For the 61st Chicago International Film Festival, the visual identity was meticulously anchored in the enduring precision of the Swiss International Style. Embracing the powerful simplicity of Neue Helvetica, a stark black and white palette, and structural efficiency, the core design provided a refined, minimalist stage.

Our ambition, however, was to celebrate the vast, vibrant world of film genres. This was achieved through a compelling typographic dialogue: carefully selected display typefaces, each echoing distinct film tropes and design tendencies, were introduced as dynamic accents.

These genre-specific types acted as exuberant bursts, dramatically contrasting the austere Neue Helvetica. They symbolize the immersive narratives of cinema ‘breaking through’ the festival’s foundational elegance, creating a design that is both disciplined and thrillingly expressive—a true homage and love letter to the design language of film.

Le Grand Jeu is an independent Parisian bookstore, creative agency, and editorial platform located in the heart of the 11th arrondissement, between Oberkampf and Ménilmontant. It is known for its carefully curated selection of books, magazines and zines dedicated to street cultures. The bookshop is the place to go when searching for publications on graffiti, street art, skateboarding, surfing, sneakers, street fashion, photography and contemporary art. The team, guided by Christian Omodeo, sources titles from both major and independent publishers in France and abroad, and everything available in the shop can also be ordered on their website.

Beyond its physical space, Le Grand Jeu also works as a mobile bookstore and a cultural agency. Since 2015, the team has collaborated with institutions, brands and events across Europe, curating exhibitions, producing books, organizing events and contributing to international fairs such as Art Élysées, the Paris Surf & Skate Film Festival, and the Moniker Art Fair in London and New York. Guided by a strong passion for street culture and contemporary art, they continue to bring hard-to-find content and engaging cultural projects to a growing audience.

From spring 2019, under the designer Eliot Valdejo in collaboration with the in-house team of Le Grand Jeu, the bookshop and agency used Swiss Typefaces’ BRRR and Riviera as the core of its visual identity. The two typefaces were applied consistently across the shop sign, printed ephemera, website, and social media posts. The pairing formed a typographic system centered on contemporary type as its primary expressive tool. BRRR, with its angled terminals, subtly echoed the chisel-tip markers associated with street writing, while Riviera provided clarity and a contemporary neutrality. Together, they balanced expressiveness, legibility and a contemporary tone that reflected the core character of the bookstore.

This identity was discontinued in fall 2025, following a rebranding led by Paolo Proserpio.

On the website, BRRR and Riviera are paired with Nunito for the navigation menu.

The visual identity for 070 Shake’s sophomore album You Can’t Kill Me from 2022 was developed as a cross-media campaign including album artwork, logotype, photography, packaging, merchandise, tour posters, and promotional copy. Eddie Mandell designed the project in collaboration with 070 Shake and The C.O.R.E.

The typographic system pairs Futura (Paul Renner) with Tempos Mono (Samara Keller) for supporting and informational text and Anton (Vernon Adams) as the main title font. The blackletter face is Anglican Text (Dieter Steffmann).

The album cover features a Nicola Samorì painting, which is used alongside the typography. The cover was listed at #15 in Our Culture’s “50 Best Album Covers of 2022”.

[More info on Discogs]

Ojārs Ābols (1922–1983) was a Latvian avant-garde artist of the 1960s and 1970s whose work reflected the political realities of the Soviet period. His contact with Western art led him away from socialist realism towards abstract modernism, despite being branded a “formalist” during a 1963-64 crackdown on non-conformist art. Until 10 May 2026, the Latvian National Museum of Art is showing a retrospective titled Ojārs Ābols. Cilvēka absurdie projekti uz Zemes / Ojārs Ābols. Man’s Absurd Projects on Earth.

For titles, the design uses Handel Gothic, a geometric typeface of the same era, to evoke both the period and the Modernist aesthetic that defined the artist's output. Text is set in Mulish.

Raven King is a serialized webcomic by Savina Petkova, where typography is clearly divided by function. The main body of the comic—speech balloons and most subtitles—is set in TrashHand, a hand-drawn style typeface that supports continuous reading and dialogue flow within the panels.

Eldes Cordel is used exclusively in the title of the webcomic, functioning as a logotype rather than as running text. Appearing in the cover and title presentation, the typeface establishes the visual identity of Raven King before the narrative begins, setting the tone and atmosphere of the story.

By restricting Eldes Cordel to the title, the project creates a strong typographic hierarchy: the expressive, culturally referential lettering of the title contrasts with the more utilitarian lettering used inside the comic. This separation helps the title stand out as a distinctive graphic element while keeping the reading experience clear and consistent throughout the episodes.

