My First Book of… is the title of Kumon’s early‑learning workbook series designed to build pre‑writing and fine‑motor skills for young children. The books start with introducing basic drawing motions through step‑by‑step activities that help children practice pencil control, shape recognition, and hand–eye coordination, and then move on to more advanced topics. There are tiers for ages 2–4, 3–5, 4–6, 5–7, and 6–8 years. Not all books include “First” in the series title.

The cover typography combines Lithos Black for the main title with Futura Book and FF Providence for supporting text such as the series name and age range.

Recuperando historias 2 is a collection of short stories written by children for children. It has been independently published by the Don Orione Special Institute, an educational center that is part of the renowned Cottolengo Don Orione network of residential centers for people with disabilities.

The illustrations were also created by the children themselves. The book design was handled by Ivana Myszkoroski, who used Perec (PampaType) for the main text, Perec Scripte for the chapter titles and the beginning of paragraphs, and Perec Lunatique (not yet published) for the cover title.

“Head, Shoulders, Knees, and Toes” is a children’s educational video which uses a mix of playful and approachable typefaces to reinforce the clarity and rhythm of the classic nursery rhyme. The pink “Shoulders” label is set in Moulin Rouge FLF, whose soft curves and decorative personality give the callout a friendly, storybook feel. The lyric line at the bottom uses Arial Rounded, a familiar, highly legible choice often found in early‑learning materials because of its gentle terminals and simple geometry. The MagicBox logo seen at the top left uses Filmotype Accent.

The combination of these fonts supports the video’s purpose: guiding young viewers through body‑part identification with clear visual hierarchy and bright, inviting shapes. The rounded forms and high color contrast help maintain readability even against the busy illustrated background. Overall, the typography contributes to a cheerful, accessible learning environment typical of early‑childhood media.

This one goes out to John who’s looking for more in-use examples of Daisyland.

For ages 8–80
A good beginner’s book. easy enough for children, appealing enough for adults.
Clear Project Instructions · Knotting Diagrams · Full-Color Photos

On 23 pages, the DIY book presents patterns titled Neat Knots Wallhanging, Wings of String Butterfly, Fish Story, Twice as Nice Plant Hanger, Beaded Beauty Belt, Beach or Books Tote, Jump Ropes, Message Center, Mr. Happy, Ring Around a Towel, and Pretty Hang-up.

Kids Can Macramé was edited and art directed by Mickey Baskett, with photography by Jimmy George and illustrations by Jackie Stephens. Cathy Bonds, Rose Brinkley, Michelle Menough, Carol Millsaps, and Lynn Witbeck are listed as co-authors.

All of the typefaces were available from VGC for the Photo Typositor. Daisyland – an ornamented variant of Erwin by Murray Fuchs – and Jerry Matejka’s Soul were originals by the Florida-based phototype company.

Master’s thesis in social and ethical design at Campus de la Fonderie de l’Image, Bagnolet, France.

This research explores the role of graphic design as a mediation tool in collecting children’s voices, particularly during inspections of medical-social care environments.

It questions the ability of design to act as a third-party mediator, by creating visual and sensitive tools that shift the framework of the interview. These tools open up alternative forms of expression beyond verbal language and help facilitate dialogue between adults and children. This work is part of the preliminary research for a partnership with the Direction générale de la cohésion sociale (French Ministry of Solidarity) for the final-year project.

Caruso Roxanna with slightly widened letterforms used in an advertisement for a Charlie Chocks Beach Poncho amidst a bunch of lettering. The ad appeared in various booklets by Gold Key Comics published in 1970, including Moby Duck, New Terrytoons, Bugs Bunny, and Daffy Duck. Charlie Chocks was a brand of fruit-flavored vitamins.

The text on the balloon (“HAPPY BIRTHD”) might be in all-caps Franklin Gothic Wide.

This box set with twelve 7″ records containing a total of fifty party playtime songs was released on Playhour, a sublabel of Pickwick Records, and advertised in 1970. The collage on the cover is by Frank Daniel. The three main display typefaces are all from the catalog of Photo-Lettering: “50” uses numerals from West Barnum, “Party Playtime” is in caps from Caruso Roxy, and the Playhour logo on the back, the inner sleeve and the labels features Gonzales Jeanette.

[More info on Discogs]

The Wiggles are a group of children’s entertainers from Sydney. The cover of their 24th album, released in 2006 on ABC Music, has the title set in Holiday, while the text on the “15th Birthday” logo is in Gill Sans Heavy. The Wiggles logo is based on Corinthian.

[More info on Discogs]

Pomme d’Api is a French monthly children’s magazine edited by Bayard Éditions, known for its illustrated stories, games, and iconic characters like Petit Ours Brun.

The typeface Borel Display was used throughout the main story “Agata détective : enquête au manoir” to give the narrative lettering a lively, handwritten feel suited to the magazine’s target age range of 3–7 years old.

Additional typefaces used by the magazine and shown in the images include Uniform Rounded, Futura, and Mr Dodo.

