Voyageurs du Monde is a luxury travel agency. They have physical agencies in France but also in Belgium, Switzerland and Canada. Beside their website, they regularly publish a culture and lifestyle magazine and also some books about countries or world regions. They are using LL Bradford, Founders Grotesk and Selva Script for their communication.

The compressed grotesk used on the Instagram channel is Mānuka.

Renate is a Munich-based bistro specializing in small plates, wine, and drinks. The identity by Herburg Weiland uses Gaya combined with Ready Active.

Galicheva–Gahlen developed the identity and signage for Iain Cochran Architects, a practice based within a former leather shop in Felixstowe. The project drew from the building’s layered history – from its origins as a sweet shop to its long life as The Leather Shop, which operated for more than fifty years before closing in 2021. Rather than erasing these traces, the identity sought to carry the site’s visual character into its next chapter.

The typographic approach was informed by the building’s original hand-painted signage and the studio’s own sketching process, balancing architectural precision with warmth, irregularity and human gesture. Central to the project is F37 Beckett by F37, a typeface inspired by the 1933 British Ministry of Transport alphabet used on pre-Worboys road signs. Its distinctly British character felt particularly suited to a practice grounded in material sensitivity and local context.

The identity extends across signage and printed collateral, creating a visual language that feels both rooted in the building’s history and reflective of the architectural practice it now houses.

Network Sans is the official type family of the public transport system throughout the state of Victoria, Australia. It appears on signage, promotional and safety material throughout the state on metro and regional trains, trams, buses, ferries and more. This has meant it has been applied to a wide array of substrates and surfaces including enamel station and stop signage, various digital screens including Public Information Displays (PIDs) as well as billboards, printed posters and decals for walls and and floors to name a few.

Network Sans is also integrated into the Wayfound Victoria wayfinding programme which is available to any municipal body and provides a signage system for walking and general navigation. So far Wayfound has been adopted by Melbourne, Maribyrnong, Port Phillip, Stonnington and Yarra city councils with a view to streamlining way-finding throughout the state.

The goal was to unite a complex system of public-private providers, modes and routes under the one easily-identifiable system. When you see Network Sans you should be able to recognise where you are and where you are going. Alongside the typeface—which plays a pivotal role—there are also suites of colours, way-finding forms and products, textile patterns, print templates, on-screen and app-based templates and more.

The development of Network Sans has taken place in stages with extensions created as the need arose. Starting out as a multi-weight family of Sans and Sans Italics, it has grown to include Network Neo and Network Geo versions adapted for specific purposes such as on platform place-naming (often with rounder, more circular counter-spaces and wider forms). From this a series of Condensed versions were extrapolated and original letterforms adjusted and updated for enchanted clarity, especially on screen.

Development began in-house at Public Transport Victoria with many stakeholders from in and around the design team contributing to its evolution. This meant letterforms could be trialled within real world scenarios and in proposal work (the earliest version appearing on directional signage along the bridge at Footscray station). Design team staff even got their own desk name plates set in the new typeface.

Adoption has been wide-spread, particularly within wayfinding and navigation systems although private operators can still choose to employ different typefaces for their own promotional material based on their specific identity guidance. Network Sans is also playing a leading role within the promotion and rollout of the imminent Metro Tunnel project appearing on posters, hoardings and within social media campaigns where animated text is also a key tool in grabbing viewers attention.

For 2026, TRNSMT festival uses Alias Ano mainly for on-site signage and social media. A variety of typefaces including Access are used across secondary type.

Capital Radio DJ Katy Johnston presenting from the festival on Sunday afternoon

DJ George Bowie showing his Artist wristband

RT Rondelle in use for OC’s new identity designed by Identity Marketing.

OC is one of South Australia’s leading names in real estate. The co-founders Alex Ouwens and Nathan Casserly joined forces with Identity Marketing Agency to strenghten the brand's presence. The scope of this project covers just about everything, from branding and identity, to property marketing, website design and development and more.

From Identity Marketing;

Working alongside Identity Marketing, OC sought to take everything recognisable about the existing brand and refine it into something sharper and more sophisticated, with a hint of playfulness. Smaller decisions like reinterpreting their iconic orange and expanding around the “Let's Make It Happen” tagline sat alongside more significant ones: contrasting serif and sans-serif fonts, bold new layouts, and a new brand voice. All carefully considered to elevate the brand for the next decade. Stronger, bolder, and ready for the future.

