Brand & Board works with executive directors, CEOs, and board members of non-profits to strengthen board engagement and brand effectiveness. The typography-driven identity features Sprig Sans, a geometric grotesk whose friendly tone balances clarity with approachability.

French CD single front cover

This single from Dimitri from Paris’ retro-inspired debut album Sacrebleu features two frilly fonts: Holiday – and specifically its Extra Flair style – (song title, speech bubbles) and Viola Flare (Dimitri credit, stereo indication). Non-frilly Helvetica Compressed is utilized for the back cover and spine.

The song’s accompanying animated music video, with a plot that’s a cross between Pepé Le Pew and To Catch a Thief, has a mademoiselle pursued by a stereotypical Frenchman during her Paris sightseeing. All the while, more examples of Holiday and Viola (with liberal use of alternate glyphs) are present in almost every scene.

Based on the glyph sets I have seen for Holiday, there are no diacritics provided in that typeface. So, the é and ç in the title are likely custom modifications. Note the discrepancy in the title’s diacritics on the single cover and throughout the music video.

Visual credits on the single are given as follows: “Cover art Genevieve Gauckler. Characters by Kuntzel + Deygas.” I take ‘characters’ to mean the cartoon characters and not typography, as the music video is listed among Kuntzel + Deygas’ music-related work on their website.

[More info on Discogs]

UK CD single front cover

French CD single back cover

When I Feel Afraid, 2003

Learning to Get Along is a series of children’s book written by Cheri J. Meiners and illustrated by Meredith Johnson. It was published by Free Spirit Publishing from around 2003.

Marika Heinlen’s cover designs use a warm, approachable mix of typefaces to support the theme of emotional reassurance for young readers. The hand‑drawn softness of Minya Nouvelle gives the title a friendly, inviting presence, matching the book’s gentle illustration style. Supporting text set in ITC Stone Informal continues that approachable tone while remaining highly readable for adults guiding children through the material.

For structural clarity, the design relies on ITC Franklin Gothic for straightforward informational elements, balancing the more playful display choices. Together, these typefaces create a visual hierarchy that feels safe, calm, and accessible –perfectly aligned with the book’s purpose of helping children understand and navigate fear.

Jilkyway is the typeface used for the logo of Monkey See Monkey Do, “a colorful, upbeat CG animated series which encourages children to engage with the show’s characters through dance and song.” [Sprout] Created by Tamar & Yuval Levy, produced by Smartoonz and starring voice actor Nitzan Sitzer, the show first aired on PBS Kids Sprout on August 24, 2010. The Spanish dub is known as Mono ve, Mono hace.

The animated semi-slab is a design by Jakob Fischer a.k.a. PizzaDude, a type designer from Copenhagen, Denmark. Jilkyway is used with a contour – sometimes two contours – around the bouncy letterforms, in alternating word colors.

“Let’s Dance Tonight” is a single by David Hasselhoff. The song is included on his 1990 studio album, Crazy for You. On the sleeve for the German release, his name is set in American Gothic with the title set in three colors using Univers Bold Condensed.

[More info on Discogs]

READER is a booklet of drawings from South Korean artist Bird Pit using Ziggy​​​​​​ from MA-MA Type. It was published by Felder Books Berlin in 2025:

In READER, Korean artist Seungwhan Kim (aka Bird Pit) uses his distinctive pencil style to show one thing above all: a book or a zine is a space full of possibilities. And as a “reader”, you’re right in the middle of it!

The booklet measures 105×148.5 mm and spans 20 pages.

One of the first applications of Harker appears in Menace Mineure, a poetry collection directed by Fabien Thévenot and designed by Bizzarri-Rodriguez for the publishing house Le Feu Sacré. The collection’s designers, Thomas Bizzarri and Alain Rodriguez, are also the creators of Harker, here paired with their typeface Chardon.

ZER01NE (“Zero One”) is an open innovation platform belonging to Hyundai Motor Group where different perspectives converge to create questions and find answers. ZER01NE DAY 2019 took place at Hyundai Motor Service Center, Seoul. Massimo Grafia was used for the graphics, together with what appears to be Sandoll GothicNeo for Korean text.