In this context, Eldes Cordel operates as a branding and identity element for the webcomic, framing the narrative and anchoring its visual presence, while the interior typography remains focused on readability and storytelling efficiency in a digital-first format.

Secondary fonts in this character line-up include Bowlby One’s Small Caps style, Tinet, and another, yet unidentified comic style.

Two volumes of Raven King were also issued in print (German only).

Vietnamese branding studio xolve developed the identity for hômnay beauty, a skincare brand emphasizing simplicity, quality, and effectiveness. The design system uses Gopher, a reverse-contrast sans serif from Adam Ladd Design, for its expressive titles; Fahkwang, a contemporary Thai and Latin sans serif by Cadson Demak, for secondary headlines; and Nunito Sans, by Jacques Le Bailly and Vernon Adams, for additional text.

The typography feels fresh and modern, balanced by warm colors and airy layouts reflecting the brand’s focus on clarity and ease. The result is a cohesive system—modern, approachable, and confident—echoing Hômnay Beauty’s promise of uncomplicated skincare for daily life.

See more of the project on xolve’s portfolio website.

Nunito Sans is used on PickandMix.com, an online D2C confectionery store established in 2020.

Art Field Nanhai, located in Guangdong, stands apart from typical public art exhibitions in urban settings by focusing on the preservation and revitalization of regional culture. Unlike the fast-paced environments of cities, this initiative emphasizes the value of rural areas and their rich heritage. The Signage Project is an independent exhibition segment featured in the second edition of Art Field Nanhai. This segment aims to breathe new life into old neighborhoods by designing and installing signage for spaces like Taiping Hui, a once-vibrant commercial street that is now nearly abandoned. The project seeks to revitalize forgotten spaces through thoughtful design and community-focused solutions.

One of the standout pieces in this project is the Taiping Granary. The creative concept behind this design is inspired by the shape of granary buildings and their function as “transit stations.” We incorporated the visual elements of conveyor belts into the sign design to evoke historical memories and connect the past with the present.

This is the promotional poster designed for the installation project. It incorporates the creative concept of a “conveyor belt.” A massive conveyor belt circle occupies the entire frame, creating a strong visual impact. The symbolic meaning of the conveyor belt is a dual reference to both heritage and transformation, while also suggesting that the installation project serves as a bridge connecting the past and the future, leading the audience to rediscover the overlooked old neighborhoods and commercial streets.

Västerbottens museum in Umeå, Sweden is a county museum with responsibility for the cultural history of Västerbotten County.

The museum redesigned its visual identity in 2023, embracing a new logo and typography to reflect the cultural heritage and natural environment of Västerbotten.

For Nicole Nero’s photography website, designed by Zane Krumanocker of Krum Marketing, an elegant deployment of VJ-Type’s Love creates a striking visual identity through its modern interpretation of Art Deco letterforms. The distinctive high-contrast strokes and geometric flourishes of Love are showcased prominently in the couples’ names and venue pairings, creating an intimate gallery experience that mirrors Nicole’s photographic style.

Strom is a brand that operates in the textiles industry. It is known for its high-quality denim fabrics and a variety of styles in clothing. The brand’s product range typically includes denim jeans, shirts, jackets, and other denim products.

Strom values environmental consciousness and sustainability, which are significant aspects of their brand. They show sensitivity towards recycling and strive to reduce environmental impacts in their production processes. By reflecting these values in their products and brand identity, they create an eco-friendly image.

Strom tends to favor modern and stylish designs in their products, aiming to offer customers high-quality and fashionable denim items. Additionally, the brand is known to target a younger and dynamic customer base.

Brand identity guidelines for New Zealand-based aerospace company Zenno Astronautics. THE ARK created the initial branding and the recent redesign in 2023, choosing Microgramma as the primary typeface for the logotype.

The Taste musical event is an electrifying combination of hip-hop, afrobeat and house music. Featuring renowned DJs from around the world, this event is a melting pot of street style, urban culture, and contemporary music. Our visual identity aims to capture the essence of Taste by merging the vibrant energy of the underground music scene with a bold, dynamic aesthetic that resonates with the event’s diverse audience. The identity draws inspiration from the raw, authentic vibe of street culture and the pulsating rhythms of the underground music scene.

The logo incorporates a bold, sleek, and urban-inspired typography conveying an “in your face” attitude. It was designed to be instantly recognizable and memorable, using CoFo Kak’s wide Black weight. The color palette was designed to be adaptable, ensuring the visual identity remains fresh and versatile throughout the clubbing season. Studio Size aimed to create a visual language that reflects the unity and energy of people who are passionate about hip hop and its related genres.

