Frizbee by Typeverything is used across the branding of Bahrain-based brunch and breakfast spot Popina. Their visual identity was designed in 2024 by Zeal Studio, combining approachable typography with a playful, fresh and contemporary look and feel. The restaurant closed doors in autumn 2025. Frizbee is complemented by Cabinet Grotesk and a yet unidentified typeface used for Arabic.

60 Years of Experience, 30 Years of Youth – School of Computer Science MFF UK is a commemorative print in celebration of the 30th anniversary of the founding of the School of Computer Science in the Faculty of Mathematics and Physics of Charles University, Prague, Czech Republic.

The book’s chapters cover the history and the current form of the school. The book can be read from both sides – one side in Czech, the other (after turning the book over) in English.

MiMAKi is a premium food brand that reimagines umeboshi, the traditional Japanese preserved plum, through a contemporary lens. The brand carefully sources plums from a region in Japan celebrated for their exceptional quality, selecting each with care and processing them with meticulous attention. Once regarded primarily as a traditional food for older generations, umeboshi is now thoughtfully reinterpreted by MiMAKi to captivate younger audiences and health-conscious consumers around the world.

What emerged from market research was a clear trend: many umeboshi products rely heavily on traditional “Japanese” visuals, such as brush calligraphy, ink paintings, and classical decorative motifs. While these visuals honor tradition, they can also be perceived by younger or international consumers as old-fashioned or culturally distant. At MiMAKi, the brand deliberately avoids these conventional visual cues, instead embracing abstract and graphic expressions to give the packaging a sense of freshness and approachability.

The visual identity, including the logo, mark, and labels, are designed in harmony with the packaging. Starting from the round shape that symbolizes the umeboshi, abstract elements were created for each of the three flavors, all with variations in color and form. The labels, applied directly to the jars, serve as the product’s “face,” making the product approachable and accessible. By balancing visual distinction with functionality, this design creates a new approach to traditional food packaging.

Since its launch, the brand has steadily gained support from younger audiences through social media, and in recent years, it has also captured the attention of health-conscious consumers abroad. Its visual charm, regarded as cute and modern, has been widely praised, helping MiMAKi build momentum that now extends to major international cities, such as Los Angeles and New York.

MiMAKi is a project that demonstrates the power of design to carry traditional foods forward to the next generation, while bridging time and culture. By combining cultural heritage with innovation and a global perspective, this initiative aims to serve as a model for local design reaching from Asia to the world.

The main logo is a customized version of Akkurat, with the Japanese copy in S Mincho Soft.

Golden PMS and embossed typeface for the Visages exhibition, a group show by Almine Rech.

Visages as shown in Gstaad

Transforming words into actions

The State of Illinois Department of Human Rights (IDHR) and the Commission on Discrimination and Hate Crimes (CDHC) launched a statewide service to support people targeted by hate. It had a phone number. What it lacked was the public’s awareness and trust. My team at Span was brought in to change that.

Working alongside UIC’s Institute for Healthcare Delivery Design (IHDD), we renamed, rebranded, and reintroduced the service to the public. The result was Help Stop Hate – a trauma-informed, multilingual, statewide service and campaign that reframed reporting not as retaliation, but as care in action.

Initially piloted as Illinois v. Hate, the helpline's name implied conflict and positioned the state as the protagonist. Moving away from tension to solidarity, the renamed service Help Stop Hate is a three-word promise. Help centers care. Stop signals urgency. Hate names the problem—without euphemism.

Three cuts of Grilli Type’s GT Planar were used, allowing ‘Help’ to lean forward into action, ‘Stop’ to lean back in urgency, and ‘Hate’ to sit still—unignorable. The visual language draws on civic forms: rigid diagonals, grounded color, modular composition. Designed to function everywhere from Chicago CTA ads to community newspapers and rural county billboards.

To reach survivors—not just residents—we kept the value proposition simple and kind. “Report hate, get support” is about access and letting people know: they are not alone.
This is where the secondary type Grenette come in with a quiet strength. Its rounded serifs and open forms contrast the sharpness of GT Planar, with enough tension to hold your attention. It reads almost tender, full of warmth and charm with a subtle nuance that feels hand-touched.

The Not in Our State campaign launched in the seven most spoken languages in Illinois: English, Spanish, Arabic, Polish, Hindi, Tagalog, and Mandarin. To complement the primary sans and serif styles of the identity, each language pairing used two typefaces. For Arabic, we selected Noto Sans Arabic and Noto Naskh Arabic. Hindi used Noto Sans Devanagari alongside Noto Serif Devanagari. Mandarin was set in Noto Sans SC (see Source Han Sans) and Noto Serif SC (see Source Han Serif).

