Noah’s Ocean – stylized as Noah*s Ocean – is a Swiss premium swimwear brand that views style and sustainability as inseparable. The designs are created in Zurich and produced in a small manufactory near Porto, meaning that the company has a deliberately short supply chain. The outer fabric is made from 100% recycled post-consumer PET making the material quick-drying, velvety soft, durable, and resource-efficient. The collection currently occupies a previously unoccupied niche, the father-and-son collection and is currently being developed for the whole family.

Behind Noah’s Ocean is Robert Fritze, founder of the Zurich-based design studio Kreativfritze. With over 16 years of leadership experience in agencies and consulting firms, he describes himself as someone who combines a business mindset, design thinking, and a hands-on spirit. At Noah’s Ocean, he has consistently put this approach into practice. He’s responsible for design, development, marketing, and the online store—in other words, almost everything. The brand is managed by his wife, Vanessa Fritze. Vanessa and Robert have dedicated the brand to their son, Noah. A project for the next generation.

For every product sold, Noah’s Ocean makes a donation to selected marine conservation programs that are dedicated to protecting sea turtles and marine ecosystems. The brand identity is encapsulated in the Love Turtle, which captures the essence of their love for the ocean. The brand shares its commitment with one of its closest typographic partners: the Pangea typeface by Fontwerk. Pangea’s designer, Christoph Koeberlin, always donates 25 percent of his royalties to support the conservation and reforestation of the rainforest. Both projects demonstrate that sustainability, in the context of design, need not merely be a marketing promise, but can in fact be structurally embedded.

To complement Pangea, Robert Fritze drew upon Jan Fromm’s Nice Collection, a contemporary serif family with four optical sizes that combines clarity, personality, and readability. Fritze: “The combination of Pangea and Nice—or as I call it, ‘Nice Pangea’—conveys both Noah’s Ocean’s premium positioning and its commitment to sustainability.”

‘Nice Pangea’ appears wherever Noah’s Ocean meets its customers. At the point of sale at Jelmoli in Zurich, in the Swiss retail chain Duett Boutiques, but also at partner beach resorts, in Zurich, Küsnacht, and Germany. Billboards, shopping bags, packaging, flyers, and wet bags for swimwear carry the brand’s visual identity into everyday life. A unifying element is the slogan “Reternal Love,” a play on “eternal love” where the prefix “Re” stands for Recycle, Reuse, Refurbish, and Repair.

Cover pages (detail) of the Switzerland and Norway travel guides by Lonely Planet, set in Pangea SemiBold

The story of the travel publisher Lonely Planet begins in the summer of 1972. The newly married Australian-British couple Maureen and Tony Wheeler had just completed a trip to Asia that lasted several weeks. Black in Melbourne, their circle of friends kept pestering them with questions about their trip, so they decided to write a book about it and publish it themselves. The success of Across Asia on the Cheap laid the foundation for what was to become Lonely Planet.

Today, the Australian publisher claims to be the world’s largest provider of independent travel and language guides. They publish 650 titles with a total print run of around 55 million copies. The company employs over 400 people in its offices in Melbourne, Oakland, London and Paris and has a staff of around 150 authors.

In 2022, Lonely Planet commissioned the New York creative studio Garrett Elizabeth Office with a comprehensive redesign of the brand. The aim was to modernize the travel guides and website and make them more attractive to both long-time users and a new generation of travelers.

Following the relaunch of the brand, the internal design team set out to find a new corporate typeface. They came across Fontwerk’s multilingual Pangea Collection via an internet search and were fascinated by the story of an “adventurous” font that goes on a world tour with extensive language development. Ultimately the decisive factor in the decision was Pangea’s sustainable licensing model: 25 percent of Christoph Koeberlin’s designer royalties go towards rainforest conservation and large-scale reforestation projects.

Shortly afterwards, Lonely Planet began the complete redesign of all printed materials. For this purpose, the publisher licensed Pangea and Pangea Text Regular, Italic, SemiBold and Bold. In order not to delay the new editions of the travel guides, city maps and maps, the design team even received some Pangea Condensed weights before their official publication. The serif used for body copy is Matthew Carter’s Miller. The Lonely Planet website was also refreshed and – until recently – was set in six Pangea styles.

The Lonely Planet travel guides are aimed at individual travelers who want to get off the beaten track.

Lonely Planet’s updated city plans and maps have been using Pangea and Pangea Condensed for years.

Lonely Planet’s international website has also been converted to the Pangea font family.

