Biergarten opened in 2016 as an inclusive neighbourhood space inspired by the communal spirit of traditional German biergartens. Over time, its culture became vibrant and loyal, but the brand’s expression didn’t keep pace. Ahead of national expansion, the identity needed to better reflect its fun, familiar personality. We refreshed the brand around its core truth, Biergarten as the familiar go-to place for connection, expressed through the idea of “Always Familiar.”

The brand palette draws from Germany’s Oktoberfest, pairing warm creams and mustards with playful light blues, all grounded by a unifying navy. Beer illustrations use smudged acrylic strokes to evoke blurry community memories. Each beer character is shaped by real stories overheard at Biergarten’s outlets, with small details that make them distinct and true to their backstories.

The brand’s type family is a reflection Biergarten heritage, familiar conversations, and functional needs. Bungee leads as the primary display face, reminiscent of the woodcut letters that were seen in some of the early Biergartens. It allows for versatile usage with various styles to create unique and dimensional displays, both horizontally and vertically. It is paired with P22 Underground, a geometric humanist workhorse for clarity and function across menus, wayfinding, and body copy. Good Dog is used sparingly for handwritten, conversational moments that inject warmth and personality. Together, the three form a layered system that balances heritage, utility, and friendliness in a premium-yet-inviting voice.

Eat, Shrink & Be Merry! is a 2005 cookbook written by Janet & Greta Podleski, with cartoons sketched by Ted Martin. This cookbook is focused on weight-conscious recipes packed with tons of flavor.

Matrix Four Limited are credited for the cover design, with photography by Colin Erricson. Cosmos is the primary typeface used here, seen on part of the title (stretched), the synopsis, and credits. For the title, it’s paired with Hot Coffee, ITC American Typewriter, and an ampersand from Times New Roman. Also seen at the top is Helvetica Black, highlighting the other two books by the Podleski sisters.

This is a 2000 poster for a concert at Fitzgerald’s, Houston, starring The Skatalites.

The title typeface is Ray Larabie’s Stereofidelic, a bouncy, all caps sans decorated with arrows and dash lines for certain characters. The two paragraphs below the picture are in Ethan Paul Dunham’s Hot Coffee, with alternates for H and T. The third typeface is Impact. Jermaine Rogers’ signature at the right is set in Jeremy Dean’s Firehouse.

From Wikipedia:

Kevin Spencer is a Canadian adult animated comedy television series created by Greg Lawrence that aired on CTV and The Comedy Network from January 17, 1999 to November 4, 2005. It is based on the shorts of the same name that premiered on CTV in 1997–98. It also aired on Burly Bear Network and Spike TV in the United States. In April 2001, the original 1997–1998 shorts were remade and released on Mondo Media’s flash cartoon site in the United States.

The logo uses Ethan Paul Dunham’s unicase font Hot Coffee with condensed proportions.

Dimension 20: Never Stop Blowing Up is the 22nd season of the tabletop role-playing game show produced by and broadcast on Dropout TV. GM’d by Brennan Lee Mulligan, the story follows six employees of the failing Dave’s Video World video rental store on a chaotic journey when they get Jumanji-style sucked into the action movie Never Stop Blowing Up.

Never Stop Blowing Up uses Ultra for the first part of its title, with “Blowing Up” added in what looks like custom brush script lettering. Sneakers Script was selected for the opening credits, and Click Clack Regular for its character information, additionally using Cholla Unicase and Bookmania Black for the movie character information. This season uses Never Stop Blowing Up for its game system, a homebrew system heavily inspired by Hunter Entertainment’s Kids on Bikes.

Poster image for Dimension 20: Never Stop Blowing Up featuring GM Brennan Lee Mulligan (center) and cast (from left to right) Alex Song-Xia, Ally Beardsley, Rekha Shankar, Jacob Wysocki, Izzy Roland, and Ify Nwadiwe

Screenshot from opening credits sequence of episode 1. The text displays the player’s name “ALEX SONG-XIA” in white and the character’s name “LIV SKYLER” in red, both in Sneakers Script.

Screenshot from episode 1.

Pictured: Jennifer Drips and her character information displayed in Click Clack Regular, with die values for each of her stats displayed in Cholla Unicase, and information titles displayed in Bookmania Black. Character art drawn by Cait May.

Screenshot of episode 1.

Pictured: Liv Skyler’s character information in the form of a Dave’s Video World membership ID card, set in Click Clack. “Membership ID” is in an unidentified font (if it’s a font). Character art by Cait May.

NN Knit Grotesk is used together with Anonymous for the website of NKWO. The logo appears to based on Greyhound, with some modifications.

