Bar Boteco da Manu, created by Manuelle Ferraz of A Baianeira, occupies a renovated corner house in Barra Funda. The visual identity draws on elements commonly associated with the boteco, including cold beer, glassware, snacks, and street-facing social spaces.

A red rose serves as the central graphic element, appearing across applications and connecting references from popular culture, nightlife, and everyday urban life. The color palette revolves around different shades of red.

The VTC Bayard typeface, by Vocal Type, relates the identity to a vernacular visual vocabulary, close to signs, street banners, and other graphic codes of the urban space. GT Alpina, by Reto Moser (published by Grilli Type), appears more selectively throughout the communication, establishing a dialogue between vernacular and editorial references.

Boteco da Manu does not conceal the kitchen, the refrigerator, or the beverage crates. The identity reflects this openness, drawing on references that move between the everyday and the theatrical. A place of exchange and hospitality, where drama and conviviality share the same table.

Happy Families, Miserable World is a self-published card game by Doomates Games that reappropriates the classic Happy Families as a vehicle for climate activism. Players compete to become the “Biggest Polluter on Earth” by collecting complete family suits (Big Oil, Big Tech, Big Bank, Big Fashion, and Big Agriculture), naming and shaming the corporations and individuals most responsible for the climate crisis. Each card highlights a key player, the propaganda tactics they employ (from greenwashing to gaslighting), and a concise fact about their climate harm.

The game is rooted in a deliberate shift of blame: away from consumer guilt, toward systemic accountability. Humor is the weapon of choice. The tone is satirical, sharp, and culturally literate, designed to break through climate fatigue by making polluters’ tactics visible and laughable.

The logo and card titles are in VTC Carrie, chosen for its political DNA. Family member names (The King, The Knight, The Witch, The Heir, The Fool) are set in the industrial-looking script Millie.

Doomates is an hybrid project born from a collaboration between Julie Mallat, founder of The Climate Propagandist, an independent platform that debunks oil propaganda and greenwashing, and Yasmin Knoller-Yrondi, art director and graphic designer.

Abdias: Intérprete do Brasil, compiled by Túlio Custódio, was published by Editora Todavia. The text deals with “Brasilian race and culture from the 1940s to 1990s”. For the book design, we used VTC Bayard by Vocal together with Elza Narrow by Blackletra.

According to Vocal Type, Bayard is a distinctive sans-serif typeface inspired by the signage produced for the March on Washington for Jobs and Freedom in 1963, and named after Bayard Rustin, a close advisor to Martin Luther King Jr.

We chose to incorporate Bayard into this project dedicated to Abdias Nascimento because advances in racial equality in Brazil are due, to a significant extent, to his ideas and his struggle. According to Olabiyi Yai, Permanent Delegate of Benin to UNESCO, “Abdias harmoniously combines a bit of Malcolm X, Martin Luther King Jr., and Nelson Mandela, in the specific context of Brazil.”

Packaging design for Xochi Prebiotic Agave Soda made with 100% natural ingredients, respecting the traditions surrounding aguamiel.

The concept aims to capture the essence of Mexican cultural elements and create a brand identity that pays homage to its vibrant heritage from a contemporary point of view. We drew inspiration from the streets, using a wide range of references such as local signage, festive traditional costumes, decorations, flowers, and everyday graphic expressions.

We wanted the cans to feel like a celebration of Mexican culture from a pop perspective, where colors are vibrant and typography is bold, oversized, and playful.

Wedge brings new life to a Canadian classic with its rebrand for Diana’s Seafood, a family-run business founded in 1979 and long trusted by Canada’s top chefs. For over 45 years, Diana’s has been known for its high-quality seafood. The rebrand translates this legacy for a new audience – from Michelin-starred kitchens to home tables – by positioning Diana’s as The Mother of Seafood.

Designed by the Montreal-based studio, the new identity combines simplicity, craftsmanship, and warmth. The monogram, formed by two fish creating a subtle D and S, serves as a mark of quality and authenticity. The logotype and titles are set in Martin by Vocal Type, customized with “fins” on the terminals of the S. The identity also features AL Milano by Alex Lescieux, used for text across six widths – from Compressed to Expanded – within a flexible typographic system that brings rhythm and character to the brand. Its use recalls the utilitarian lettering once painted on wooden fisherman crates, grounding the identity in a sense of craft and heritage.

Illustrations by Bill Rebholz add a warm and human touch that complements the typographic system.