From the designers of Everyday Practice:

ZER01NE DAY 2019 presents the results of the past year as creative minds who create questions from people, society, and life concerns, start-ups that translate questions into real-life, and find answers through quick action, and connect and share various questions and answers with people-centered social values. We have developed a borderline fluid image that reflects the theme of ZER01NE DAY 2019 called “BORDERLESS in EVERYTHING,” and have worked hard to articulate the theme of the festival in preparation for an object symbolizing the engine

Located in Brussels' Marolles district, Gimic is a bar and radio station whose mission is to foster the electronic music scene of the city. On their Instagram page, which has amassed over 23k followers as of January 2026, they chose to use DOSS Exaflop from the Doss Collection by Marc Rouault, available at Sharp Type. The typeface was also used for their main wordmark, often paired with an abstract purple icon. Emulating the futuristic soundscape of electronic music and infectious DJ sets, their team uses the typeface for promoting in-person events such as holiday markets, workshops, and new release events.

Gimic’s website, designed by Ozon Studio, also features GT Planar by Dominik Huber, available at Grilli Type.

Form Follows Insulation is a book by Barrault Pressacco, a Paris-based architecture and urbanism firm.

This study considers the insulation of existing buildings as an architectural opportunity. Focusing on the Brussels context and on the lime-hemp mix, it examines how insulating thickness reshapes heritage renovation. A practical component reviews techniques and local supply chains in Belgium. A theoretical and experimental component tests three housing archetypes, showing that insulation becomes a structuring element of form, plan, and use.

The bilingual publication (French and Dutch) was designed by République Studio and is typeset in HB Goblet A, an upcoming typeface by HB Type. It has 256 pages measuring 144×200 mm. Form Follows Insulation was printed by IPM Bruxelles on Munken Print White and p​​​​​​ublished by New Moon. ISBN 978-2-9588079-2-4

Franco Pepe. Pizza Chef is a book published by Phaidon, available to pre-order since June 2025:

The story, ideology, and recipes of master pizzaiolo Franco Pepe, founder of the world-famous Pizzeria Pepe in Grani.

The cover and some chapter headlines use James Stencil from OTT. The rest of the text and the titles are set in LL Bradford from Lineto.

All is Social emerges as a new agency, positioning itself around the idea of energizing brands for a digital-first era. Its visual identity, designed by Casamira, distills that ambition into a singular graphic gesture: a continuous circular form.

This unbroken loop becomes a metaphor for the openness and collective spirit that define contemporary online communities. It underscores the agency’s aim to cultivate these networks while suggesting a broader sense of global connection – a reminder that digital interaction flows effortlessly across borders.

Casamira’s approach places movement at the center of the identity. In static applications, the symbol never appears in the same position twice, a deliberate choice that mirrors the pace and volatility of social media. The result is an identity that frames the agency as responsive to an environment defined by constant change, where adaptability is essential for brands to remain alive and relevant.

The posters for the exhibition Every Time I Conjure a Stone I Throw It at Sol Koffler Gallery were designed using the typeface Roumald and were designed by Andrea Mato.

From curator Marley Trigg Stewart:

To look through a lens is to break something open. For the 2025 iteration of RISD’s Photography Graduate Biennial, Every Time I Conjure a Stone, I Throw It, MFA candidates turn photography from a means of observation into an instrument of transformation. The title, drawn from Alice Walker’s The Color Purple, evokes the power of intentional release and return—a dual act that reverberates through the artists’ practices.

Across the exhibition, image making becomes a means to fracture, reassemble, and reimagine inherited worlds. These artists work through and against material memory, which include the textures of time, familial history, faith, and the shifting landscapes where these moments take place. Ultimately, we are asked to reconcile how photography continually remains contradictory—how do we point to a moment that has already left us? Whether through intimate gestures or expansive terrains, the works gathered here suggest the notion of seeing goes beyond the surface area of an image. These artists are conjuring new futures—breaking them open and beginning again.

Featuring photographers: Alexa Nikkol Curran, Elliott Golden, Elysia Perkins, Jake Benzinger, Jessica Chappe, Kyle Dong, Lola Owett, Nji Tuma, Renee Cornue, Tomorrow Chapman, Victoria Pépin, Virginia Hanusik, Wen Zhang, and Wenhan Hu

This album with twenty-seven folk songs credited to the “Sing-Along Singers” was released in 1959 by Celebrity Records in New York. The wide geometric sans used in caps is Twentieth Century Ultrabold Extended. This style was unique to Monotype’s copy of Futura. Chances are the song names sandwiched between the two big lines aren’t in Paul Renner’s original either, but in the regular style of Twentieth Century.

Design by Sam Suliman.

[More info on Discogs]

Traces of Ladna in use for I Got a Great Lick of It Before It All Melted – an exhibition at ARS Art Factory by students of graphic design and product design of the Estonian Academy of Arts, guided by Kristel Saan-Soom, with a poster designed by Mark Kokotov.

