Graphic identity for L’Escale, a space for relaxation, revitalization, and civic engagement hosted by Mutuelles de France at Fête de l’Humanité.

Over three days, L’Escale presents a dynamic program of debates, health prevention workshops, and activist gatherings focused on public health, solidarity, and social rights.

Odd Forms Studio crafted a vibrant and inclusive visual universe, from logo design to signage, editorial content, and social media templates.

The typographic pairing of Noland and Modale Antique plays a central role in this identity. Noland, with its contemporary geometry and humanist undertones, conveys accessibility and clarity—echoing L’Escale’s role as a welcoming and pedagogical space. Modale Antique, with its grounded presence and subtly retro character, evokes collective memory and civic heritage—resonating with the event’s activist and social ambitions.

This carefully balanced typographic approach supports a visual language rooted in openness, popular education, and conviviality—values that lie at the heart of L’Escale.

Visual identity assets designed for the Instituto Guaicuy –

a non-profit entity that emerged from the fight to preserve the Rio das Velhas basin and its activities are dedicated to defending the environment. […] Its actions are guided by popular activism in the search for ways of life that promote socially fair and environmentally sustainable coexistence between people, water and territory.

The campaign graphics were used for an event by the Comissões de Pessoas Atingidas das regiões 4 e 5 (“Committees of affected people from regions 4 and 5” in Southeast Brazil. This meeting took place in December 2024 in Curvelo, Minas Gerais, and was dedicated to the fight for full and effective reparation for people affected by the 2019 Vale dam collapse in Brumadinho, Minas Gerais.

Montserrat Alternates was chosen to write the project titles. Its charismatic design in letters like E, M, and A, along with the mix of uppercase and lowercase characters, added personality to the pieces while aligning with Guaicuy’s branding.

See also the previous post about a series of related maps and infographics.

The motto on the tote bag is adapted from a quote by the artist and researcher Isabela Frade. It reads “Em água de peixe grande, é necessário ser cardume”, which translates to something like “When in waters with big fish, it is necessary to form a school”.

The cardume (school of fish) is comprised of various native fish species which are depicted with the Portuguese and Latin names.

“Access to information, access to participation, access to reparations”

La nueva constitución de Chile con peras y manzanas (“Chile's New Constitution with Apples and Pears”) is a pocket-sized book designed to explain, through simple infographics, the key concepts of the proposed new constitution for Chile, developed during 2020-2021.

The book was designed and produced by the Chilean design studio Otros Pérez, and printed by Lom in one blue ink. The typesetting uses only a few styles from the Lira Sans family (Lira Sans Regular and Bold; Lira Sans Wide Regular). Along with the text layout, a wide system of pictograms called Persona, a WIP project designed by Sergio Ramírez, is used extensively.

Tendencias constitucionales. Experiencias comparadas y lecciones para Chile (Constitutional Tendencies. Comparative Experiences and Lessons for Chile) is a book about the need for a new Chilean constitutional process to change the current national constitution, which was drafted during the civil-military dictatorship. Edited by Alejandro Corvalán and Francisco Soto, this book was published after the social uprising of 2019, which resulted in two failed processes of constitutional change.

Publisher LOM comments on the book:

This book identifies some vectors that can order the constituent conversation from the comparative analysis. Constitutional trends in the world are shown in three dimensions: State form, government system and fundamental rights. The Chilean Constitution, centralist, presidential in nature, and liberal in rights, distances itself from these international trends and represents rather an anachronism in comparative terms.

The layout was made exclusively with the Modérnica type family in different styles.

Note the different figure styles from Modérnica, here Old Style and Superior.

La constitución en debate. Un texto pensado para profesores, estudiantes y organizaciones sociales (The Constitution under debate. A text conceived for teachers, students and social organizations) is a pedagogical book about the need of a new Chilean constituent process that has to change the current national Constitution, drafted during the civil-military dictatorship. From the back cover (translated from Spanish):

Is our Constitution of any use to us? To answer that and other questions, we necessarily have to know what a Constitution is and how it regulates our coexistence. The purpose of the book is to democratise knowledge about the Constitution, to know why and for what it exists, the institutions that emanate from it, and its application in our daily lives.

Shown here is the first edition. In 2020 publisher LOM Ediciones released a second edition.

The book was designed using two sans serif families, both published by Quintana-Font: Lira Sans, in its Wide and Extended versions for headlines, and Modérnica in several weights and styles for different kinds of text. The cover shows a pictogram composition from Vivaceta type family (along with other pictos especially designed for the book) also published by Quintana-Font and designed by Sergio Ramírez.

Повернись живим / Come Back Alive is a charitable foundation providing competent assistance to the army and a public organization engaged in security and defense sector analytics, implementing rehabilitation projects for veterans through sports.

