Source: www.juli-arbol.com License: All Rights Reserved.

During Ramadan – when nights come alive with culture, energy, and connection – Cadillac launched Brightest Nights, a mobile-filmed docuseries capturing the often-overlooked vibrancy of night culture during the holy month.

The visual identity was built around a striking bilingual type system: Cadillac Gothic, with its bold, modern geometry, anchors the brand’s English voice, while Adobe Arabic Shin brings fluidity and clarity to the Arabic counterpart. Together, they create a cohesive and expressive system that balances heritage with a contemporary edge.

The submitted posters – used across branding and animated social content – reflect the duality of the series: raw and authentic in tone, yet refined in design. The typographic choices play a central role in reinforcing the cultural relevance and visual sophistication of the campaign.

Art director and graphic designer: Juliana Arboleda​
Writer: Rohan Kodialbail​
Creative director: Bruno Barbosa​
Agency: Saatchi & Saatchi Dubai
Director: Amirah Tajdin

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Source: www.juli-arbol.com License: All Rights Reserved.

Ramadan is a time traditionally rooted in peace, reflection, and spiritual calm. Yet for many, the season has become increasingly overwhelming – with 7 in 10 people citing traffic, social obligations, and excessive advertising as major stressors.

Instead of contributing to the noise like most brands, Cadillac chose to offer a moment of calm. In collaboration with three iconic Arab artists – Raphaelle Macaron, Rex Chouk, Nora Zeid – we launched an animated and illustrated series designed to help audiences reconnect with the essence of the holy month.

Each episode featured Cadillac’s quietest vehicle and was paired with soothing binaural beats to enhance a sense of mental clarity. Visually and sonically, the series invited viewers to slow down and reflect. These are the animated promotional posters that captured and shared that spirit across social platforms – helping people find peace in a season that’s often anything but quiet.

ATM JET is a provider of private aviation services. The new website uses my TA Regresso Easy together with Inter by Rasmus Andersson.

With its delicate and balanced shapes, TA Regresso Easy fits perfectly into the visual language of premium brands. It is the ideal choice for those looking for luxury, sophistication, premiumness and modernity.

In late 2021, Tabby, a buy-now-pay-later app, enlisted pew.’s help to improve its brand strategy and visual identity to expand beyond the Dubai market while also securing larger investments. To achieve this, pew. worked closely with Tabby’s marketing team to develop a fresh and larger-than-life branding and strategy. Tabby needed a more distinctive wordmark and had no need for a symbol. This core brand belief was the engine behind all brand extensions. Tabby could be its own currency – a mark of independence in a sea of profusion and commotion.

Tabby uses Radial from Gradient as a primary brand typeface. The Tabby wordmark is custom.

The portfolio website of Rob Hemus Ltd. combines OffBit (2022) and the italic Amstir Pixel (2024). In May 2024, it received a Honorable Mention at awwwards. The jury wrote:

A website crafted to inspire, with case studies and curiosity. A design collective with so much to offer, starting at the co.uk.

Fasset is a Dubai fintech company that manages a financial platform, helping people and businesses to “securely save, invest, earn, and move money”.

They use Yapari for their wordmark and made sure it matches the logo perfectly.

As their founder and CEO, Mohammad Raafi Hossain says: “Our refreshed brand reflects the ambition that everyone, everywhere should be able to use their hard-earned money to buy high-quality, globally-traded assets to build their wealth.”

TT Hoves is used on the website of Hello I/O, an international company that creates immersive spaces. The projects of Hello I/O represent the intersection of design, architecture and technology.

Jameel Arts Centre is an independent institution dedicated to exhibiting contemporary art to the public and engaging communities through learning, research and commissions. Founded and supported by Art Jameel, the Centre is located in Dubai, United Arab Emirates.

Every year, they organise a Career Day:

This second iteration of Creative Careers Days, titled You Can’t Have Art Without…, is dedicated to showcasing the multiple roles that can contribute to the growth of the arts ecosystem. Discover how you can apply your core interests from business, accounting and law to humanities, social studies and languages, as well as fine and performing arts to the creative industries.

They realize a sub-identity for every of these events. For this year, they chose to work with BVH BLine and BVH BDot, apparently with matching lettering for the Arabic. Their standard typefaces are Greta Text (with Arabic) and Graphik (with Arabic).