From the About page:

NKWO is an artisanal brand at the forefront of the sustainable fashion movement in Nigeria with the conservation of natural resources and the environment as the label's core values. Guided by THE PHILOSOPHY OF LESS, low impact limited edition and one-off pieces are created from post-consumer textile waste, locally sourced natural fibres and upcycled denim.

The brand is creating meaningful change on the continent by supporting socio-economic development through the NKWO TRANSFORM PROJECT, a social innovation initiative focused on upskilling vulnerable women and working closely with artisans and local makers to introduce more mindful ways of modern garment production.

Agusa is a Swedish psychedelic rock band, mostly instrumental, founded in 2013. The music has elements of folk, symphonic rock, progressive rock, and especially when played live the songs often deviate from the studio versions. After five studio albums, the band wrote the music to a movie titled Malmö Noir, directed by Augustin Sjöberg. The soundtrack (most likely with some extra recordings) was released in May 2024 on the album Noir.

The band name and album title use Ganache, with the latter shown in an outline variant. The line below is in Myriad or similar. The back cover also use Ganache for the texts “Side A” and “Side B”. Same goes for the LP labels (not shown here), see images on Discogs. The CD uses it for the plus sign (+) to denote the five CD bonus tracks that did not fit on the vinyl version. The typewriter font used for the track names (and on the vinyl release, also for credits) is John Doe.

[More info on Discogs]

Back cover of the compact disc

Back cover of the vinyl record

From Wikipedia:

Om Nom Stories (often called Om Nom) is a British-Russian web series produced by Zeptolab and Rocket Fox, featuring the character Om Nom from the video game series Cut the Rope. The series revolves around Om Nom’s life out of the game, and is based on 4 games in the series: the original, Cut the Rope: Time Travel, Cut the Rope 2, and Cut the Rope: Magic. The first season, as well as the first and last episodes of the second (Time Travel), combine live action and animation, while the rest are entirely animated. As of October 14, 2022, 221 episodes have been released over 22 seasons.

While the Om Nom Stories logo appears to be custom drawn, accompanying text labels are set in Good Dog New.

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 2’s lead article is a moving story about how devastating AIDS was to families and communities in the 1980s, while the lead photojournal takes a look back at the infamous 1978 mass murder-suicide in Jonestown.

The logo is based on Tiny by Velvetyne. 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 article “Every temple needs its sacrifices” additionally uses Armag by Blaze Type, and “How to raise your kids and their followers” adds Compagnon Light Italic by Velvetyne.

Beside the mentioned typography, in the Index spread we featured Boogy Brut by Bureau Brut, GoodDog New by Ethan Paul Dunham, Cooper Black by Oswald Bruce Cooper, Modula Ribbed by Zuzana Licko, and ITC American Typewriter by Joel Kaden.

This issue counts 104 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.

HumTree is a small batch fair trade brand with products sourced from Sundarbans, India. Out to prove that affordable does not have to mean low-quality, the brand has two aims: offering high-quality at accessible prices and giving back to the local forest workers by generating employment opportunities.

Studio Ping Pong worked with HumTree to create the brand name, brand identity, and packaging for their honey, helping to bring their story to life. HumTree works with indigenous communities of Sundarbans using forest-friendly practices. This sense of harmony and community was highlighted in the naming and branding. Hum, from the Hindi word for ‘us’ and the sound of bees, and Tree, reflecting its commitment to natural practices.

The visual design was made using linocut-style hand-drawn motifs and illustrations inspired by imagery from nature. Evoking the harmony of flora and fauna that the brand stood for and highlighting the handcrafted nature of its products.

With families and children as one of their identified customers, use cases were added to the packaging itself bringing out the unique benefits of each of the variants.

The logo was created using custom lettering, borrowing from vernacular alphabets (M) of the region. A modified Pally was used for titles and subtitles to stand out in shelves, while Basic Sans was used for body text. Good Dog New and Chantal was used within the packaging to complement the hand-drawn style illustrations.

The colour palette was kept to earthy greens and browns, evoking the forests where the products were made. The honey packaging relied on heavy use of deep brown-the colour of the honey, along with flavour based tones of magenta, green and gold.

Looking for Direction: Rethinking Theatre Directing Practices and Pedagogies in the 21st Century contains articles by 17 authors from all around the world. This book was published by University of the Arts Helsinki in collaboration with a network of North European directing programs – Alexandria Nova. It was designed by Vilmantas Žumbys.

The publication was set mostly using Suisse Works and Suisse Int’l by Ian Party. 18 other typefaces by various creators were used for details (complete list below).

