The Murgia Run Club project is built on years of adventure and exploration in the heart of Italy’s Alta Murgia National Park. In 2025, the collective reached a new milestone with a complete rebranding designed by Gabriele Colia. This new visual identity aims to promote the Puglia region while organizing the club around a more modern image, standing at the intersection of high-performance sport and lifestyle.

To embody this renewal, the typeface Quadro from Blaze Type was chosen. With its geometric structure and massive forms, the typography evokes the solidity of limestone and the ruggedness of mountain trails. Its modular appearance adds a technical touch that perfectly fits the world of trail running and the requirements of contemporary communication.

The use of Quadro effectively bridges digital communication and physical assets. By relying on such a distinctive typeface, the new design provides the club with a professional and international image. It is a striking example of how typography can redefine a sports collective into a powerful territorial brand.

The accompanying monospaced typeface is ABC Monument Grotesk Mono, see comments.

Source: sarahjmaas.com License: All Rights Reserved.

A Court of Thorns and Roses

A Court of Thorns and Roses is a fantasy romance series by Sarah J. Maas, started in May 2015 with the publication of the titular first book. It was concluded with A Court of Silver Flames, a New York Times #1 bestseller, in February 2021.

When Bloomsbury started reissuing the books in 2020, Patti Ratchford was in charge of the cover designs. The hardback edition got yellow titles against a colored background. This color palette was reversed for the paperback edition, which was released simultaneously.

For the ornate art, Ratchford brought in Violène Pont and Patch Monnier of Happypets, the Lausanne-based illustration and tattoo studio. For the typography, she exclusively worked with Grand Central by Tobias Frere-Jones, alternating between stacked-and-staggered, right-aligned and center-aligned title settings.

Chances are the all-caps serif typeface with roots in the French Oldstyle genre was selected for its thorny R – a hallmark glyph that appears at least five times on every cover. With over more than 13 million copies sold in total (across the editions), A Court of Thorns and Roses probably represents the most visible use of Grand Central to date.

Source: sarahjmaas.com License: All Rights Reserved.

A Court of Mist and Fury

Source: sarahjmaas.com License: All Rights Reserved.

A Court of Wings and Ruin

Source: sarahjmaas.com License: All Rights Reserved.

A Court of Frost and Starlight

Source: sarahjmaas.com License: All Rights Reserved.

A Court of Silver Flames

Source: www.thalia.de License: All Rights Reserved.

Box set with the paperback editions of the five books

Source: www.books2door.com License: All Rights Reserved.

The dust jackets for the hardback edition have colored titles against a gray background. The final book, A Court of Silver Flames, represents an exception, featuring orange cover art and white type.

Source: www.books2door.com License: All Rights Reserved.

Box set with the hardback editions of the five books

Source: www.lowplexbooks.com License: All Rights Reserved.

Spine lettering on the jackets of the hardback edition

Source: www.waterstones.com License: All Rights Reserved.

Night Court Edition

Lupo (Italian for “wolf”) is a small Italian delicatessen that opened in Lyon in the fall of 2024. Located in one of the narrowest buildings in the city, this cozy shop offers a wide variety of products from across Italy, mostly sourced from family-run producers.

Lupo features a logo that is fully and intentionally hand-drawn, evoking spontaneity and generosity, in the spirit of Italian street food. The wolf, a historical symbol of Rome and often seen negatively in the collective imagination, here sheds its unfavorable traits to become a friendly and welcoming mascot.

Wolves at the Lake is a tabletop roleplaying game by Quinn Blackwell, originally uploaded in pdf format to drivethruRPG in 2022.

The Full Moon edition zine, published by Plus One Exp in both physical and digital formats, expands the original game with new mechanics, cover and full-spread illustrations by Casey Boatwright, and typography and layout by Luna P..

The all-caps logo was set in a slightly modified Lineal, designed by Frank Adebiaye (with contributions from Anton Moglia and Ariel Martín Pérez) and shared through Velvetyne. The rest of the cover was set in Warbler by David Jonathan Ross. The interior uses the previously mentioned fonts for headers, sidebars and details, while the body text uses Fern, also by DJR.

Offshore is the collaborative (design) practice of Isabel Seiffert and Christoph Miler. They designed this newsprint publication using Gaya in 2022 after their artistic residency at La Becque, in Switzerland. Here is how their project is presented on La Becque's website:

The project The Myth of Memory is Offshore’s second chapter in their long-term project about the comeback of wolves. After the duo has investigated the techno-scientific apparatus implemented to surveil and control the predator in their work Managing the Wild, they addressed the role of landscape, myth, and memory in the second part of the project. They tackled the question how wolves become figures that embody cultural narratives and sentiments. The duo investigated how wolf mythologies and memories are produced, read, negotiated, and recycled, used, and abused in order to make sense of the return of wolves in today’s contested landscapes. By proposing this new perspective, The Myth of Memory reflects upon the complex relationship between humans and other animals through storytelling and poses the urgent question how we want to memorize and remember the past, in order to shape our multi-species future.

