When developing the visual identity for the Moscow-based dental clinic OrthOffice (Ортофис), Holystick took a contemporary approach, departing from the traditional look often associated with medical environments. The aim was to create a clear, professional appearance that remains approachable and relevant to the practice's predominantly young patients.

The team selected the Halvar typeface for the typography. The slanted technical construction of the letterforms suggest precision and efficiency, aligning with the clinic’s professional character. Halvar Breitschrift was used for display and headlines, bringing a fresh, modern tone to the visual language. Meanwhile, Halvar Mittelschrift served as the text typeface, ensuring readability and consistency across applications. The Halvar typeface was also a practical choice due to its comprehensive Latin and Cyrillic support, making it well-suited for a bilingual identity system.

In the logo, Holystick played with the SuperSlanted style of Halvar to create a wordmark that conveys a sense of movement and direction. Overall, the typographic system proves a balance between contemporary expression and clarity, demonstrating how design can support aesthetic and functional needs in a healthcare context.

William H. Moyer, of Pottsville, Pa., received a V.S. (Veterinary Surgeon) degree from the Ontario Veterinary College in Toronto during the commencement held on March 28, 1891, according to a note in the Journal of Comparative Medicine and Veterinary Archives, vol. 12, no. 5, May 1891, pp. 261-64.

Afterwards, he set up a practice in Elizabethville, Pa., as indicated on this business card. Someone penciled in the year “1890” on the front of the card, and the name “J. Romberger” is written on the back.

Dr. W. H. Moyer,
Veterinary Surgeon and Dentist, Elizabethville, Pa.
Graduate of the Ontario Veterinary College, Member of the Veterinary Medical Society, of Toronto, Canada.
Four Year’s Practice with Dr. J. W. Sallade, V.S., of Pottsville, Pa.

The doctor’s name is set in John F. Cumming’s Karnac (Dickinson, 1884). The condensed low-contrast slab for his job description is unidentified – it’s similar to Skeleton. “Elizabethville, Pa.” is in a Gothic, possibly Boston’s. Additional typefaces include (an American version or relative?) of Antique Five, Latin Antique, a light Clarendon/Ionic, and what looks like Antique No. 310, Bruce’s version of Old Style Antique No. 7.

This project showcases the rebranding of Casa Dentalis, a modern dental clinic group based in Berlin, Germany. The brand identity was designed to communicate trust, precision, and a calm, contemporary aesthetic. We used the Lato typeface across all print and digital touchpoints – from stationery to signage – for its clean geometry, friendly tone, and high readability. Combined with a minimalist layout and a fresh color palette, the typography plays a key role in reflecting the clinic’s balance of professionalism and warmth.

The Bichacho Dental Clinic from Israel has a highly qualified team of professionals dedicated to the individualised care of each patient. With extensive experience and a passion for the art and science of dentistry, Prof. Bichacho and his team bring a wealth of knowledge and a commitment to excellence that defines their practice.

The visual identity for Bichacho was designed by Ark Visual using Apparat in Light, Book, and Medium. Hebrew text uses Fontef’s version of Narkiss Block.

Sage Space reimagines dentistry by shattering stereotypes, and making your dental visits a ritual that’s looked forward to:

Collaborating with talented creatives, we crafted a brand and experience where dentistry intersects with wellness. Our mission was to dismantle common barriers, transforming fear into comfort and reluctance into curiosity, making dental care an empowering experience.

Study For No is the title of Issy Wood’s first solo exhibition in France. The show by the up-and-coming painter from London is on display at Lafayette Anticipations in Paris until January 7, 2024:

Borrowing its title from a 2019 painting, it explores the potential of refusal, discussing and resisting orders which secretly weave their way into our daily lives. Building through seduction, humor and cynicism, her work is marked by the recurrence of serialized motifs: hypersexualized glossy leather jackets, gleaming car interiors, immaculate porcelain sets, representations of animals, female figures, and self-portraits —all counting as sites where our ways of being are played out.

Curator Rebecca Lamarche-Vadel commissioned Pierre Vanni with the visual identity of the exhibition. Among the items designed by Vanni are the exhibition poster, subway ads, and a bilingual booklet. The selected artwork is an unnerving one, certainly for those of us who are dreading our next dentist’s appointment. It’s titled Study for Wednesday (oil on linen, 2022; © Issy Wood, courtesy the artist; Carlos/Ishikawa, London; and Michael Werner, New York. Photographer: Stephen James).

There are two title typefaces used throughout the applications: Kessler is Alaric Garnier’s contemporary take on inscriptional serifs, released with Production Type. Englische Schreibschrift is a classic Anglaise with not-quite-joining letters. It was made in-house at Berthold in the 1970s, under the supervision of Günter Gerhard Lange. All text is shown in silver, echoing the shiny metal of the dental drill.

The booklet text seems to be set in Times Italic.

Plastic variable font in use by Mattmo design agency for the visual identity of Jeugdtandzorg Utrecht – a youth dental care centre in Utrecht, the Netherlands. The designers use the full possibilities of Plastic’s two axes – for the width as well as for the length of the serifs – and create custom instances for various applications. The monospaced Plastic is mostly used in all caps, and is paired with the sans-serif Muller.

