the standardized. Through the juxtaposition of organic custom lettering and the systematic precision of Söhne, the design achieves a unique presence that commands its own space.

The website additionally uses Montserrat and Cormorant.

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.

Barpotot is a restaurant in Copenhagen, to enjoy small plates, wines, and cocktails in a cozy setting. It’s one of Copenhagen’s most atmospheric spots for food and drinks.

The visual identity by Nicolas Linde uses Install Bold paired with Maroni Regular.