The final version of their project The Myth of Memory. Gods, Ghosts and Beasts: Roaming Today’s Wolf Territories was then presented at My Monkey Gallery in Nancy in July 2022.

The slab-serif caps used for the title appear to be custom drawn.

Armchair Fiction’s book series Horror Gems (2011–2020) comprises eighteen volumes presenting reprints of stories from authors like Paul Ernst, Robert Bloch, and others.

“Horror Gems” is set in Patrick Broderick's Zombie, a scrawled freebie interpretation of Rudolf Koch’s Neuland. The volume number is indicated using a digital version of Norton Mr. Bones, probably David Rakowski’s Headhunter (which was reinterpreted and expanded in 2019 as Headhunter Two). Other fonts in use include Futura, ITC Kabel Ultra, the macabre Demon Night, and Bank Gothic.

The back covers pair Demon Night with a changing choice of fonts for headlines, using for example Gill Sans Bold Extra Condensed, Shlop or Bernard Condensed. The spine lettering is in Shouldve Known.

Wildpark Bad Mergentheim is a wildlife park in the Main-Tauber-Kreis, Germany. Since 2007, design agency ps:ag from nearby Lauda-Königshofen is in charge of the visual identity. The logo typeface is Maiandra. Designed by Dennis Pasternak and released by Galapagos in 1994,

the Maiandra family of typefaces was inspired by an early example of Oswald Cooper’s hand lettering as seen in an advertisement for a book on home furnishing, circa 1909. Although many of Oz Cooper’s letterform designs were cast in metal type, this particular one was not.

Cooper’s design itself was inspired by examples of letterforms he had admired in his study of Greek epigraphy (inscriptions). Cooper combined those ancient forms with the flair characteristic of design styles of his time. The result was an attractive design possessing subtle, purposeful irregularities, or ‘meanders,’ in his skilled brushwork.

In this application, Maiandra’s organic quality is a good match for the general theme – its W almost looks like antlers – and the park’s declared sustainable approach. The handmade impression of the letterforms is echoed in the sign posts made from untreated wood. If you look closely, you can spot a subtle intervention that further reduces straight lines and rectangularity: in “Wildpark”, the caps were made gradually smaller toward the middle of the word.

Maiandra is supported by Agendatype. This sturdy dynamic serif was designed by Natascha Dell and Kai Oetzbach and released on their Fontfarm label in 2006. The family comprises two weights in roman and italic, with additional Swash Italic styles as well as small caps.

Miscellaneous printed matter featuring Agendatype Swash Italic for headings

Leaflets and booklets

Menu set in Agendatype Regular and Bold, with Swash Italic styles for the heading

Van featuring the logo in Maiandra and the slogan (“See and experience animals”) in Agendatype Swash Italic

Front and back cover of a DVD with an episode of The Wolf and the Seven Kids by Geppetto’s Workshop, issued by Media Movies & More (MMM) in 2005.

Hobo is used for the title of the episode and “In this Episode”, "Running Away from Home" is set in Nate Piekos' Anime Ace, and “Geppetto’s Workshop” is set in Arial, warped and with highlight effects. The back cover also features Helvetica Rounded for the blurb and Helvetica Condensed for the information.

“Back to Nature” is the motto of the new SP21 collection, which release marks the third and final delivery of the Fall/Winter ’21 season of Goodbois. It is a homage to their home, the countryside of southern Germany – a call back to nature and our family roots, back to long lasting values and our true heritage.

Baskerville has been a great typeface for recent Goodbois collections and is now used to embrace what this particular collections stands for. The second typeface is Council, with shapes and contours that remind us of chopped wood.

The Werewolf of Washington is a 1973 horror-comedy movie about a press secretary for the US President who becomes a werewolf and terrorizes Washington DC. A partial satire of the then-active Nixon administration, it was directed by Milton Moses Ginsberg and stars Dean Stockwell.

The most common US poster for the movie shows the title in either a manually outlined adaptation of Standard Gothic or a color-separated adaptation of its pre-outlined relative, Comstock. The secondary type is set in Helvetica and Helvetica Condensed.