The folding map plays a central role at the City of Arts Festival in Đà Lạt, Vietnam: as a travel guide and souvenir.

With the project City of Arts, the Vietnamese city of Đà Lạt – also called the “City of Artists” – transforms its cultural heritage into a visual experience. The branding was developed by Behalf in Ho Chi Minh City, which is known for its conceptually strong, typography-driven design.

For the art festival’s signage system, the team, led by Creative Director Giang Nguyen, was looking for a typeface family that was both functional and sensitive. As Giang Nguyen remembers, Pangea Text was chosen very early on: “We wanted an aesthetic that was inspired by signage systems and their functionality: clear, minimalist, but not too technical. Pangea combines all these requirements with its friendly, humanistic tone.”

Typographically, the project was quite demanding, with multi-column layouts and lots of short text passages in small font sizes. A crucial factor was also the support for the Vietnamese language. Pangea offers full diacritical features that work in both tight line spacing and complex layouts.

The Landesmuseum Zürich is the most visited historical museum in Switzerland. Following the spectacular extension of the site with a brand new building in 2016, the five-day music festival, Unique Moments, has been held annually in the inner courtyard. This year, from June 2 to 6, visitors can look forward to a top-class line-up featuring Jan Delay, Parcels, Max Herre & Joy Denalane and Róisín Murphy.

After a break due to the pandemic, the visual identity of Unique Moments was radically overhauled. The design agency Die Gestalter took over the art direction for the redesign and modernized both the festival’s branding and website. New visual guidelines were also developed for the social media channels in order to promote the event in a contemporary and consistent way.

The two Fontwerk families Nice Headline and Pangea Text (in the weights Regular, Italic, Light, Light Italic as well as Regular and Medium) lay the foundation for the new identity. They not only give the printed materials and website (both on desktop and mobile) a modern typography with a strong character, but also ensure optimum readability.

The unmistakable appearance of Unique Moments combines aesthetic sophistication with economic added value. The new visual language strengthens the marketing of the exclusive hospitality packages. These offer guests an all-round carefree experience: from aperitifs and canapés to an exclusive buffet, all-inclusive drinks and separate entrance with a cloakroom service. The high-quality presentation appeals to a discerning target group and increases the value of the event, both for visitors and for Unique Moment’s partners and sponsors.

Klinikverbund Südwest (KVSW) is one of the largest municipal healthcare providers in southern Germany and unites six hospitals across different locations. In order to establish a clear, uniform identity, a comprehensive rebrand was carried out. The aim of the project was to promote a strong community and a sense of belonging for the approximately 6,000 employees who are responsible for the care of 550,000 people in the Böblingen and Calw districts.

The new brand strategy was developed in a workshop together with Sarah Laprell, Christina Scheib and Michelle Weber from Studio Oskud and brand strategist Nadja Hogl. This involved defining target groups, analyzing the existing brand personality and formulating a new mission and vision. The central message is: The hospital group sees itself not only as an association of its locations, but also as a community characterized by professional excellence and humanity.

A central aspect of the rebranding is the typography, in which the Pangea font family by Christoph Koeberlin (Fontwerk) plays an essential role. This clear, geometric yet softly formed font design reflects the modern values ​​of the clinic group and is used in both the logo and as the primary font. It is used in the orientation system of the new administration building as well as all forms of communication.

Pangea is complemented by the serif font Torrent by type designer Manushi Parikh (Indian Type Foundry). The secondary font creates a down-to-earth and elegant effect thanks to its differences in line thickness and forms a harmonious contrast to Pangea.

Pangea also forms the basis for the key motif, which visually emphasizes KVSW’s local identity by integrating the initials K, V, S and W. The multicolored presentation and flexible design scope of the key image reflect the versatility of the association and ensures adaptation to different media formats.

A new color palette was also developed and offers a broad spectrum that allows for flexible and easy application. It characterizes KVSW’s lively image and ensures consistency and accessibility across all media. The furniture in the new buildings was also changed in line with the new scheme. The new brand colors are dark blue, light blue, beige and red and the colors of the figurative motif are orange, yellow and green.

The final result is a consistent brand identity that positions KVSW as a uniform and trustworthy healthcare association.

Entrance area in the Sindelfingen Clinic

Concept Development Report 2023

Concept Development Report 2023

Notebooks

Web design

Orientation system in the new “Hochpunkt” central administration building in Sindelfingen

Concept Development Report 2023

Lanyards

View of several assets

The conversion of the Bischöfliches Priesterseminar (episcopal seminary) in the center of Trier was one of the highlights of the “Day of Architecture” organized by the Architektenkammer Rheinland-Pfalz (Architectural Association of Rhineland-Palatinate) at the end of June 2024.