When Rafiq Hardi Kermanj, founder of the Communist Party of Kurdistan, is forced to flee Tehran for London with his family, they suffer the shame of penury and migration layered on Kurdish statelessness. Agri Ismail's electrifying debut novel follows the lives of Rafiq’s three children and their increasingly desperate relationship to money.

The Swedish edition of Agri Ismaïl’s novel was published by Albert Bonniers Förlag in 2024.

VendrediXXL is one of the biggest recurring queer parties in France. It features drag, cabaret and music perfomances as well as several dancefloors, from pop to electro. Originally from Paris there are also events in Bordeaux now. VendrediXXL wanted to update their visual identity to look more modern and fun, but also to create a cohesive style that is quickly recognisable and can be used for many different purposes, like the announcement of an event, an artist, or other news.

We customised Vocal Type’s Tatsuro font to give the logo a peculiar touch and added the big XXL letters drawn by hand. The X shape creates a frame for whatever images are placed in the background. And the Tatsuro font is use in several positions to announce the dates and places of events. The other font we used is MADE Tommy Soft that the hosts VendrediX are using in their logo.

“¿Dónde está mi raza?” (in English: “Where is my race/people?”) is a poster-shaped essay by Puerto Rican writer and activist Yolanda Arroyo Pizarro, known for amplifying Afro-Caribbean, feminist, and queer experiences. Published by Rey Naranjo Editores (Colombia), designed by Raúl Zea (Art Director of Rey Naranjo Editores) and printed by Uno Estudio, the piece is both a visual and textual denunciation of racism and social exclusion.

The text reflects on the construction of racial and personal identity shaped by marginalization and the systemic erasure of Black identity. Arroyo transforms her lived experience into an act of political resistance and self-affirmation.

The cover features VTC Bayard, a typeface inspired by protest signs from the 1963 March on Washington for Jobs and Freedom, thus carrying a graphic legacy of civil rights struggles. In this work, word and image merge into a powerful call for Black visibility and dignity. The essay itself is set in Suisse Works.

Mockup for the die-cut effect on The Black Reparations Project book jacket

Working on a project like The Black Reparations Project is always a difficult task of marrying concept with content. The editors were keen to use Theodor Kaufmann’s 1867 painting On To Liberty, which depicts a group of recently enslaved black Americans navigating an uncertain path to freedom. The publisher wanted something typographic. I opted for a combination of the two in the extreme, with a minimal jacket design that features only an ellipse (indicating the notion of “we’re still waiting [for reparations]”), but instead of the first period is a die cut that reveals one boy's face as he looks backwards rather than forwards—again, an illusion to what the book’s content is doing as well. The printed case underneath features On to Liberty in its entirety.

The jacket won an Association of University Presses Book, Jacket, and Journal Show award in 2024.

Printed case for The Black Reparations Project

Cover design for The Black Reparations Project

Jacket mechanical for The Black Reparations Project

Season booklet

New identity, posters and booklet (pdf) for the 24–25 season of Le Préau, a theater in Vire-Normandie, France. Photographs by Éléonore Lubna.

Season booklet

Posters

Season booklet

Season booklet

Poster

Gaucherie is a shop catering to left-handed people. From the website (translated from the French):

Starting in September, you’ll find over 300 left-handed products on gaucherie.fr: DIY, cooking, sewing, back-to-school, unusual items… Discover our offbeat brand and find exclusive products that make everyday life easier for left-handers!

The identity was designed by Super Marché noir, using Bourrasque by Bureau Brut – prominently featuring its left-leaning 45 Est style. Bourrasque is supported by Vocal Type’s VTC Bayard.

L’Art du Quotidien is a hybrid living space, fully integrated into its neighborhood in Paris, centered around a seasonal bistro and a marketplace. The offerings are exclusively products from small local producers committed to traditional and organic farming methods.

We created a tailor-made visual identity that aligns with L’Art du Quotidien: highlight the product, transparency, craftsmanship, small producers, conviviality, and quality, all while respecting an ecological and responsible approach. The goal for them was to become an institution in a vibrant Parisian neighborhood, showcasing exceptional expertise with an excellent quality-to-price ratio.

With a space thoughtfully designed in every detail, the visual identity aimed to be modern without being trendy. The concept of becoming an institution was conveyed through classic and timeless elements such as the stamp. The use of illustrations reinforced the idea of closeness, simplicity, and transparency with the customer.

