Some Days reimagined the jewelry brand Mejuri’s identity and visual system. The identity is built around a custom-drawn wordmark by Pauline Le Pape, paired with Syndicat Grotesk by edition.studio as the primary typeface and headline voice, and Simon Mono by actual_source for secondary and body applications.

The typography system works alongside photography and digital experiences developed by the Mejuri team and its partners.

Atelier Resistance is a vintage clothing store in Barcelona, Spain. Designing an upcycling brand, a sustainable fashion trend that reuses used or stock garments to give them a second life, was led by ESIETE. The objective throughout the process has been to communicate the concept by transmitting elegance, craftsmanship, and revolution.

The naming, the creation of an ad hoc display typography and the design of an icon and self narrative, serving a good cause.

Albra Grotesk and Albra Sans by Rellence are used for the brand identity of Läderach across packaging and brand communication. The Swiss chocolate maker, founded in 1962, is known for its high-quality, bean-to-bar production carried out entirely in Switzerland. The family-run company offers a wide range of products, including its signature FrischSchoggi, pralines, and seasonal specialties.

Läderach approached us to customize Albra Sans for their new updated visual identity. The primary focus was on the uppercase A, inspiring us to redesign the distinctive A of Albra into a more neutral, toned-down version with a flat apex. This redesign aims to provide long uppercase words with a more harmonized cap rhythm, seamlessly complementing the aesthetics of the new Läderach logo.

Bosanova’s brand redesign by ESIETE redefines the visual identity of a well-known low-cost footwear brand in Catalonia. The project introduces a renewed vision while preserving the energy, enthusiasm, and founding spirit of the brand, strengthening its recognition and differentiation.

At the core of the identity is Bosanova Display, a custom typeface developed exclusively for the brand, shaping its expressive and confident typographic voice.

The redesign positions typography as a strategic tool for contemporary fashion branding.

Misty Mynx, a social-first fashion brand, was completely rebranded by Design Army to embody the power and confidence of modern seduction. The new visual system combines an extra-wide sans-serif logo, a high-contrast palette of black, charcoal, and white, and a flexible typographic system designed to keep pace with evolving fashion collections. The identity radiates unapologetic femme energy, balancing boldness with sophistication.

The rebrand launched alongside a social-first campaign aimed at reconnecting the brand with Thai audiences and beyond. Captured in New York, the visuals convey the Misty Mynx persona: magnetic, confident, and effortlessly sexy, while remaining globally aspirational and commercially relevant. Sleek silhouettes, luxe tailoring, and versatile pieces underscore the brand’s assertive and adaptable character.

At the heart of this identity, Blaze Type’s Quadro reinforces the visual language. The all-lowercase logo uses a bold wide style with omitted i dot and a straightened y descender.

We created the visual identity for Holy Vintage, an online second-hand clothing store that believes in the power of second (and third) chances – giving forgotten pieces new life and making room for new stories and unique styles.

The identity takes shape in a small character – a storyteller who changes form, just like the garments she rescues. She weaves together memories and possibilities, inviting us to wear stories and imagine new beginnings.

The typeface Aconchego found its perfect home in studio Molde’s project for Regalo Casa, where the fluid curves translate the essence of a brand that gathers sophistication and affection. The font contributes to a visual identity that transitions naturally between refinement and comfort – precisely reflecting the brand’s proposal to be “present in your home” through its special curation for the household, from everyday moments to special occasions.

עזרת גברים / 1000 שקיות, or Ezrat Gvarim/1000 Shkiot (“Men’s Sector/1000 Bags”). On the Spectacle of Bags in the Haredi Male Sector of Jerusalem as a Combination of Compulsion and Deliberate Differentiation is the title of Alma Hanegbi’s final project at the Department of Visual and Material Culture, Bezalel Academy of Arts and Design.