Village Green has designed five typographic posters pairing fonts donated from ten different font foundries to raise funds for War Child UK. The posters are available as limited edition screen prints.

The participating foundries are Dinamo, Narrow Type, Newglyph, Maxitype, Tup Wanders, PFA-Typefaces, D0UBLE ZER0, Comicraft, Blambot, and Rellence (prev. Ultra Kuhl).

From The Brand Identity:

The Font Family project pairs two foundries on each B2 poster, creating bold compositions that loosely suggest human figures. It’s a playful concept that works on multiple levels – these typographic ‘people’ become a family of sorts, just as the foundries, printers and designers collaborating on the project form their own creative community. All profits from the screen-printed editions go to War Child UK.

The technical side shaped the creative decisions from the start. Working with Ricky at Mesh & Blade in east London, the team designed specifically for screen printing’s strengths and limitations. The bold, colourful characteristics were perfect for the process, but it meant thinking differently about colour separation and registration. “We were also keen to get away from our desks and have conversations about finishes, stocks and inks,” Fearn explains. “From a technical perspective, we kept things relatively bold and minimal with high contrast and simplified colour layers, which ensured the designs translated cleanly and consistently at scale.” That hands-on approach reflects something larger about the project’s philosophy. In a world where remote work and digital-first thinking dominate, there’s something refreshing about a project that brings people together around physical processes and shared goals.

Telka and Metaballs

Screen printing at Mesh & Blade

Azurio and Alpenkreuzer / Baikal and Zzzap / ABC Gravity and Damn Noisy Kids / 00 Hypertext Mono and Meilen

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Bunt (“Colorful”), the current participatory exhibition

We love seeing Kit Rounded used like this, unapologetically playful.
⁠
The Old Castle in Stuttgart revamped their children’s section. Junges Schloss (“Young Castle”) is voiced with Kit, softly welcoming yet structured enough to hold its own in a centuries-old space.⁠

Darden Studio’s Kit Rounded is used for everything from the website and the logo (with Atkinson Hyperlegible for “LandesMuseum Württemberg”) to posters and teasers for the museum’s hands-on exhibitions and events.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail with menu. Body copy is in Open Sans, with some bits in Arial Black.

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Website detail

Source: www.junges-schloss.de Junges Schloss. License: All Rights Reserved.

Poster for Sommeroase, the holiday program for summer 2025

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Source: www.instagram.com Junges Schloss. License: All Rights Reserved.

Experiti was made as a student project at École Estienne, Paris. It’s a kit composed of a binder and a set of three drawing templates, designed to map any kind of visiting experience: museum visits, forest walks, visits to a family member’s home, and more. The binder notably includes an instruction manual and a detailed legend, providing users with precise guidelines to help them create their own maps. The kit also contains various sheets for drawing, as well as a label to be filled in.

Its first section allows users to record essential personal data such as age or disabilities. The second section is used to indicate climatic and geographical information that enables a detailed description of the location of the experience. This information is crucial, as it may influence the representation of the visit. Animals, architecture, natural elements, individuals, transport, and furniture are among the many categories of elements available on the templates. This mapping process allows for a detailed and complex exploration of our visiting experiences. Users can precisely express certain tastes, smells, or sounds. For instance, a sound might be music or noise, long or short, high-pitched or low-pitched. These sensory elements can also be connected to our emotions, allowing us to understand their origins.

National Children’s Museum is a vibrant, interactive museum dedicated to inspiring curiosity and learning for children and families through playful STEAM (science, technology, engineering, arts, math) exhibits and programs. The brand identity, developed by Ogilvy, uses both Halyard Display and Halyard Text across all applications.

The Tinkering Corner is a hands-on activity space within the museum. To increase visibility and establish a clear point of entry, a series of glass wraps were created along the exterior walls. Typography is pushed into a more expressive mode through playful letter compositions, layered patterns, and high-contrast color. The overall design reflects the spirit of tinkering and discovery while serving as both a visual marker and a wayfinding element.

Team: Emilee Schroeder, Akanshya Upadhyay

National Children’s Museum is a vibrant, interactive museum dedicated to inspiring curiosity and learning for children and families through playful STEAM (science, technology, engineering, arts, math) exhibits and programs. The brand identity, developed by Ogilvy, uses both Halyard Display and Halyard Text across all applications.

The museum’s annual spring campaign led by our in-house creative team launches during peak cherry blossom season in Washington, DC, aligning with a period of heightened tourism and local interest in the city. Aimed at families and children on spring break, and visiting tourists, the creative paired recognizable local landmarks with floral imagery to emphasize the seasonal appeal of a visit.

Out-of-home campaign displayed in WMATA Metro station booth in Washington, DC

The first illuminated characters, primarily created for big-city entertainment enterprises, consisted of electric bulbs arranged to form the outlines of letters. BVH BDot imitates this idea and is a perfect fit for KOSMOLINO, the children’s program of Theater KOSMOS in Bregenz, Austria.