Sign painting by Ateliers Victor Bert, illustration by Sébastien Gay, photography by French Bre(a)d Studio.

Published by Laurence King (UK) and edited by Gemma Padley, The Women Who Changed Photography tells the stories of 50 remarkable women photographers from all over the world and across history whose diligent efforts have had a profound effect on photography. Offering insights into their lives and techniques, the book invites readers to celebrate these trailblazers in their own photography.

The display typeface Tatsuro, designed by Tré Seals and released by Vocal Type, was inspired by a photograph taken by Dorothea Lange, one of America's most prolific female photographers, in 1941. It’s paired with Klim Type Foundry’s Söhne for text.

Angled A set in Alterego Big Trap (designed by Pieter van Rosmalen and released by Bold Monday) at 1,700 pt on an Autumn Sunset background

FIBER FONTS A–Z is a personal project that focuses on intentionality, materiality, and typography. It was unveiled during the popular Instagram challenge, 36 Days of Type (2024).

The project illustrates the alphabet through 26 handmade punch needle rugs – each adhering to the rule that its chosen adjective, typeface, and yarn color all start with the letter depicted on it. To highlight the gender imbalance within typography, I challenged myself to select typefaces purposefully and to seek out those designed by female type designers. In total, 16 female designers and 16 male designers created the 26 typefaces featured in this alphabet.

To help amplify female voices in type, check out my research (Google Docs).
View the rest of the alphabet!

Backward B set in Binia (designed and released by Agnieszka Ewa Olszewska) at 1,690 pt on a Brights background

Cut pile C set in Cottonwood (designed by Barbara Lind, Joy Redick, and Kim Buker Chansler and released by Adobe) at 1,475 pt on a Citron background

Debossed D set in Daze Display (designed and released by Gemma Mahoney) at 950 pt on a Dark Ivory background

Embossed E set in VTC Eva Maria (designed by Tré Seals and released by Vocal Type) at 680 pt on an English Rose background

F set in GlyphWorld Forest (designed and released by Leah Maldonado) at 1,375 pt on a Fiesta background with Fringe

G set in Giana (designed by and available from Fanny Hamelin) at 845 pt on a Gradient Gravity background

Loughborough Festival Opera is situated in the heart of the Cotswolds. For two months each year it presents a season of high-quality opera in a pink Palladian-style opera house that used to be a chicken shed. Although the festival has been running for over thirty years and attracts an audience from all corners of the world it is relatively unknown in the local Gloucestershire area.

Ellipsis Studio was tasked with creating an awareness campaign consisting of a poster campaign to run in the Cheltenham and Oxford area as well as a radio campaign to run on local commercial radio.

The materials produced for the campaign reflect the personality of the opera. The idea of a grand opera house built in a small Cotswold village combines the best of English eccentricity and world class opera and led to a surreal execution where we literally fused the two contrasting ideas together, united by the motto “Small Theatre. Big Drama”. We have used the same imagery and typefaces across all mediums of the campaign to illustrate and bring to life the varying messages we needed to convey.

The typefaces used within the campaign are Martin from Vocal Type and Adobe Jenson. Martin paired with Jenson work in harmony as they both contribute to the collage effect. Martin is a typeface inspired by placards protest placards. Its very organic, handmade feel is similar to the images used. We chose to use a typeface that was developed from a text face often featured in printed materials, reminding the viewer of the cutout imagery in newspapers. The campaign continues to reiterate the idea of news through the use of drop caps throughout the designs to complement the compositions.

Semibold, the design practice of Scott Bolton, crafted a charming visual identity for ¡ROMA!.

Named after the beating heart of Mexico City’s food scene, Roma specialises in Mexican-inspired street food, with some ‘less authentic’ takes on classics – like their famous beef birria spring rolls.

Roma’s logotype and visual language were positioned around the inverted exclamation marks used specifically in the Spanish language — personifying the wordmark as a street vendor shouting their offering. This system extends to posters, social media, and a small brand motif (that features at the centre of their greaseproof paper) — which can be seen as either a folded taco on wheels or a happy face depending on which way you look at it.

Farmacia by Nguyen Gobber is used for Roma’s wordmark and Carrie by Vocal Type for all further typography.

Halyard Display by Darden Studio stars alongside several typefaces by Vocal Type in the design of Ben’s Best Blnz.