Typography is set in the bold Anton, ensuring clear communication and adding dynamism to all visual elements. The identity encapsulates the spirit of creativity and freedom found in urban environments.

Indigo Park logo

Indigo Park is a 2024 indie horror mascot game developed and published by YouTuber Mason Myers, better known as UniqueGeese.

The first chapter of the game features the protagonist Ed, who entered Indigo Park and encountered Rambley the Raccoon, an AI mascot.

The Indigo Park logo consists of two parts: while “PARK“ is in Gill Sans, the “Indigo” part is either based on an unidentified typeface, or entirely custom made. Empirical Italic is a little similar. The older variant of the logo can be seen in the opening cutscene, where it’s using some version of Bradley – a font that’s also used by Disneyland. Fonts used in the user interface include DCC Sharp Distress Black, used only for the main menu title and Oswald. Subtitles are in Quicksand.

The Indigo Park menu

Rambley is confused as to why the door mysteriously locked.

A still of the opening cutscene featuring the older variant of the logo, mimicking Disneyland’s, using Bradley.

Fermented Film is a film production company with offices in Croatia and Slovenia and a presence in Austria and Italy:

Fermented Film offers premier below-the-line services for projects of all sizes. From high-end productions to music videos, documentaries, and stage builds, we excel in coordinating locations and managing set construction.

The main typeface used on the website is Deni Anggara’s Mona Sans in Narrow and normal widths. It’s supported by Rodrigo Fuenzalida’s Instrument Serif/Instrument Sans pair. The logo with the negative middle E is based on Anton by Vernon Adams.

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.

The branding for UNICEF and NEXTGen London’s Homemade campaign uses F37 Bobby as the headline typeface. Slightly distressed, the typeface's soft shapes and approachable forms pair well with mottled textures, simple illustrations and a vibrant palette. F37 Bobby is used alongside Jen Wagner’s Palmer Lake and Vernon Adams' Oxygen Mono.

Description of the project by the designer:

Homemade is a global fundraising initiative bringing people together around our shared love of food. With online cooking classes taught by some of the world’s most celebrated chefs, Homemade offers an opportunity to sharpen your culinary skills and join a virtual community from the comfort of your own home – all while supporting Unicef’s largest ever appeal, protecting children affected by coronavirus.
The identity consists of a chunky serif, zestful colours and simple iconography, bringing to life the energy and enjoyment found in home cooking. Full case study coming soon.

Jubilat is the main brand typeface of Djaara.

The Dja Dja Wurrung are an Aboriginal Australian people who who have lived on their traditional lands, Djandak (“Country”), in the Bendigo region of central Victoria over many thousands of years.

Previously known as Dja Dja Wurrung Clans Aboriginal Corporation (DDWCAC), the group partnered with Storyland to tell their stories through reimagined brand communications. This included a new name: Djaara means “People” in the Dja Dja Wurrung language. In a series of workshops, they developed an identity that maintained the essence of the old branding, with carefully reworked components such as the Bunjil (Wedge-Tailed Eagle) and the Campfire (Jupiter).

Storyland introduced Darden Studio’s Jubilat as the primary typeface for all communication. The low-contrast slab serif with high x-height serves in several of its twelve weights. It’s often set in lines or paragraphs of alternating colors, making good use of the extensive palette that draws inspiration from Djandak’s unique environment.

Jubilat can be seen in annual reports and other publications, on signs and maps, and on the various websites: in addition to Djaara’s main site, there are three specialized sites dedicated to the corporation’s areas of activity: Djandak (Land Management Services), Dumawul (Cultural Immersion Experiences), and Djakitj (Bush Foods). There, Jubilat is supported by the sans-serif Mulish, with Cheddar Gothic Rough used for the menu. The wordmark is custom lettering, with Sofia used for the slogan “Balaki Wuka” (“Giving to community”).

Brand Style Guide

Website detail

Website detail

Page from an annual report

Map with main labels in Jubilat

Page from an annual report

The nine Dja Dja Wurrung Community Goals

Cover of the Djaara Cultural Competency Program by Dumawul

Detail from the Djandak website

Menu on the Djakitj website

Feestcafé de Gezelligheid is a pub situated in the centre of Nijmegen, the Netherlands. The design studio rmic has crafted a visual identity, highlighting JAF Zalamander as the primary typeface, complemented by Oswald and Niveau Grotesk for other text elements. The slogan on the homepage (“gezelligheid kent geen tijd”) additionally uses Dancing Script.

Doroni Aerospace, established 2016, aims to produce one-person aircraft vehicles. Their loho is based on TA Modern Times. On their website, text is rendered in Poppins and Michroma.