Branding for Luloba Ceramics, a small pottery studio based in Montreal. Luloba is named in reference to the “loba capitolina” , a sculpture depicting a scene from the legend of the founding of Rome. The sculpture shows a she-wolf suckling the mythical twin founders of Rome. The logo plays with negative space to create a vase in the muzzle of the wolf. Colorful illustrations in the identity give a preview to the real product and add personality to the studio. Lights and shadows on the objects bring these to life.

Alternate single art for “Animal Spirits” by Vulfpeck. Made as an experiment in digitally replicating the look of cheap, beer-box offset printing and “ink starve”, which took lots of layers and lots of masking textures, plus a cute little sticker from blkmarket.

I fell in love with Eckmannpsych, a psychedelic display face from OH no Type Co., as soon as I saw it, and considering OH no’s (and James Edmonson’s) relationship with Vulfpeck I thought it would be a great choice for some Vulf fan art, catching the current wave of 1970s revival psychedelic grunge and gritty textures. Kabel (well, Neue Kabel, since it was on Typekit) felt like a solid pairing choice considering its consistent weight and readability at such a small relative size.

Illustrations by Hector G

Tell the Wolves I’m Home. A love story between a young girl and her uncle.
Client: Random House, Art Director: Tom Stvan

When Wolf-Manufaktur asked Wehr & Weissweiler to design a catalogue that showcases its high-end printing and finishing services, the two young designers from Mainz, Germany came up with a striking solution. The Wolf-Musterbox is a sophistically designed cardboard box in glaring orange. Once you lift the magnetically affixed cover, the box slides open and reveals its content. 30 sample cards provide an overview over the available offerings. Eight different finishing techniques have been combined with eleven types of fine paper and board.

Wehr & Weissweiler aimed to create a tool that helps designers choose an advanced printing technique and convince their clients of its effectiveness. They further wanted to tell a little story that relates to the brand name: each motif contains some information about wolves. As you browse through top-notch examples of letterpress, gilding, or foil stamping, you learn why wolves howl, how fast they can run, or what the deal is with werewolves. The ingredients for the visualization are diverse: photography, illustration, infographics – plus a trio of fresh typefaces, namely FF Nexus Serif (2004), JAF Facit (2005), and Fakir (2006).

Each of the cards sports up to three tabs. Together with the legend that is printed on the inner side of the cover, this enables the user to quickly pick all the samples that illustrate, say, die-cutting.

The sample cards measure 17×12cm.

Two possible types of enhancement combined: rainbow-gradient edge coloring, and partial UV varnish application. The transparent small caps are taken from JAF Facit Extrabold, the heaviest member of the versatile sans-serif family by Tim Ahrens.

The back lists the type of paper and the printing and finishing techniques in use. It also holds some information about when and how these options are applicable. Headings are set in a lighter weight of JAF Facit, and contrast with text in FF Nexus Serif, which shows off its decorative ligatures.

On this card, relief embossing is shown alongside laser punching. The texts provide information about the tracks of wolves, their coat colors, and their scent. Designers will note the wise use of variation in text alignment.

FF Nexus Serif is used for most of the text. It is a distinguished choice, and reads well even at the rather small sizes. Although the fonts are equipped with many extras (including small caps, arrows and other symbols) and ligatures (from ‘fi’ to ‘ffl’ and ‘ct’), FF Nexus doesn’t offer a good solution for words where the overhanging ‘f’ is followed by a diacritic. At least, that is what the typographer felt, and kerned the ‘ä’ away, to prevent the characters from clashing. This is far from ideal, as it creates a gap. However, many Germans feel this is the lesser evil – me included.

The most eye-catching type choice is Fakir, a blackletter as reimagined by the Underware collective. When this 11-style fantasy was released in 2006, it has been met with enthusiasm in the design scene, and even was celebrated with one of the prestigious TDC² awards. Still, Fakir can rarely be seen in use, due to its extreme nature, and not least because of the difficult connotations of the blackletter genre in general. Wehr & Weissweiler successfully employed two of its Display weights on this fake calling card for the Brothers Grimm.

In many regards, FF Nexus can be described as an expansion of the ideas that Martin Majoor already incorporated in his first release, FF Scala. Both are superfamilies with a Sans and a Serif, and in the case of Nexus, also a Slab. Another feature that has been added in FF Nexus is a Swash Italic. The curly capitals and the flourished final forms can add a splendid calligraphic layer, as the Latin names for the various wolf subspecies demonstrate.

The Wolf-Musterbox can be ordered from the Wolf-Manufaktur website (which, by the way, is also designed by Wehr & Weissweiler, using JAF Facit Web). At € 89, the box certainly is not cheap, given it’s a promotional item. On the other hand, the amount will be refunded with the first order. If you want to know more about finishing techniques and wolves, and, to boot, are a sucker for beautifully staged contemporary type, it is a good investment anyway.