The Come Back Alive foundation has been operating since 2014. Their main goal is to make the defense forces more effective, help save military lives, and systematically counter the enemy. To achieve this, the Foundation purchases equipment, including thermal optics, quadcopters, vehicles, surveillance and reconnaissance systems. "Return Alive" is also the first charitable organization in Ukraine to obtain permission to purchase and import military and dual-use goods. Specifically, the organization's team has procured and delivered to the units of the Armed Forces the Bayraktar TB2 strike UAV complex, 11 special armored vehicles, and 1460 7.62mm caliber machine guns for the 21st brigade of the Armed Forces.

The foundation's instructors have trained over 10,000 highly qualified military specialists, including sappers, snipers, drone operators, and infantry. They also provide training in field medicine and establish training complexes for field medicine in the Armed Forces, support the conduct of secret missions that cannot be disclosed until victory.

The organization's website is designed in military colors, with materials presented in a clear and understandable layout. The headlines use Laqonic 4F from 4th february (Sergiy Tkachenko), and body text is set in e-Ukraine, a free font from Fedoriv Agency ( Dmytro Rastvortsev). In the foundation’s social media, you can also find the exceptional Volja by Marymo (Nil Khasevych, Marchela Mozhyna).

Logo with Dapifer Italic

Dapifer is the main typeface used for the identity and website of Cerise.

Cerise is the French word for “cherry”. It’s also the abbreviated name of a neighborhood association in Paris’s 1st arrondissement: C.E.R.I.S.E. stands for Carrefour Echanges Rencontre Insertion Saint-Eustache, which can be translated to “junction, exchange, encounter, integration [in the parish of] Saint-Eustache”. Since 1999, it runs a sociocultural center that hosts various cultural events and activities and offers support to those in need.

In 2019, the center’s visual identity was overhauled. The red hexagonal logo holds a stylized cherry with the name shown as the curved stem, in custom script lettering. Below, the claim (“a living and cultural space in the heart of Paris”) is set in Dapifer’s lively italic.

Text and headlines on the website are set in various weights and styles of both Dapifer and Dapifer Stencil. Darden Studio’s unbracketed old-style serif is supported by Anivers, a sans by Jos Buivenga, for menus and information boxes. This typographic mix is enriched by changing display typefaces.

Homepage with a welcome message in Dapifer Stencil. One of the slides features Bungee by DJR.

Page about “help and mutual aid”, with Dapifer Stencil Bold for the headline, Dapifer Italic for the lede, and upright Dapifer for the small text.

Anivers is used for the main and subordinate menus as well as for the practical info.

The menu uses color-coded tabs for the six categories of the website – culture is pink and includes information about theater, exhibitions, concerts, and more.

The leisure activities also include a writing workshop.

Dapifer in all caps for the umbrella and cargo trike of the Comptoir des Associations, as well as for the white banner in the background

At the neighborhood fleamarket in front of the Centre Cerise on 46 rue Montorgueil

Made by the Bay is a local civic pride campaign in the San Francisco Bay Area, run by nonprofit organization Tipping Point. Fog City Gothic (modeled after the 1940s/50s embossed street sign lettering used locally in San Francisco) was used for the wordmarks and other headlines in this campaign. The campaign ran across web, outdoor media (billboards, banners), merchandise, etc.

The Berlin ambulances adorned with Change

The Berlin Fire Brigade was founded in 1851 and brought unprecedented safety to the city’s citizens overnight. Today, with 35 fire and rescue stations, 1,050 emergency vehicles, 5,200 permanent employees, 59 volunteer fire brigades and 48 youth fire brigades, it is the largest fire brigade in Germany. Berlin also ranks fifth in the world, coming after Tokyo, New York, Paris and London.

Berlin would not function without a fire brigade. It is the city’s central crisis manager: for fire protection, rescue services, and in the event of a disaster. The rescue teams have more and more work to do because the city is growing and becoming more dense. The population is also getting older and older and so isolation is increasing and to top it off, the climate crisis is also causing more extreme weather conditions.

With its “Strategy 2030”, the Berlin Fire Brigade is preparing for the challenges of the future. With a focus on expanding material and human resources, job satisfaction, more diversity and helping to shape politics and urban development, the new directive and strategy requires a lot of communication. No wonder that the fire brigade has developed into a strong brand with a stringent corporate design.