The exhibition is described as follows:

We all have a certain number of experiences in life, on which we build the next one. It is like an archive. You can’t ever experience anything without the latter.. And then we end up with those choices that we unconsciously and finally consciously make every day again and again. We are faced with something that is self-evident, like putting one foot in front of the other when walking or inhaling and exhaling.. we don’t notice these actions, but yet we do them constantly. Our choices shape our experiences and, when combined, our dance through life.

Artists: Riko Smirnov, Richard Vainola, Gabriella Tarja, Laura Sööt, Katriin Saulus, Anna Elisabeth Remmelg, Kenneth Pert, Hanna Milk, Anett Elis Männil, Brit Maripuu, Paula Maria Mengel, Stella Maris Liiva, Kelli Kütt, Helen Kärt Käbin, Martin Kislõi, Mark Kokotov, Teele Kiisk, Grittel Kastan, Greg Mikael Juhanson, Daria Titova, Johannes Adrik, Aries Puusepp, Rebecca Lopez.

Care.com (launched 2007) is an online marketplace for families to find childcare, senior care and pet care, etc. It is also a two-sided marketplace allowing caregivers to find jobs.

The platform launched a rebrand in 2025, directed by Manual. The agency makes the whole identity revolve around three type families: the serif/sans duo Oceanic Text / Oceanic Grotesk as well as NaN Druid Sans. The wordmark itself is set in a customized (by its own designer) version of Oceanic Text, the biggest change being to switch to an asymmetrical construction for the capital C with only one serif on top, whereas the original typeface featured one serif on the bottom as well. The logo symbol is an inclusion of a lowercase c inside a capital one, invoking notions of protection and of – care. You got it.

In terms of type hierarchy, NaN Druid is mostly used for main headings, Oceanic Text for sub-headings and Oceanic Grotesk for all texts. While both Oceanic families share a gentle spirit due to the relative roundness of their structures and details, NaN Druid Sans appears frank with its humanistic (open) structure, sharp ending and slight contrast.

See the full case study.

On 7 September 2023, Foo Fighters played the Estádio Couto Pereira in Curitiba, Brazil. Brazilian illustrator and poster designer Pedro Correa paired his intensely detailed illustration with Soundstar, a typeface from PintassilgoPrints. Both the artwork and the font echo one another with lots of detail and the same feeling of playful, chaotic energy.

You can see more about the posters on F4D Studios.

A broadsheet fanzine published by Badrock Design. Each issue features one of the London clubs frequented regularly by the Beatles at the height of their fame in the 1960s. Clubs such as the Ad-Lib, the Bag O'Nails, the Scotch of St James amongst others, were the centre of music, art and fashion in London during a period of creativity and optimism in the 60s. Intrigued by George Harrison's much quoted repost when he left the band during the filming of Let it Be, the publications aim to summon up the little documented, tight world of clubs attended by the movers and shakers of the time.

Each issue recreates the graphic language of its subject, changing from issue to issue to capture the atmosphere and experience of each unique establishment. From Peter Jackson’s 2021 documentary The Beatles: Get Back:

Friday 10 January 1969
George: I’m leaving the band now.

John Lennon: When?

George: Now.
Get a replacement. Place an ad in NME and get a few people.
See you round the clubs…

EverYou uses Orange Squash for its website and branding, including the logo and all marketing materials. Formerly known as Tender Loving Care (TLC), established in 1995, EverYou provides high-quality wigs, headwear, and recovery products to support individuals undergoing cancer treatment. These products help patients feel like themselves through hair loss and other side effects of treatment.

EverYou works with the American Cancer Society to ensure each product meets the needs of cancer patients. With the use of Orange Squash, EverYou creates a warm, welcoming identity that helps patients feel supported and empowered during their cancer journey.

For this project, I created a bilingual brand identity and logo for a painting school in Tel-Aviv. The school’s target audience consisted mostly of young millennials who may not necessarily speak Hebrew. My objective was to tap into the nostalgic memory that people often have from their first art lesson in school – the magic of mixing primary colors to create a full spectrum of colors. I aimed to connect the target audience with their childhood memories and to encourage them to overcome their inhibitions about drawing in a playful and creative way.

To achieve this, I used the Hebrew font Narkis Hen together with the Latin font ITC Souvenir, which is associated with the Art Nouveau and Arts & Crafts movements, both of which have a strong connection to drawing and painting. I also incorporated elements from the Bauhaus movement, which is closely tied to the city of Tel-Aviv.

Small text is set in Miriam Libre.