Excerpt from the annotation:

The position of a director is a hot spot in theatre today. We need to confront the new questions of power and hierarchy in our work in a very concrete way, as well as the questions of representation and interpretation. How can we create shared meaning on stage when the metanarratives are losing their universality and the audiences interpret meaning more diversely than ever before?

Authors: Milda Al-Slamah, Mareike Nele Dobewall, Kristina Hagström-Ståhl, Runar Hodne, Pauliina Hulkko, Kevin Kuhlke, Saana Lavaste, Mika Leskinen, Egill Pálsson, Yana Ross, Riko Saatsi, Johannes Maria Schmit, Robert Schuster, Anja Suša, Una Þorleifsdóttir, Loreta Vaskova, Rodolfo García Vázquez

Editors: Ramunė Balevičiūtė, Saana Lavaste, Anja Suša, Una Þorleifsdóttir

The typefaces used in this book include (in alphabetical order): BadDog (by Ethan Dunham), Brevier (by Riccardo Olocco), Custard (by Rian Hughes), Dico (by Pieter van Rosmalen), Euclid Flex (by Emmanuel Rey), Filmotype Western (digital by Charles Gibbons), Flower Power (by Pat Scanlon), Hobeaux (by James Edmondson), LiebeLotte (by Ulrike Rausch), Lo-Res (by Zuzana Licko), Messer (by Inga Plönnigs), Nimbus Sans (by Eduard Hoffmann, Max Miedinger), Omnium (by Robby Woodward), Pauline (by Jeremy Dooley), Recherche (by Laura Worthington), Separat (by Gunmad), Stick (by Fontworks), Suisse Int'l (by Ian Party), Suisse Works (by Ian Party), Triplex Serif (by Zuzana Licko). Those that are shown in the images are listed under “Typefaces”.

The table of content pages use various typefaces for the author’s names. In page order: Messer (Una Þorleifsdóttir); Omnium (Milda Al-Slamah); Recherche (Riko Saatsi); Stick (Mika Leskinen); Nimbus Sans (Anja Suša); LiebeLotte (Rodolfo Garcia Vázquez); Dico Monospaced (Johannes Maria Schmit) and Bad Dog (Yana Ross).

Spread with a diagram; the author’s name uses Pauline (by Jeremy Dooley).

The name of author Rodolfo García Vázquez is set in LiebeLotte (by Ulrike Rausch).

The name of author Johannes Maria Schmit is set in Dico (by Pieter van Rosmalen).

The name of author Saana Lavaste is set in Flower Power (by Pat Scanlon).

The City Sightseeing logo, which is splashed across all their tour buses, is set in Holstein Bold, tightly tracked, with omitted wordspace (“CitySightseeing”) and a yellow stroke around the letters.

From Wikipedia:

City Sightseeing is an open-top, sightseeing tour bus operator. It provides tour bus services in more than 130 cities around the world. As City Sightseeing has grown and expanded, the company now also provides boat tours, sightseeing train tours, and guided walking tours.

The City Sightseeing name was first used in 1972 after Peter Newman used it for his City Coach Lines company, which ran tours of London four times a day.

In 1998, Ensignbus revived the name and developed the red livery in the Spanish city of Seville. There it helped an established sightseeing operator relaunch itself with double-deckers, using the experience and expertise developed with London Pride Sightseeing, through Ensignbus' vehicle business. With the sale of the London Pride Sightseeing, Peter Newman stated his intention to introduce a global brand of sightseeing buses. It also set up operations in Sydney, Australia, not as a franchise, but directly owned, during this year.

Holstein was designed by Ethan Paul Dunham and released by Fonthead Design in 1995.

The City Sightseeing website, as it looked in 2005. Holstein is additionally used for the headlines.

City Sightseeing logo from 2005

Horizontally stretched Holstein for the City Sightseeing Official Tour seal

A photo of the first sightseeing operations, which was launched in Sevilla Spain in 1998. Notice that the original name affixed to the bus was ‘Sevilla Tour’ – the ‘City Sightseeing’ name was launched later.

City Sightseeing Manchester, 2008

City Sightseeing Liverpool, 2009

City Sightseeing Windsor, 2010

City Sightseeing Belfast, 2011

City Sightseeing Milano, 2014

City Sightseeing Moscow, 2018

The Munich-based agency for visual communication Favoritbuero designed the cover of the latest novel by the German-Austrian author Daniel Kehlmann, published by Rowohlt. TYLL – the title of the book and given name of its main protagonist (Till Eulenspiegel) – is written out in large orange letters from ComicTalk over The Burial of the Sardine, a painting of Francisco de Goya. The name of the author is set in the far more sober Monotype Garamond, as it’s also the case for the back of the jacket and the cover. The interior (not shown) is set in Kepler MM Roman by Dörlemann Satz, Lemförde.