Following the relocation of the theological training for priesthood candidates to Frankfurt am Main in 2016, the interior of Haus Clementinum was completely redesigned. Parts of the building were converted for church training events, while other areas were designed for external tenants. A barrier-free conference center with reception, 23 guest rooms, 9 conference rooms, dining room, bistro and kitchen was created in the remaining space.

Through the careful handling of the existing building and restrained and considered renovation it was possible to preserve the charm of the old architecture while paving the way for the new use. Visual accents are set by the color red, which both reflects the identity of the seminary and creates decorative points of tension in the individual parts of the building. Of particular note is the signage system, which was developed by the young designer Jana Heinz (Die Creativistin) in collaboration with architectural firm Hardt und Partner.

Her task was to design an orientation system that blended seamlessly into the architecture whilst creating a link to the history of the building. It was important to her to create a visually inviting atmosphere that encourages visitors to explore the conference center. The color red, which has always been a distinguishing feature of the seminary, characterizes the new orientation system of the Clementinum in various facets, from imposingly bright to subtle to earthy. On the one hand, the color blocking concept clearly shows the hierarchy of the pathways, while on the other hand, it gives the individual rooms and levels an emotional character.

The corporate font used is Pangea Text, designed by Christoph Koeberlin. When set within the seminary, Pangea convinces with its neutrality – white on red, partly upright, partly in italics – while the diagonal connections and round dots ensure a friendly appearance. Due to its large x-height, it is also very legible from a distance. Pangea’s proportional lining figures are a good choice when numbering floors and rooms, as they exude confidence rather than bureaucracy.

In September 2023, Providence (Rhode Island, USA) hosted the fourth annual African Film + Art Festival (AFAF), which was organized by PVD World Music. The five-day event is dedicated to both contemporary African cinema and traditional music.

Live performances by the likes of kora virtuoso Yacouba Diabate from Burkina Faso and many others create an atmosphere of cultural resonance. Local organizations such as the Rhode Island Council for the Arts, the Providence Department of Arts, Culture and Tourism, and the Southside Cultural Center of Rhode Island have supported the festival since its inception in 2020. The event has become firmly anchored in the cultural calendar of the East Coast. In summer 2023, organizer Chance Boasgave gave its brand a sustainable visual identity for the first time, with a new logo, new visual language and a new house font: the Afrikan version of the inclusive font family Pangea Text.

Pangea Afrikan is an important milestone in the efforts of its designer Christoph Koeberlin to create a sustainable and unifying typeface. Continuous linguistic expansions challenge Western conventions – as more often than not the character sets of most successful fonts only represent European and American alphabets. Thanks to the Afrikan version, Pangea now supports popular African languages ​​such as Hausa, Yoruba, Igbo, Lingala, Mende, and Umbundu as well as some indigenous languages ​​of North America such as Lushootseed or Navajo … and therefore the languages ​​of at least 430 million people.

The new identity aims to establish an authentic cultural brand that playfully stages its cultural orientation. The capitalized English name of the festival features Latin characters used in African languages, such as the T with a hook (Ƭ), which is used in the Atlantic language Serer (Senegal, Gambia, etc.) and the R with a slash (Ɍ), a character from the Kanuri language. Even though the communication and the name of the African Film & Art Festival in Providence are in English, the characters of the African languages ​​indicate the direction of the cultural event.

Osmond Tshuma, founder and designer at South African design studio Mam’Gobozi Design Factory, describes the reason for chosing Pangea Afrikan Text as follows:

Choosing a font was vital because we required one that could also handle Hausa, Yoruba, Igbo, or Lingala movie or song titles. Additionally, the icon we had created for the event was geometric, and Pangea Afrikan complimented it quite well. A perfect match.

Based in Bilbao, Iberdrola S.A. is currently the fifth largest energy company in the world in terms of turnover. The group supplies almost 40 million customers, more than eleven million of whom are in Spain. In addition to generating electricity from hydro- and wind power, the company also sells natural gas and is involved in the operation of five nuclear power plants in Spain.

As Iberdrola is already an international pioneer in the renewable energy sector and wants to focus even more on protecting the environment, the company commissioned Design Bridge and Partners (a merger of Superunion and Design Bridge) to revamp its visual identity. In redesigning the brand, care was taken to ensure that every element of its visual identity has more impact and yet uses less energy.