The book examines the phenomenon of bags as an alternative to briefcases among the Haredi male population in Jerusalem. What began as a casual wander and the photographing of examples evolved into in-depth research that encompasses quotations on Haredi fashion, the wandering and walking habits of the community, the history of briefcases and bags, internet screenshots, literary excerpts, diary entries, and a plethora of photographs by the editor.

The book was designed to render its complex material accessible – even as it incorporates footnotes, quotations, interviews, and images. It emphasizes the plasticity and the ‘cheap’ and ‘undignified’ character of the bags, contrasting them with the dignified and serious nature of Haredi dress and culture.

To create this effect, Maor Freedman’s design employs Narkiss Tam Narrow in red (skewed with a mechanical tilt!) for the headlines, evoking an atmosphere reminiscent of supermarket signage and the typography found on store bags. The informative text is also set in Narkiss Tam, underscoring the supposed ‘coolness’ and objectivity of such texts while establishing a distance between the conveyed knowledge and the lived experience on the Haredi street.

The project was supervised by Prof. Ory Bartal, Galit Gaon, and Dr. Tal Frenkel Alroy.

Diary excerpts, interviews, and literary quotations are rendered in Hadassah—a classic font with heritage and a dignified, warmer quality than Narkiss Tam, serving as a secular alternative to the fonts typically seen in Haredi-religious literature (such as Frank-Rühl, Dragolin, Vilna, and their kin).

The informative footnotes are set in Narkiss Block Mono, a font with a technical character and a structured, monospaced rhythm that evokes archival materials produced by a typewriter.

Apart from the colors found in the images, the color scheme is limited to black and red—an allusion to the printing style of ancient sacred books, which were often printed in black with red headlines (thanks to Banya Mar for the stunning reference to this world). The grid itself recalls that of Talmudic texts, featuring a central body of text with surrounding notes that “break” into it, contrary to conventional layouts. However, due to the complexity of the material, a more intricate grid was required. In contrast to the symmetric grids typical of sacred books, the layout on the double-page spread consistently employs a right-aligned block on both the right and left pages. This deliberate asymmetry offers a secular interpretation—a meeting between worlds: the spiritual and the everyday, the sacred and the past, intertwined with the expressions of contemporary life.

Logo for Papochka, a Russia-based fashion brand – using lowercase letters from Bastardo Grotesk Bold.

Photography – or at least some of it – by Alexandra Ivannikova (@ax_sash).

Bed-Stuy Gateway BID’s Winter Wonderland is an annual holiday market and festive event held at Marcy Plaza in Brooklyn’s Bedford-Stuyvesant neighborhood. The event aims to support local small businesses, creatives, and community organizations, offering a unique shopping experience and holiday festivities.

Winter Wonderland debuted in 2020 as a pilot event, hosting an outdoor, socially-distanced market to support Bed-Stuy’s local businesses during the pandemic. Since then, it has grown into a premier holiday destination, with new additions such as market stalls, branding strategies, and storytelling videos.

The Bed-Stuy Gateway BID aims to continue growing Winter Wonderland into a beloved annual tradition, leveraging its design interventions and marketing strategies to increase partnerships and expand its presence throughout Brooklyn.

The entire visual identity was crafted by the New York-based design studio Gretel:

Through the Neighborhoods Now initiative, Gretel partnered with Bed-Stuy’s community leaders to bring Winter Wonderland to life through a joyful visual identity that celebrates Bed-Stuy’s vibrant culture and history while wrapping the neighborhood with holiday cheer. […] At the heart of the Winter Wonderland look & feel is a pair of dynamic “Ws” set in Esselte Letraset’s iconic typeface Lazybones. The letterforms fluidly transform to become inclusive and approachable, reconfiguring and combining into various holiday decorations, from snowflakes, christmas trees, menorahs, to patterns that wrap the neighborhood with holiday spirit.

The project features Radion A by General Type Studio as the primary typeface for both display and body copy. Radion A is an interpretation of the late 1920s Rudolf Koch’s Kabel but is even more connected to the warmth of the 1970s and the popular ITC Kabel version for a contemporary eye.