The Huntington is an iconic cultural institution in Southern California, founded in 1919. Spanning a vast estate, it brings together gardens, a research library, and a museum, creating a place where history, art, nature, and knowledge intersect. Far more than just a museum or a garden, The Huntington fosters research, learning, and public curiosity through interdisciplinary exhibitions.

Base Design developed the institution’s new brand identity and supported the rebranding process through brand strategy, naming, and signage.

The typeface in use for the identity is Moulin Medium, released by Commercial Type. It’s supported by Luzi Type’s Messina Sans.

Anaheim, California

The Great Wolf Lodge logo uses Caslon Antique, a decorative, distressed serif typeface designed in the 1890s by Berne Nadall.

Great Wolf Lodge is a chain of family resort hotels and indoor water parks in the United States and Canada. Started as Black Wolf Lodge in 1997, the first park was purchased by The Great Lakes Companies Inc. who changed the name to Great Wolf Lodge in 2000.

Mason, Ohio

Mason, Ohio

Concord, North Carolina

Grapevine, Texas

Grand Mound, Washington

Niagara Falls, Ontario

Global brand identity by Vilnius-based andstudio for the new Mostai Padel Club using Marlfield coupled with ABC Solar on all media.

Photos by Vytautas Dranginis and Vincas Čygas.

Es Ala is an interdisciplinary architectural practice based in Guadalajara, Mexico, founded by Armida Fernandez and Luis Flores.

The firm, in its own words, seeks to “honor culture and tradition while still questioning the significance of programs, methodologies, and materialities. Architecture must be able to fade away established boundaries and conventional hierarchies, allowing the freedom to generate new forms of behavior.”

Driven by Es Ala’s perspective on architecture, we aim to build an image that reflects these attributes.

We redesigned their logo to create an ethereal composition with bodies that have no positions or barriers.

For editorial compositions, we played with airy and flexible layouts, where the protagonist is represented through the use of blank spaces, which enrich and highlight the elements placed on them.

Es Ala's work stands out for its appreciation and valorization of regional materials and their use in new contexts. The color palette aims to represent this appreciation, using earthy colors that vanish with time.

Mockups of the website. The live website uses Inter.

Bar Boteco da Manu, created by Manuelle Ferraz of A Baianeira, occupies a renovated corner house in Barra Funda. The visual identity draws on elements commonly associated with the boteco, including cold beer, glassware, snacks, and street-facing social spaces.

A red rose serves as the central graphic element, appearing across applications and connecting references from popular culture, nightlife, and everyday urban life. The color palette revolves around different shades of red.

The VTC Bayard typeface, by Vocal Type, relates the identity to a vernacular visual vocabulary, close to signs, street banners, and other graphic codes of the urban space. GT Alpina, by Reto Moser (published by Grilli Type), appears more selectively throughout the communication, establishing a dialogue between vernacular and editorial references.

Boteco da Manu does not conceal the kitchen, the refrigerator, or the beverage crates. The identity reflects this openness, drawing on references that move between the everyday and the theatrical. A place of exchange and hospitality, where drama and conviviality share the same table.

For Toronto Tech Week 2026, Cohere transformed a Toronto event space into a celebration of design and technology, through an event crafted in collaboration with Offhours.

The identity stretches and squishes Cohere’s brand font, a customized version of Lineto’s LL Unica77 (with round dots), and pairs it with Canora by R-Typography. Signage and ephemera at the party also use Mosa by Alexandre Créquer and Megazoid by DJR.

The celebration extends beyond visuals, offering guests exclusive merch from Cohere’s Merch Store (see the previous contribution on Fonts in Use).

Harbour Square Basin, just west of the Jack Layton Ferry Terminal near Bay and Lakeshore, until October 2026.

Global Convenience is a temporary art installation on the Toronto waterfront, in one of the 16 host cities for FIFA World Cup 2026.

“Convenience stores, local markets, rum shops, bodegas, these are familiar places no matter where you’re from. So when people are visiting Toronto for the World Cup, we want them to feel that familiarity,” said Rashad Maharaj, the producer of the project. Nevertheless, this out-of-context representation of a store has layers of irony: an urban feature in a natural setting on Lake Ontario, advertising convenience for all but without any easy access, an open sign but actually closed, newly placed but with retro characteristics (exemplified by the use of the very 1970s typeface Zipper).