Based in Paris and Dubai, CGI studio Jade and Alexis is engaged in interactive installations, AR, VR, motion design and 3D graphics. In 2021, Jade and Alexis guided a tour around metaverses and they designed a website to celebrate the Assassin’s Creed game’s birthday in 2022 . The studio opted for a concise use of Graphik Arabic from Commercial Type on their own website.

Monumental Shadows: On museums, memory and the making of history is a 320-pages bilingual publication designed by Madrid-based designer Clara Sancho for Jameel Arts Centre in Dubai. The publication, co-published by Art Jameel Publishing and Kaph Books in 2023, features new essays, commissioned works and a myriad of provocations to think through some of the most pressing debates around material heritage and museums today.

The combination of various fonts from 29Letters references the mix of contents of the book (from visual contributions and interviews to fiction and essays) and their provocative nature. In addition, the format, colours and design of the cover (hardcover, dark aubergine, content list on the cover) echoes in an subtle way the aesthetics of museum publications while the interior is a dynamic mix of different typographic styles, layouts and papers.

Edited by Art Jameel curators Nora Razian and Lucas Morin, with an intro by Antonia Carver

Contributions by: Pio Abad, Basel Abbas and Ruanne Abou-Rahme, Rand Abdul Jabbar, Nora Al-Badri, Anahi Alviso-Marino , Noah Angell, Haytham El Wardany, Faustin Linyekula, Omar Berrada, Jumana Manna, Bonaventure Soh Bejeng Ndikung, Marian Pastor Roces, Gala Porras-Kim, Michael Rakowitz, Uzma Z Rizvi, Alya Sebti, Dima Srouji, Akram Zaatari

Majid Al Futtaim is a holding company in Dubai with over 40,000 employees operating multiple business units including shopping malls, retail, and leisure establishments in 13 countries including the UAE, Lebanon, Egypt, Saudi Arabia.

Within their Leisure business unit, there is Global Snow, and the flagship Ski Dubai snow park. Our brief for Global Snow was summarised down to following statement: “Develop a signature brand experience that embodies Global Snow’s excitement, optimise the booking process, and boost customer retention.”

Matching their ambitious goals of opening more snow parks, we were tasked to build a dual language scalable digital experience that would work across multiple formats – web, kiosk, display, apps and more.

Working with a brand which was “waiting for a brand update” we decided to move forward with typography and set a standard for a communication hierarchy utilising the Druk family for headlines – in Heavy Italic, Wide Heavy Italic as well as Text Heavy Italic and Text Wide Super Italic styles – and Inter for all body copy. For the Arabic headlines, we commissioned 29LT for a customised version of 29LT Bukra Wide Black.

As part of the visual identity of the Kingdom of Bahrain Pavilion at Expo Dubai, a special bilingual publication was designed by Clara Sancho and Pascal Zoghbi, titled Density Weaves Opportunities.

The book features architectural drawings, a series of photographs by Maxime Delvaux and essays by the Kingdom of Bahrain Pavilion commissioners and architect Christian Kerez in Arabic and English. The design of the book resembles through its materiality the architecture and the pavilion theme.

29LT Zawi is a customisation of the 29LT Baseet typeface from the 29LT typeface catalogue, first used for the pavilion and later published on the 29LT site as a companion to 29LT Baseet.

The publication is a softcover OTA-bound book of 80 pages, with a dust jacket made of dark grey linen. The title is hot-stamped on both sides. 64 pages with full bleed photographs are printed on coated glossy paper in the middle sections and Arabic and English texts appear on uncoated off-white paper.

Steradian is used throughout the website of restaurant MasterChef Dubai:

MasterChef, the TV Experience, brings a fusion of flavor to Dubai with a cutting-edge menu headlined by MasterChef Champions and the stories that inspire their culinary creations.

The wordmark uses Museo Slab.

Personal website for myself, art director & graphic designer Yuta Kurimoto. The website was programmed by Paris based studio mosne.

How to become a Nobel Prize Laureate? The traveling exhibition Connecting Elements – The Nobel Prize in Chemistry familiarises young people with the laureates in chemistry and their groundbreaking discoveries. Manifold hands-on and media stations are intended to engage the visitor in taking action to research and explore. The visitors discover four different thematic areas and learn how chemistry influences the environment and our everyday life. Main target group are children and adolescents 12 years and older. By issuing a personalised document and a photo of the visitor at the award ceremony in Stockholm, which are sent by e-mail, the exhibition connects the visitors to the Nobel Prize and creates an unforgettable visitor experience.