Graphic campaign designed by ESIETE for the conference and debate cycle La Imagen Construida, whose first edition took place at La Virreina Centre de la Imatge. The event explores the intersection of architecture, design, and visual communication through dialogues between photographers and architects.

Central to ESIETE’s concept is a generative grid system that produces dynamic compositions. Words and images are built and deconstructed in real-time, reinforcing notions of spatiality and structure — key architectural and design concepts – to create an identity aligned with the event's spirit.

The campaign encompasses posters, projections, and digital content for social media, developed by ESIETE for a professional and specialized audience.

The German company FORTIS Real Estate Investment AG uses TA Modern Times and LL Akkurat on its website. The former is featured in the logo, headlines, and selected text elements.

Its clean, modern, and trustworthy appearance perfectly reflects FORTIS’s professional and human-centered approach. TA Modern Times once again proves to be an ideal solution for corporate visual identity.

From word-famous paintings to contemporary pieces, Je veux être riche et célèbre, je serai artiste aims at showing children and teenagers the various aspects of what it is to “be an artist”. Tired of the overtold story of the pennyless genius, Dominique de Font-Réaulx (mediation director at the Louvre) tries to paint a different picture with detailed explanations about artist’s works, historical context, and vision.

The book features titles in Benoît Bodhuin’s Pimpit (bb-bureau) and texts in Jonny Pinhorn’s Karla, with italics from Loretta (Nova Type Foundry).

A presentation label accompanies each artwork, giving useful details such as artists’ names, title and techniques but also unexpected ones like the moment the work was created in the artist’s life, or the artwork size compared to an average human being. Those labels are set in Clash Grotesk (Indian Type Foundry) and Roc Grotesk (Kostic).

Published in 2024 by Éditions courtes et longues.

The Henryk Wieniawski Musical Society (Towarzystwo Muzyczne im. H. Wieniawskiego) of Poznań brings together scholars, culture animators, artists, promoters of musical life and music lovers. It continues the tradition of the oldest secular musical association in Poznań, which was established on 2 May 1885. For a number of years, the Society has been one of the foremost organizers of musical life in Poznań. It has inspired several events of international calibre – including the famous International Henryk Wieniawski Violin Competition – hosted numerous concerts, meetings and workshops run by outstanding artists, chamber ensembles and symphonic orchestras. Wieniawski Society fosters the memory and disseminates knowledge of its patron. It collects documents and memorabilia, as well as publishes works on his life and work. The Society also provides young musicians – violin players in particular – with different forms of promotion.

The new graphic identity was inspired by the musical notation. The elliptical shape derives directly from this of the note, while the horizontal lines constitute a reference to the staff. The new logo focuses on metaphorical representation of space. It is a space both for music itself, and for the individually experienced emotions associated with it. Depth lies in what is profoundly subjective and directly experienced by the listener. The syllable-separated name of the association creates a rhythmic composition. Owing to its responsive and dynamic structure, adjustment of spacing between the two key elements of the sign symbolically creates space for multidimensionality of music.

The design was made by Matylda Awdziejczyk, Anna Małecka, and Anna Holik (art direction), with motion and strategy by Adam Chyliński. The project was managed by Daniel Naborowski.

Edition of the war diaries of the Jewish doctor Nathan Wolf covering the years 1914 to 1917, selected and annotated by Anne Overlack with a foreword by Aleida Assmann. When typesetting the book, the special features of the original texts were taken into account. Indents and markings were adopted, and postcards and memorabilia were reproduced.

A booklet that takes the reader on a journey into the past and collects the traces of the Jewish citizens deported from Wangen in 1940. This book Wangen am See – September und Oktober 1940 was produced for the Freundeskreis Jakob Picard by the author Anne Overlack.

Journ is a New York-based skincare brand offering specialized products dedicated to dark circles, spots, hyperpigmentation, and redness.

For its branding, Journ uses Cosi Times by Nikolas Type for its logo, accompanied by Canela from Commercial Type. The sans used for copy on the label is LL Akkurat.

Bella triste is a German literary magazine that showcases the work of emerging and established authors. The 65th issue explores the fusion of contemporary literature and minimalist aesthetics and indulges in a fairy-tale theme.