Matiere is used for the identity of the Raquel Diniz fashion brand.

About the designer Raquel Diniz:

The signature Italian high-end artisanal craftsmanship and the Brazilian joyful approach to life are the ingredients of the successful formula behind the Raquel Diniz fashion brand. Rooted in a lively, chic aesthetic, combining easy elegance with subtle feminine sensuality, Raquel Diniz offers sophisticated collections of impeccably manufactured dresses, which are designed to add a confident kick to each woman’s wardrobe.

Born in Brazil, Raquel Diniz moved at 19 to Italy. She grew up surrounded by art and inside the fashion world thanks to her mother. She embarked on a modeling career, then soon she realized to be more interested in shopping in textile stores deciding to take a new direction in her life. She moved to Milan to study design and she graduated from the prestigious Istituto Maragoni fashion school.

“Dresses are the essence of my work. My Brazilian roots; colours and prints, curves and architecture are my inspiration. I want my dresses to be feminine and sophisticated with the perfect flair of Italian craftsmanship.”

In spring 2024, the Bühl Centre shopping mall in Krems an der Donau in Austria becomes ALEX Krems. The new logotype uses the Baustraße typeface (designed by Fantasia Type and available on Future Fonts) and is applied in numerous media including inflatable structures, three-dimensional letters and illuminated signs.

Front and spine of Faber & Faber’s book jacket

Intermezzo is Irish writer Sally Rooney’s latest novel. The “exquisitely moving story about grief, love and family” was published in the UK in September 2024 by Faber & Faber. It comes with a modern and thoughtful book cover with bold graphic design and an unconventional mix of typefaces.

The book jacket was designed by in-house designer and illustrator Kishan Rajani (you can read about the process in an interview for GQ). It features three main elements stacked upon each other on a white background: the author’s name, in Maax Display Ultra, shown in the signature electric blue also seen on the book’s back and in much of the marketing campaign, which started months before the release. Underneath sits a square illustration featuring a man’s silhouette standing in the background while the legs of another walking man frame the picture in the foreground, with a fallen chess piece at his feet. The third element is the title, set in the open-source font Le Murmure, also in all caps.

The whole communication makes thorough use of the typeface duo and of the blue-white-black trichromy; on posters, tote bags, the dedicated website, coffee cups, enamel pins, stickers, T-shirts, etc. The publisher even organized live jacket design events where illustrators (Yuk Fun, Maria Ines Gul and Nänni-Pää) would draw custom designs onto jackets that were printed out with the illustrated square left blank.

The hardback version is available both with a white and a blue background. Review copies of the book were also sent out featuring a temporary cover that already featured the distinctive colors and fonts, but not yet the illustration.

The German hardback edition (translated by Zoë Beck) by Claassen follows the same basic design as the one by Faber & Faber, also featuring Maax Display and Le Murmure.

Front of Faber & Faber’s book jacket. “Author of Normal People” at the top is set in Futura and Futura Black.

The hardback book cover depicts a sitting dog and also features Maax Display and Le Murmure.

The back of the jacket continues the chess theme with blue and white fields. The typeface is an italic Garamond, possibly Garamond Premier.

Review copy of the book, on top of a tote bag

Shop window decorated with promotional posters and oversized chess pieces

Early birds with promotional cups and plastic bags

A jacket with custom illustration in the making

One of the jacket designs with custom illustration, alongside a bookmark ft. text in Futura and a chess sticker

Promotional enamel pin and a paperback edition of the book

The sign at this book shop features a magnificent rendering of the book jacket and its typography in chalk. Due to the medium of the blackboard, black and white are reversed.

The book plus a matching tote bag

The book and an advert on the London Underground

Book jacket and cover of the German edition by Claassen

Claassen’s limited first edition comes with blue edges.