Ben’s Best Blnz, or B3, is a cannabis brand initiated by Ben Cohen, co-founder of Ben & Jerry’s. Its mission is “to sell Great Pot and use the power of our business to Right the Wrongs of the War on Drugs.” The independent non-profit organization advocates for the decarceration of those convicted of nonviolent cannabis crimes and the descheduling of marijuana as a Schedule 1 substance.

For the branding, Eddie Opara and his team at Pentagram relied on eclectic and colorful typography, exclusively using typefaces by Black designers. Halyard Display by Joshua Darden is the text typeface on the B3 website (development by Jacob Macdonald), and is also used in the packaging designs as well as for merchandise such as T-shirts. Halyard is paired with a range of more expressive fonts all designed by Tré Seals from Vocal Type, namely Eva Peron, Eva Maria, Martin, Bayard, and Ruben.

Read and see more in Pentagram’s case study and on B3’s page about their art and design.

Homepage with mission statement, main menu, quotes, contact form, and infographics

Social Mission page with info on background, advocacy, investment, vendors and partners

Mission statement on the homepage. Interestingly, the lowercase glyphs from Halyard Display Regular are here combined with caps from the slightly heavier Medium weight.

Labels for the Blended SloSmokes that are available in various effects: Focus, Creative, Relax, Stimulate, Cloud 9, Kick Back, Happy Go Lucky, and Dream Sweet Dreams

Website detail featuring Eva Maria for the ticker text, Eva Peron for “B3”, and Halyard for text

Website details including an interactive shop finder

Get There Slower Full Color T-Shirt featuring Halyard Display with alternating glyph colors

Get There Slower Wavy T-Shirt featuring Halyard Display set on a wavy baseline

Full Spectrum Vape Pen packaging designs

Blended SmoSmokes packaging

Assorted packaging designs

From Bullock Museum’s website:

The Harmon and Harriet Kelley Collection of African American Art: Works on Paper highlights the importance of 19th, 20th, and 21st century Black artists, including Ron Adams, Benny Andrews, Romare Bearden, Aaron Douglas, Jacob Lawrence, Charles White, Elizabeth Catlett, John Biggers, Henry Ossawa Tanner, Eldizer Cortor, Margaret Burroughs.

Explore the history of Black art in America through the themes, styles, and subjects interpreted by the artists, and influenced by their personal experiences, world-view, and innovative techniques.

The exhibition was organized by Landau Traveling Exhibitions, Los Angeles.

Exhibition poster

Stand in Solidarity! is an exhibition about Black resistance and global anti-colonialism in Berlin in the period of the Weimar Republic from 1919 to 1933. Organized by the project Dekoloniale Memory Culture in the City in cooperation with the Museum Charlottenburg-Wilmersdorf, it will be on display in the Villa Oppenheim until March 17, 2024.

From Dekoloniale’s website:

The exhibition understands itself as a contribution to the decolonization of the city’s history and focuses on actors from the former German colonies in Africa and on the history of the Black movement.

In the political forcefield of the Weimar Republic, between the end of monarchy and colonial rule, the ascent of communist internationalism and the rise of the National Socialists, Berlin became a postcolonial metropolis in a largely colonial world: migrants from Germany’s withdrawn colonies in Africa already lived here. The city also became a center of attraction for numerous actors from North African, Asian and Arabic regions.
Coming from different colonial contexts, they became politically active, formed anti-colonial alliances, demanded independence for their countries of origin and resisted racism. Although the motives and circumstances of their stays differed, moments of solidarity emerge that are made visible by the exhibition. The Communist International (Comintern) played a central role, which provided a common political language and financial resources.

For the design, Visual Intelligence worked with two typefaces by Black type designers: the title on the four posters and the headlines inside the exhibition use VTC Martin by Tré Seals (Vocal Type), in all caps. Text is added in Josh Darden’s Halyard (Darden Studio), in styles from its Display and Micro sizes. To differentiate the languages visually, German text is forward-slanted while English text is backslanted.

Inside the exhibition

Exhibition poster (detail)

Exhibition poster (detail)

Exhibition poster (detail)

“Equality”

Series of three screen printed posters, shown as part of the Women*Now exhibition at QV Women’s Centre, Melbourne, Australia, late 2022 to early 2023.

Printed on Arches Rives cold pressed 100% cotton stock, 250gsm, 76cm × 57cm. Custom ink colours.

All three posters feature text set in the typeface VTC Bayard, designed by Tré Seals of Vocal Type.

“Not Now, Not Ever”

“Women’s Issues”