Designed by Handina Murandu and Vivien Sorrentino, the magazine uses Romie Regular and Italic (designed by Margot Lévêque). The title combines the sans serif ABC Monument Grotesk (designed by Larissa Kasper and Rosario Florio) with Dan Rhatigan’s Astloch. In the latter, the S was modified to be more symmetrical.

The issue number on the cover is based on UnifrakturMaguntia, with customized numerals. Inside the magazine, there’s also Spencerio (by Jérémie Hornus and Julie Soudanne), JAF Herb (by Tim Ahrens), as well as more of the other typefaces.

Back cover with the names of the contributing authors

Detail with bevelled golden caps from Romie

Editorial with a headline in Romie and a stray D from UnifrakturMaguntia. The initial is based on Astloch.

All-caps Romie with byline in Spencerio

Running titles (here “Libido Lucid”) are set in Monument Grotesk.

UnifrakturMaguntia and all-caps Spencerio, paired with Romie featuring a nested CI pair.

Outlined JAF Herb overlaps with negatively tracked Spencerio.

A title in Spencerio is combined with Romie and Astloch for the author’s name.

More Romie with interspersed caps from Astloch

Astloch, Romie, JAF Herb, and Monument Grotesk were also used for the merch items, a tote bag and a cap.

A poster with an enlarged version of the magazine cover, in front of the Bella triste office in Hildesheim

Le Tanneur's FW23 campaign and catalogue, shot by French photography duo Bureau 2A, and art directed by REQUIN. The brand and its catalogue use only two typefaces: Baskerville and LL Akkurat by Laurenz Brunner.

Byraa Bodø has designed the exhibition identity for Mot Nord / Fra Nord for art museum Bodøgaard.

Bodø used the book weight of Store Norske Maleri from Skriftkompani. It’s paired with LL Akkurat and, on the museum website, with Neue Helvetica.

The exhibition consists of two parts. Mot Nord (“Towards the North”) shows works by Peder Balke (1804–1887), the first Norwegian artist to depict the northern parts of the country. Fra Nord (“From the North”) provides a rare insight into the earliest known printed documentation from the High North, through Terje Øiesvold’s collection of books and prints on the pictorial history of the Cap of the North from 1550 to 1850.

Located at Skeiddalen 2 in Bodø, Norway, the show is open until September 22, 2024.

Exhibition poster

The exhibition catalog comes in newspaper format.

Animation for social media

In the exhibition

At Domaine La Bosque, Olivia and Maxime, passionate winemakers, bottle their craft wine spirits, Limoncello and Gin. Their bottles feature elegant labels, primarily typographic, centered around the Audoux typeface created by and available from Studio Asensò.

Audoux is a vernacular geometric typeface inspired by the recurrent character designs found on the famous facades of cooperative wineries in Languedoc-Roussillon. It is a true revival of the drawings by the architect Roger Audoux, who designed nearly a dozen wineries that are as original as they are rational in their conception, much like the typefacs used on them.

Paperstack is an Australian innovative digital marketing agency that is transforming the way brands and customers interact. With the help of the latest digital marketing tools and techniques, Paperstack is helping brands to create meaningful connections with their customers, enabling them to thrive in an increasingly competitive marketplace.

Inspired by some of the key elements of an effective digital marketing strategy, the newly crafted symbol for Paperstack was created to embody the concept of catalyzing business growth. The sophisticated wordmark has been meticulously designed using the contemporary LL Akkurat typeface, which is also the primary font throughout the identity system. Special attention has been given to the typography style ensuring that its visual presentation resonates harmoniously with the logo and business perspective.

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 3 focuses on lifestyle proposing articles about the #MeToo movement, aesthetic surgery, plants surviving in big cities, and how you can't forget to wear a hat to complete your outfit.

Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The “Please, make me beautiful” article combines Suisse Int’l and Spencerio by Indian Type Foundry.

This issue counts 100 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

Poster announcing concerts by Brad Mehldau and Bobby McFerrin at Théâtre du Châtelet, Paris, 2007. The poster, part of a series, measures 100×150 cm and was screen-printed at Sérilor, Lille. For the design, Philippe Apeloig made use of a early version of his typeface A. Octobre.

Compass Studio is a digital marketing agency based in Barangaroo, Australia.
TMRRW Studio was in charge of creating their new visual identity.

They used Flexible as main typeface for their communication, in addition to Reckless Neue for the subheadings and Cabinet Grotesk for the body copy.

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