A font in indirect use: The handpainted signs of the Heit Family Dentistry in Santa Cruz, California feature lettering that’s based on Premier Shaded. While the sign with the opening hours closely follows Colin Brignall’s typeface design, the one shown above takes more liberties, and has bolder strokes. In addition to the shadow, the letterforms are enhanced with a bright inline that fades out toward the bottom.

Spotted by Frank Grießhammer in 2015.

Zahntechnik Jochen Graf is a laboratory for implantology: it is specialized in dental implants, from dentures to any kind of dental prostheses. They aim at no less than excellence and their new identity had to show their particular expertise, their scientific approach, and at the same time, a lab that understands the patient’s needs and therefore is deeply humane.

Studio stg designed a daring identity for a laboratory, by betting on a pastel color gradient to mark the lab's voice. In fact, the association of colors and their smooth fading presents the lab as a soft and reassuring company, two aspects often forgotten in the common imaginary whenever it comes to dental care. This gradient is used as much as a background for Instagram posts as a thin identifiable line on the sign of the lab, making it look like a medication packaging. We find it again at the bottom of the stationery, as a signature.

The other part of the identity is the use of Wigrum from Production Type, for the all text, logotype included. Wigrum was designed by FEED for the setting of a novel: here, the members of studio stg noticed the reference to geometrical sans serifs from the 1930s, and the rational eye that underpinned these shapes. However, Wigrum was also created with the idea to add a more humane touch to this kind of typefaces: therefore, some optical corrections were added in order to soften the often too abrupt designs of the beginning of the 20th century. Wigrum is pleasant to see and to read, but keeps some originality with the lowercase g, and capital W, R and S, all of which are quite frequent in German spelling. All these aspects of the font yield the image of a trustful company, relying on science and accompanying all projects in their singularity.

Global brand strategy and identity development for Maison Dentaire No32 – a multigenerational dental clinic blending heritage and youth to form an old school reminiscing celebration. July’s creative vision was to infuse a feeling of establishment, confidence and experience with a young attitude – through a gritty tone of voice and a crisp yet daring typographic treatment.

Walking into Maison Dentaire, you immediately feel it is not your typical dental clinic. The familiar and laid back atmosphere makes you feel that you're in good hands – it's comparable to walking in your neighbourhood’s barbershop, where you will sip a whiskey while waiting for your ‘man’ to groom you. That same person who was taking care of your ‘pa and Grandpa, making sure they always looked fresh and on point. “It’s not a men’s cave, it’s just about the global spirit.” Patients actually enjoy going to the dentist, it becomes their good moment in a bad day, even with a bad tooth.

You know these old type specimen books? We never start a new project without taking time to flip through their pages – although amazing typefaces are being designed today, sometimes the older, poorly digitized typefaces can bring something special to the equation.

Looking at the dental world from a very elementary stand point: teeth, roots, bones, strings, pointy tools etc., we come up with qualitatives that illustrate these aspects and translate them typographically – fragility, growth, morphology, transformation, intricacy, detail and craft. We settled on Gascogne by Frederic Goudy, for its effortless attitude – we immediately found it could feel young and gritty, while conveying a sense of confidence and establishment. The pointy yet rounded letter ends felt dental, the wide nature of the letters also felt dental, as in when you’re asked to “open wide” etc. It’s always a good challenge to design a logotype that can “feel” like a certain field, without necessarily having to use recognizable graphic references. The S was completely customized to bring a visual “vibration” to ‘Maison’, boosting the logotypes' personality, and smooth ligatures were carefully integrated throughout the logotype as a nod to bones growing, fusing together, and morphology – just like the NT ligature, that was also used as a stand-alone typographic element in the ‘No32’ symbol. Yeah, we didn’t just type a classy serif…

A fresh brand relaunch for a new generation

For over 25 years, Paeßens family dentists has been a local institution, offering high-quality dentistry across the German Lower Rhine region. Together, we introduced a simplified brand architecture that helps to provide clarity, consistency and orientation. The design system helps to hone the practice’s profile, making it more tangible via various touchpoints – such as the new website or the spatial design at the new location.

As we chose Grilli Type’s GT Pressura – which had no uppercase ß in it – we reached out to the well-known and probably most friendly Swiss type designers, to create a custom ẞ glyph for our needs. You can imagine what benefit this brings when running a company by the name of Paeßens with a new visual identity which prescribes that all headlines have to be in capital letters!. Happy client, happy end.

Tend Dental is the first dentist you'll actually look forward to. Brand identity developed from a collaboration between New York-based design studio Mythology and an in-house design team at Tend. The typefaces used, Nantes and Founders Grotesk, balance warmth with elegance.

Find out more about the Tend identity on Behance.

With all the seriousness around the issue of a trip to the dentist, we worked to lighten the mood of Alisha’s brand identity as a family dentist, with an approach that was professional – and even a little fun.

An easy-to-use appointment-time system on the reverse of the cards plays on the upbeat nature of the brand while also doing away with the challenges of reading the ever-dreaded cliché of ‘doctor's handwriting.’

Dr. Carolina Manresa
Associate Professor of Dentistry, UB
Private Practice on Oral Rehabilitation and Aesthetics

Pretty bites, healthy smiles. Health and aesthetics come together in a single objective for Carolina Manresa, a doctor and professor of dentistry at the University of Barcelona. The fifteen pieces that make up her name combine to “bite” a logotype in the shape of a letter “C,” recalling the characteristic plaster moulds.