Despite the global, universal theme of the corner store, this version contains many localized details, such as the Ontario Lottery and Gaming Corporation symbol in the window. The jug with the text “open seven days a week” was once used by the brand Becker’s, which was Ontario's first chain of convenience stores, founded in 1957. It uniquely sold milk in returnable gallon jugs (instead of a daily delivery) and it was open seven days a week for fourteen hours per day, an innovation at a time when Sunday shopping was then highly regulated. Grocery stores in Ontario were closed by law on Sundays and holidays under the Lord's Day Act (1906) until 1987.

While the art installation is viewable up close by kayakers, you still can’t buy anything there. It is perhaps a metaphor for the relative difficulty of accessing tickets to a World Cup match – anyone can view the games on TV from afar, but to get there in person will require means not available to all. Toronto is hosting six matches of the World Cup at an estimated cost of C$380 million to the city, provincial, and federal governments.

For context: a Becker’s storefront.

Albra by Rellence is used for Au Nom de la Rose, a well-known chain of flower shops present in France since a few decades.

Design studio Bureau Martine describes the project as follows:

We were thrilled that Charlie's Agency entrusted us for its rebranding, as it’s a challenge to modernize an established brand. The change came with a brand new logo, fonts, colors, and the installation of new graphic codes. Our scope of work went from retail to social media, packaging, website guidelines: a real 360° project.

The business cards were Riso-printed by Studio Fidèle.

Herbathera is a herbal shop owned by Mathilde Sérézat that opened in 2022 in the 12th arondissement of Paris. Its visual identity contains the logo, cards, packaging designs, and the website.

Designer Magali Brueder on Matorral:

We chose Matorral because the style reminded us of the world of plants, with its blend of softness and sharpness!

Website homepage

Smugglers Society is a CBD social club based in Paris, located on Hauteville street. The brand identity has been designed by Studio Furious, with a comprehensive approach covering art direction, photography, campaign development, store signage, packaging, and merchandising.

Studio Furious developed a distinctive visual language built around the typeface Exposure by 205TF, used in both –60 and +40 variations. Its soft, rounded forms and slightly blurred appearance evoke the diffuse, intangible quality of smoke—subtle, atmospheric, and constantly shifting.

The photo series is built as a playful visual guide to the “10 golden rules” of a modern-day smuggler. Use them at your own risk...

Cross-channel promotion of France 2, France 3, and France 5

France Télévisions is the French national public TV broadcaster. It was formed in 1992 as a merger of Antenne 2 and FR3, with France 5 becoming a part of the group a few years later in 2000. In 2002, after a decade in existence, it underwent a major rebrand, using Heldustry across all its TV channels. This usage of the font would last until 2018, when it underwent its third major rebrand, changing to a modified version of LL Brown.

Logo as used from 2002 to 2008

Logo as used from 2008 to 2011

France Télévisions headquarters in Paris in 2009

France Télévisions headquarters in Paris in 2015

Road sign describing what is forbidden when traveling through the Saigon River Tunnel

DIN 1451 Mittelschrift and Engschrift are the officially regulated typefaces used for all forms of public wayfinding and traffic signs in Vietnam. The fonts are modified versions referred to as “giaothong1” (Mittelschrift) and “giaothong2” (Engschrift) which adds support for Vietnamese characters. While exact dates aren't given and documents are scarce, what research I was able to do would peg its standardization to around the 2010s, though it could be way earlier.

One rarely comes across signs that use other, non-regulated typefaces. The most common ones I've seen use some variations of Helvetica, Univers, and Times New Roman. There are many reasons as to why these oddballs exist, but it mainly boils down to either locally made signs or ones that predate the standardization. There is about a 50/50 chance these will get replaced eventually.

DIN fans will love this one.

Weight limits for trailers traveling overseas, with a superscript t for tons

One-way directions towards Ho Chi Minh City, its airport or to other provinces.

A sign warning about fog in the road ahead and asking to slow down, mainly seen in mountainous areas

A fun signboard from a small restaurant in Mexico City, typeset completely in Hobo. This sign contains the name of the business and the main offerings: sandwiches, tacos, quesadillas, tostadas and sodas. God bless Mexican food.

Attak chose Giboula by Spaghetype for the World Skate Center in ’s-Hertogenbosch, the Netherlands, both to decorate the interior walls and to tie in with the venue’s logo.