The new design aims to create a brand that is more sustainable, accessible and modern. The digital footprint of the new logo is now smaller, as it has been simplified in terms of color and design. At the same time, a logo font has made it more accessible, secure and user-friendly. The updated color palette represents three key elements of Iberdrola’s values: green = renewable energy, blue = water and orange = the sun.

The new corporate font family, which was derived from Pangea and subtly adapted by Fontwerk on behalf of the client also meets the brand’s requirements. For office use, the 20 weights of IberPangea and IberPangea Text were also supplied in TrueType format, each with a single-story g as the default. Access to the leaf logo is integrated into the fonts and the (individually spaced) logotype is accessed via Unicode.

Water is one of life’s greatest elixirs and is essential for all living things. When it flows, we hardly think about it. But it doesn’t flow everywhere.

Across the globe, 1.1 billion people do not have access to clean drinking water. And yet increasingly, even in industrialized countries, it flows in an uncontrolled manner. Global warming is changing the water cycle and we must learn to be reconciled with water.

The KWB (Kompetenzzentrum Wasser Berlin, Competence Center for Water Berlin) is a non-profit limited company founded in 2001. KWB scientifically monitors the topic of water. The shareholders are the Berliner Wasserbetriebe, the Berlinwasser Holding GmbH, and the Technology Foundation Berlin. The statutory mandate of the KWB is the ‘promotion of science, research and development on the subject of water, so that Berlin can work efficiently, considerately and in a forward-looking manner with its urban water cycle.’

Since the work of the KWB is now of high importance and their reach has grown, they decided to reposition and revamp their twenty-year-old brand. Working with the Bureau Est agency, they have developed a completely new brand, website, and literature concept with artistic direction from Ondine Pannet and Marie Schuster.

The beautiful and thematically appropriate Pangea is now the corporate font family; more precisely the SemiBold and SemiBold Italic weights, as well as Pangea Text Regular and Text Italic. As the letter W (= water) plays a pivotal role in the new logo, both the lowercase and the uppercase letter W were incorporated into the fonts in an exclusive alternative (italicized and with two vertical strokes) which was drawn by Pangea’s designer Christoph Koeberlin.

With this micro-typographic leitmotif, both the KWB website and its printed matter have an unmistakable identity. The intention behind the leitmotif is explained, as follows, in their annual report: “With the redesign of our communication, we have created the basis for the scientifically-based, inventive, sometimes uncomfortable and yet urgent work of the KWB in a modern, targeted way with a clear attitude.”

The young London fashion label MANA strives to be a benchmark for a better future of fashion. “Our goal is to minimize human impact on the planet by only using sustainable materials and producing responsibly,” say founders Avneet and Sunny, who have followed in their family’s footsteps of working in fashion.

Having grown up with the Sikh philosophy, it is one of their core beliefs to “respect the environment and live in harmony with it”. So 5% of every purchase automatically is donated to charities such as World Land Trust, Fauna & Flora International, The Wildlife Trusts, Earthjustice and the Soil Association.

The MANA range is just as minimalist as its corporate design: T-shirts, sweatshirts, hoodies and jogging pants – all the basics for eco-conscious consumers who still want to be fashionable. The decision to use the brand’s corporate fonts on the products, the website as well as in the socials is just as on trend: Pangea (Regular and SemiBold) and Pangea Text (Light). The Pangea Collection corresponds to both the MANA design taste and its vision for sustainability.

Pangea is the first typeface that has made a contribution to climate protection. Its designer Christoph Koeberlin donates 25% of his income from this typeface towards the preservation of the rainforest and for large-scale reforestation projects involving the local population.

Advertising at the Sydney Cricket Ground (Australian Rules Football: Sydney Swans vs Geelong Cats)

Founded in 1995, REA Group is a public company listed on the Australian Stock Exchange that operates realestate.com.au, the country’s largest real estate platform (4.4 million visitors/month).

At the same time, REA is a global player that has grown and expanded its portfolio of companies over the sixteen years: In 2007, they acquired a majority stake in casa.it, this was followed in 2011 by the acquisition of atHome (Luxembourg, France, Belgium, Germany) and then in 2014 they joined forces with real estate broker Move, Inc. (realtor.com, USA). More recently, in 2021 they acquired a stake in the mortgage and lending platform Simpology.