From Seoul-based Studio fnt:

Petit Planet is a concept and identity of the kids’ division of The Hyundai [one of the most widely known and established department stores in Korea]. studio fnt developed its brand identity that encompasses both lingual and visual aspects; from the brands’ name to the individual graphics. Petit Planet refers to each kid, like a mini-universe, small but with infinite possibilities. The name also aims to convey a sense of experiential space that children and families can visit to enjoy as though an adventure.

The logo design benefits from the contrast of the really bold letters and the very small inner space between them, and this characteristic of contrast is emphasized in the various uses of graphic devices. Through this, we wanted people to reflect upon their conception of SMALL and BIG because everything is relative, and therefore this contrast can symbolize possibilities.

The logotype is set in Dida. The accompanying fonts used for English and Korean text are yet unidentified [edit: it’s Sandoll Hoyoyo, see comments].

Visual identity and artistic direction made by Au-delà studio for Creative Supply. This clean and cool graphic system is based on illustrations and on one typeface family: Gustavo (from lift-type).

Velâdzo (“village” in Gruyérien) is a new concept of a multimodal urban village designed by the Fribourg Public Transport and set up on various station sites in the canton of Fribourg, Switzerland.

Movement (transport, flow of people, etc.), heritage and the environment were central elements that influenced the choice of colours in natural shades, as was the creation of dynamic illustrations and the logo, where the O takes up the idea of gesture, from left to right, always on the move, looking to the future.

Screen printed posters, flyers and stickers designed by Benoit Brun for the ECAL Xmas market in Lausanne, Switzerland. The identity makes good use of the variable width and slant axes of the newly updated WT Skrappa variable font, by WiseType. For the smaller text, Stefan Fitze’s unreleased Rhea was used. Screen printed by Duo d’art, Lausanne, Switzerland. Photographed by Marvin Merkel.

Studio Size created a new brand identity for OB2B to give the brand a clean, professional appearance. OB2B is a business development consultancy working primarily in the DACH region. The color palette paints them as a reliable partner, while the Helvetica Now typeface and subtle motion design give the brand a sophisticated aura.

OB2B is a hero archetype. They are hungry to learn, improve, work hard and master their profession. “Invest in yourself” is their new motto that captures the essence of their culture but also functions as an opening of their sales pitch to prospective clients.

Studio Size created the visual identity and packaging design for NatureSafe Marine—a brand of eco-friendly cleaning products for yachts. Chemicals used in traditional cleaning products harm marine life, degrade water quality, and pollute the oceans.

NatureSafe Marine is changing this with innovative product formulas that are effective yet non-toxic and safe for people. The packaging material is recycled PET but with plans to transition to an innovative plastic-free technology.

Our challenge was to create a brand aesthetic that reflects several qualities of the brand and the context of its use: it is technically sophisticated, environmentally friendly, maritime, and has to fit on a luxurious yacht. We used clean layouts, a simple and suggestive color palette, stylized icons, and the Roobert typeface to balance the technical and organic appearance of the brand.

The logomark is an ns monogram and represents a stylized whale. Icons identify product variants, suggest their use, and create a visually cohesive set. We placed the products in inspiring 3D scenes conveying the brand’s clean, maritime, and elegant personality.

TT Firs Neue is the signature font of Fenway Center’s identity.

Located in Boston, Massachusetts, the Fenway Center is a state-of-the-art building project consisting of extensive laboratory, office, and retail spaces, as well as public pathways and amenities.

In partnership with Meredith Management and IQHQ, Gensler is designing an ambitious air-rights development that will span the Massachusetts Turnpike between Brookline Avenue and Beacon Street.

The storefront and brand design of 199A®, Australia’s latest designer fashion retailer.

A convergence of fashion and music, 199A® thrives at the nexus of fashion and rhythm, accompanied by A Love Supreme, a Brisbane music and culture initiative. 199A® stands as a beacon for inclusivity, independence, and the unbridled creativity inherent in youth culture.