From the website of designer Anuschka Fink (translated from the German):

Hubert Dragaschnig once said:
“A theater production requires many different stars – whether it’s the office, administration, stage design, music, acting, directing, technical crew, wardrobe, makeup, etc. – and when all of these serve the same sky, namely the author and the play, a cosmos emerges.”

Inspired by this, I designed a graphic concept for both Kosmodrom and Kosmolino. The two visual identities were meant to share similarities while still remaining distinct and striking. The stars – or the light – of the stage backdrop became a key design element. Reduced to a single “dot,” it symbolizes the stars of the theater cosmos.

These educational objects were imagined by the Public Outreach Department for young audiences on the occasion of the reopening of the MAMC+ in November 2024. MAMC+ is the Museum of Modern and Contemporary Art of Saint-Étienne Métropole in east-central France.

Système Sensible, a graphic duo composed of Charlotte Gauvin and Matthieu Meyer, designed the graphic identity and the layout of Plus, the museum’s magazine for young audiences.

The issues have 48 pages, measure 194×280 mm, and were Riso printed on Munken Print White 115 g/m² and Munken Pure Rough 150 g/m².

The exhibition Petits mondes (“Small Worlds”) at the Hôtel des Arts TPM presents works from the collections of the Centre Pompidou, the Centre National des Arts Plastiques, the Musée des Arts Décoratifs in Paris, and the Mobilier National. It explores the world of childhood, where furniture, toys, decorative objects, and illustrated books stimulate imagination and creativity, promoting children's personal development.

For the visual identity and the catalogue, Marc Armand used Rillus (as the main typeface) and Malamocco (for body text).

This educational children’s album was released in 1972 by Golden Records, featuring ten songs about anatomy such as “It’s Nice to Have a Nose” and “I Just Love to Eat”. The music was written by Alan Greene, with lyrics by Laura Manning. The album design is credited to Lester Bellin Associates, with art supervision by Ralph Stein.

The title is set in pink Googlehoffer. This animated, low-contrast sans with curly terminals and various alternates – including biforms and such that allow for interlocking pairs – was first shown by Photo-Lettering in 1964. It’s a design by Richard Rosenblum, a Brooklyn-based illustrator who lived from 1928 to 2002.

Found by John, who is currently tracking down Uses for some of the ten typefaces designed by Rosenblum.

[More info on Discogs]

Founded in 2020 in Los Angeles, Piccalio first gained recognition for crafting beautiful wooden toys that combined high safety standards with elegant design. Over the past five years, the brand has expanded its core collection to include multifunctional furniture pieces for children – products designed not only to support development and play, but also to blend seamlessly into the family home.

The brand’s transformation has led to an inflection point, sparking a desire to evolve the visual landscape to reflect its growth and deepened sense of purpose. “In a sea of plastic kids’ products, our mission is clear: bring design and beauty back into the everyday,” said Aneta Kostic, Co-founder and Creative Director. “Children’s things don’t have to feel like clutter. They should be objects you’re proud to live with – backdrops to everyday memories, both big and small.”

At the heart of Piccalio’s brand refresh is a new logo and wordmark that strikes a balance between timelessness and playfulness. With the update, we wanted to connect to our brand guideposts of elegance and simplicity. The challenge was to keep some of the playful spirit of the original wordmark while also achieving a more polished look.

The new wordmark is based on a customized version of Rothek by Groteskly Yours. It is sharp, clean, and elegant, while maintaining the approachability and slightly playful quality of the brand's original mark.

Piccalio's new family of fonts balances elegance and warmth. Headlines are set in Kalice, customized for Piccalio by Claude Type. TWK Lausanne, with its organic idiosyncrasies, is the perfect pairing, adding a contemporary edge.

The logo of Cosco Kids uses Omnes by Darden Studio.

Cosco is a brand for strollers, car seats, high chairs and other gear for babies and toddlers. Founded in 1935 as the Columbus Specialty Company in Indiana, it was acquired by Dorel Juvenile in 1988. In 2023, the manufacturer decided it was time for a rebrand:

One of the first elements to get a refresh was our logo. The old logo was dated, and lacked the motion that’s inherent to our redefined Brand DNA. As we thought about the brand’s visual language, we realized we needed something more substantial to command attention and step forward, away from any background graphic noise. And just like that, Cosco became Cosco Kids™.

The logo is at the center of the new identity. The wordmark is based on Omnes’s Bold weight, with various small adjustments, like a narrowed o. Letters are twisting and turning, to visualize the desired motion. “Kids” is added on a curved baseline below, dropping the i dot. The two words are held together by a thick outline in a shade that is dubbed “pirouette purple” by the designers.

The brand typeface that accompanies the logo in Omnes is Plau’s Vinila.

The introduction video for the new identity features an animated logo evolution, leading up to the new one in Omnes. The slogan “Together, we’re the village” is shown in Vinila.

The Cosco Kids product range

Video ad