In 2021, REA treated itself to a new visual identity with Fontwerk’s Pangea and Pangea Text that are used globally across REA’s branding. Even though not all brands have been converted to the new typefaces yet, the uniform typographic appearance already sets a strong visual anchor. While the normal Pangea is used in particular for logos and headlines, Pangea Text, which has been optimized for legibility, comes into its own on websites and apps.

Advertising at the Sydney Cricket Ground

Advertisement at the Sydney Central Railway Station

The Demostack homepage

The cloud-based design tool Demostack was developed for the Sales, Marketing and Partnership Managers of SaaS companies to set up, control, and maintain a product demo environment – without code and without having to annoy developers.

The San Francisco-based startup says: “Great demos create a connection between people and products. They help your customers imagine how your product works and what makes them successful.” And that puts Demostack and its website in the same role as potential subscribers. Accordingly, the animation, text and typography work together in a sophisticated way on demostack.com.

The headlines are set in the refreshing serif family Orbikular by Mark Bloom (CoType), the explanations and sub-headlines in the very legible Pangea Text and Pangea by Christoph Koeberlin (Fontwerk).

The role models for the Austrian construction company Gropyus are technology corporations like Apple, Tesla or Netflix. Just like digital services and technologies, housing should also function as a subscription model, with the residents as users and the home as a place that constantly updates itself.

While their timber-hybrid hardware is largely standardized, customization takes place through their complete smart home network. In the background, the Gropyus operating system monitors the building’s ecological footprint, making it a cradle-to-cradle optimized zero-energy home.

“The best of design, comfort and functionality.” is the motto of Gropyus. Their taste in typography could not be described more aptly. The Berlin-based designer Julian Thiel chose the Pangea superfamily as the brand font, a well-developed sans family that combines humanistic and geometric design features, i.e. comfort and function. On the Gropyus website as well as in the app, Pangea and Pangea Text perform excellently, exuding confidence and credibility.

When it comes to sustainability, Pangea is on the same wavelength as Gropyus. Its designer Christoph Koeberlin wanted to make a continuous contribution to the environment from the outset. Since the publication of the typeface, a quarter of its royalties have been donated to three international organizations that reforest the rainforest in cooperation with the local population.

Kintell is an Australian technology company specializing in video-based learning: from 1-to-1 expert advice to solutions for teams and companies. Knowledge-hungry self-employed people or businesses search for a consultant on the Kintell website and then book sessions on the integrated video platform.

The main topics offered by Kintell range from entrepreneurship and education, to finance and management, to design and marketing. As all advisors are carefully vetted by the platform, Kintell’s management is itself knowledgeable and well-informed in many disciplines, including marketing, graphics and brand design. Kintell’s choice of Pangea Text as its new house font is therefore backed by a dozen experts.

As the training platform’s entire business is integrated on one website – networking, editorial contributions, video streaming, shop, B2C and B2B – Pangea Text’s versatility really shines: longer articles are exquisitely readable, the short biographies of the instructors are clearly structured, reviews of customers are set in a pleasing Regular style and convey credibility. Prices are displayed worldwide in local currencies, Pangea Text offers 24 currency symbols, including ruble, new shekel and Bitcoin. The Kintell gift card also looks prestigious and professional.

On Kintell’s LinkedIn profile, Pangea Text leaves a lasting impression. Even if the caption texts of social media channels cannot be customized typographically, it raises the voice of the brand in cover images, banners and photos, so that followers are always connected with the brand’s visual identity.

Ten years ago, the Hamburg web designer Jonas Arleth started his career as an independent developer and trainer. For the past five years, he has published weekly podcast episodes, video tutorials or blog posts in which he talks about digital design topics, freelancing and working with clients. More than one million people a year attend Arleth’s courses and projects.

In the 139th episode (June 2021) of his German-speaking Web & Design Podcast he devoted himself to the topic of web typography. His guest was Oliver Schöndorfer (Pimp my Type), who has been fighting passionately for better typography on the internet since 2018. For him, a first step in this direction is the farewell to free fonts and the move to a retail typeface. Here they both agree immediately, because Jonas had already switched his website to Pangea before the interview was recorded.

According to Schöndorfer, it’s a missed opportunity if you do not use your own color with a font that has a unique selling point to create your own visual identity. It is precisely this last building block in the development of one’s own business model that must not be overlooked. Jonas Arleth has internalized this claim. He uses Pangea in combination with her sister Pangea Text in the posts and profile pictures of all his channels, and there are many: Instagram, Dribble, YouTube, Soundcloud, Pinterest, Webflow and Patreon. It’s not surprising that Arleth is one of the most popular web design voices in the country.