The exhibition was developed for the Nobel Museum Stockholm and the Mohammed bin Rashid Al Maktoum Foundation. Suisse Int’l by Swiss Typefaces is used for Latin and Arabic text. See a full list of credits on Atelier Brückner’s website.

FIDE decided to hire the services of Morillas, a Spanish international agency founded in 1962 that has worked with sport stars and brands such as Leo Messi, Davis Cup, FC Barcelona, and Nike Spain. From Chess website fide.com:

“Developing a strong brand for an event like the FIDE World Championship match can help build credibility, engagement, recognition, and support. This will benefit not only the event, but FIDE in general, and chess as a whole”, said FIDE Chief Marketing and Communications Officer David Llada, who oversaw the creative process.

Event branding and design create the look and feel of an event. This comprises printed materials, signage and structural elements, video, digital assets, and sonic branding. In the case of a world championship match, even the smallest elements, like the scoresheets, are branded.

The agency chose to work with Apoc for the titles and headings, alongside Aktiv Grotesk for the text and further informations. The designers selected several of Apoc’s alternate lettershapes – see for example the R, B and the italic Y in the slogan (“You are your best move”); The E in “ARE” can be found in Apoc’s expressive Revelations style.

A Bench in Venice is the title of an open call for students around the world to design an upcycled bench using the 17th Biennale Architettura di Venezia’s installation leftover construction materials. The exhibition is shown at the United Arab Emirates Pavilion.

The exhibition poster folds into a pamphlet. The title and dates are set in Cy with several of its alternates. For the list of the participants’ names, I used Archivo in Black, Bold and Medium weights.

Design of exhibition title and labels for The Distance From Here, a group show drawn largely from the Art Jameel Collection and curated by Dawn Ross. It explores how our bodies become essential materials through which to navigate the day-to-day spaces we inhabit, and the interconnectedness of the body with space through touch, language, movement and memory.

ABC Favorit is used for Arabic and English text.

Exhibition graphics for Pacita Abad: I Thought the Streets Were Paved With Gold, the Middle East’s first solo exhibition by the late Filipina artist Pacita Abad at Jameel Arts Centre. The exhibition was brought together by Nora Razian in collaboration with the Pacita Abad Art Estate and artist Pio Abad.

Images courtesy of Jameel Arts Centre. Photography by Daniella Baptista.

Launched in 1996, Gulf Today is one of the oldest publishing entities in the United Arab Emirates.

Time is constantly evolving, and so do our habits and ways to access information. The dependence on print media is steadily declining, and the need for a digital presence is more important than ever for any business to succeed. Despite being the first to break the news ahead of other publications, Gulf Today was hit by this very phenomenon, struggling to build a strong and diverse audience and stand out in a highly saturated market.

In response to this, I conceptualized and crafted the new brand identity, one that would bridge the past with the present and move the company forward into new digital times while building on its already renowned legacy.

The result is a brand identity that fosters the evolution of a traditional mass media brand into the modern digital age. Straddling the line between the legacy of the newspaper and the multi-cultural environment of the UAE, I created a visual language to express a refreshed voice for just this diverse metropolis.

I used Pensum for the word “Gulf” to inspire the newspaper’s heritage and the amalgamation of different Arab cultures around it. A robust typeface with sharp details and strong serifs, Pensum embodies tradition and credibility. It reads very well in small sizes but also has its own character in large sizes.

Contrastingly, for “Today” as the second half of the brand name, I used Euclid Flex to reflect modern times and a more digital brand. The young and audacious feel of Euclid, with its unique, quirky details, matches the contemporary landscape characteristic of our newspaper.

The juxtaposition of these two distinct typefaces completes our brand mark and builds the visual language.

The typefaces represent the foundation of the brand, uniting experience and knowledge with modernity. I designed the new brand identity to promote a conversation between the old and the new, the east and the west, the writer and the reader. These two fonts reflect this balance.

In collaboration with a talented team of UI/UX designers, we developed the new vision into a fully-implemented online presence.