The corporate design was developed in-house by the Press and Public Relations department in cooperation with a communication scientist. The two most important goals of the CD are the positive public perception of the fire brigade and the identification of the staff with their company. The national emblem, which has been in use since 1977, has been reduced to a few clear lines in a single color. The corporate colors are, of course, still red and white, but other colors have been removed. Furthermore, a uniform logo “Berliner Feuerwehr” (Berlin Fire Brigade) was developed using the Change Letter font, which used to be the headline font of the state of Berlin. When set in capitals, Change Letter, a variant that is planned to be released at a later point, differs only slightly from Alessio Leonardi’s Change, which is now available from Fontwerk as a completely reworked and revised font family. The fire brigade uses both Change and Change Letter for headlines on their website, in printed matter and annual reports, as well as on vehicles, buildings and equipment.

The in-house adoption and use of the new brand identity was overwhelming. Possibly the familiarity with the typeface, which became city-famous through the Be Berlin campaign, (see also the post on Fonts In Use) helped. “The implementation went surprisingly smoothly. First drafts of the new logo spread furiously and were eagerly used by staff long before a binding business directive came into force,” recalls Jens-Peter Wilke from the Press and Public Relations Department.

Fire station Pankow, set in Change Letter, which is no different from Change (Sans) in most capital letters.

Fire station Blankenfelde

Job advertisement in Berlin Fire Brigade’s annual report 2019

Statistical chart in Berlin Fire Brigade’s 333er Magazine

Statistical chart in Berlin Fire Brigade’s annual report 2019

Crafting instructions for those who want their own ambulance car at home

Parts of Southeast Queensland’s decommissioned railways are being reimagined as Rail Trails - shared recreational and commuter pathways that create connections between communities, old and new.

The trail has allowed for pedestrians, cyclists and the occasional horse rider to explore a picturesque and history rich connection between the oldest and newest areas of the township.

Dotdash proposed a series of wayfinding and interpretive storytelling elements that guide trail visitors on their journey, celebrate provincial craftsmanship and provide insight into local heritage.

Lush green vistas, existing heritage signage and local materials formed the inspiration for the driving design elements, the material and colour palettes, which evoke the natural and ‘maker' nature of the environment. An idyllic colour palette of stone, temper red and coal is anchored by warm earth tones, creating an accessible backdrop for wayfinding and interpretive sign types, emotionally intensifying the surrounding natural environment and crafting a nostalgic response.

The City of Logan’s brand typeface, Proxima Nova (designed by Mark Simonson), was selected as the primary wayfinding typeface to retain a sense of consistency to the wider community. Reflecting the artisanal history of the former railway location, Karbon Slab Stencil (designed by Kris Sowersby) was chosen as a placemaking typeface for its articulate reference to heritage industrial typography.

Source: poderciudadano.org License: All Rights Reserved.

From Poder Ciudadano (translated from Spanish):

Poder Ciudadano is a non-partisan, non-profit foundation that was founded in 1989 as an initiative of a group of people concerned with the defence of civic rights in our country [Argentina]. From the outset, the founding members took into account the criteria of gender equality, diversity in political-partisan inclinations and social class. But they shared a base of common values, considering that in this plurality a civic thinking could be built that would commit those who participated beyond the vote, leaving aside differences to strengthen the true value of democracy. These motivations were at the core of Poder Ciudadano. The ideological differences between the founders reinforced their non-partisan status.

Source: poderciudadano.org License: All Rights Reserved.

Source: poderciudadano.org License: All Rights Reserved.

Source: poderciudadano.org License: All Rights Reserved.

Source: poderciudadano.org License: All Rights Reserved.

From Public Square:

Public Square is a non-profit media company working for a better future, through journalism and collaboration. We cut our teeth creating powerful, game-changing multimedia projects to help the public understand issues and ideas vital to our democracy. Public Square is an engine of collaboration. Because we use the rapidly expanding menu of video and digital formats to create content, we build the ideal team for every project. These are some of the talented producers, directors, writers, editors, social curators, engagement experts, and designers that we have worked with on recent projects. The full list of project credits is below.

From non-profit design studio Civilla:

Civilla’s new primary typeface is Degular, designed by OHNO Type Foundry. Degular was chosen as a functional yet unorthodox font that represents the playful and kinda quirky spirit of Civilla. Lowercase headings and tight spacing are a nod to our previous logo and keep the ‘community’ of letters close together. Down to our type, we acknowledge that nothing big in the world has ever been done alone. Change is always supported by a collective.

Degular is used for headlines – all lowercase in logo and on the chronicle, Title Case on other brochures – and paired throughout with Work Sans by Wei Huang for text in smaller point sizes.

The 136-page book comprises nearly 100 insets and 44 choropleth-coded maps illustrating global data. The visual voice was inspired by academic quarterly publications; sophisticated but digestible, with a color palette inspired by tissue and cell photography. Circles are used as a consistent throughline, to represent the cellular and global levels that cancer strikes.

Visual hierarchy allows skimming and browsing, while details invite careful reading. The left column is used as a brief summary of the chapter; numbered indicators in the body copy point readers to the insets for the deeper story.