Images from Honey’s Instagram feed

With PayPal’s coupon app Honey, customers no longer have to search for a cashback discount or reward code that suits them, because the Honey browser extension automatically searches through all known coupons at the checkout and redeems them.

Honey was founded in 2012 in Los Angeles and was acquired by Paypal for four billion US dollars at the end of 2019. As well as the app for iOS and Android, it focuses on browser extensions for Chrome, Firefox, Safari, Opera and Microsoft Edge and most recently the mobile version for Safari. The extensions are already used by 17 million people.

Under the wing of Paypal, Honey’s visual identity was also strengthened, among other things with the Pangea font family ... as a typographic bargain hunter, so to speak. It is used on the website (along with Swiss Typefaces’ Suisse Int’l), in the blog “milk+honey”, in YouTube videos (along with Pangea Text), in Instagram posts, in Pinterest posts, and in the browser extension itself.

As Honey is active on all major social media channels – Facebook, Twitter, Instagram, Pinterest, YouTube – the brand needs a consistent visual voice. Since the continuous texts of these platforms cannot be individualized typographically, Pangea takes over this job in the published illustrations, animations and videos.

The Honey browser extension sounds the alarm: either take a 10% discount immediately or put it on the drop list and be notified when the price falls.

Honey browser extension using Pangea

Honey browser extension

Honey website

Honey website

Honey website

Since the continuous texts of the social media platforms cannot be individualized typographically, Pangea takes over this job in the published illustrations, animations and videos.

Honey’s YouTube channel

Social media campaign in collaboration with Kate Spade New York

The fourth industrial revolution is fueled by data. Data is the raw material that companies will mine in the future. This is sometimes difficult for traditional industries. That’s why they need IT experts who can evaluate the data stock of the core business and derive actionable insights or new corporate goals from it.

With this future task in mind, the team from Magnitude came together in Austin (Texas) in 2014. In just eight years, Magnitude grew to 600 employees and is now a leading service provider for digital transformation with over 1000 customers. On October 28, 2021, the brand was bought by insightsoftware, a developer of software for enterprise performance management.

A year before the acquisition, Magnitude prepared itself: with a revised visual identity in which the fonts, Pangea and Pangea Text play a leading role. In the video entitled “Everything is data”, the Magnitude marketing team sets up the logical and emotional chain of thought: “Data is information … is insight … is amazing. Color enhances data. Icons illuminate data. Type amplifies data.”

What could be better for brand designers and typographers than to work for a client who understands typeface as a mainstay of their corporate design? This finding is obvious, especially in the area of ​​data processing and analysis, but by no means a matter of course, rather the exception. Magnitude has taken the right path with Pangea: For a brand that evaluates and presents with data, Pangea, with its unusual geometric-humanistic balancing act, is the perfect partner. It conveys security, contributes to understanding and creates emotional access to the world of data. At Magnitude, Pangea is the bridge between the number crunchers (aka the data people) and the clients who need to be motivated.

In summer 2013, Philipp Schrempp and Tobias Schüle founded Foodspring, a direct-to-consumer brand for sports nutrition. Six years later the confectionery giant Mars acquired the Berlin startup. Currently available in twelve target markets and with over 100 employees, Foodspring is now considered to be one of the largest companies for targeted nutrition in Europe.

With a product range of shakes, bars and snacks, Foodspring has built a nutrition and fitness platform that creates a personalized customer experience. In addition to a special coach offer, customers have access to recipes, the free “Body Check” which generates personal product recommendations and many workout videos.

In 2020, Foodspring’s website team launched a new brand identity. Product design team lead by Sara Furlani opted for Christoph Koeberlin’s Pangea Text, more precisely for the regular and semi bold weights, due to the interface design’s demands for legibility and readability. They tested different geometric sans serif typefaces to see which one improves the shop’s accessibility and unifies the customer experience best and eventually decided to go with Pangea Text.

From my portfolio website:

Raven is a Chicago-based designer committed to pushing the boundary of design while building a diverse, bold and inclusive future.

As a creative system builder who experiments within interdisciplinary principles, Raven loves exploring unfamiliar territories, constantly challenging and nuancing her creative process with a systematic approach to produce rich and robust works.

For the website typography, Benjamin Critton’s Sunset Gothic is used for headlines, paired with body copy using Christoph Koeberlin’s Pangea Text.