The New Genre logomark is in Avantt Extrabold.

New Genre is a global design and technology studio accelerating tomorrow’s ideas. Working from London and San Francisco, they create strategies, brand systems, digital products, and experiences for the world’s most disruptive thinkers.

Now entering its third year of operation, what began as a collaboration between friends – late nights in Figma, wild ideas about type, and imagined experiments that became real – New Genre has evolved into a studio defining a new rhythm for design. The relaunch of their website marks a new identity inspired by the day–to–night cycle, and a renewed focus on what’s always been central to their practice: a meeting of logic and imagination, of craft and technology, of the organic and the engineered.

The identity is anchored in the geometry of the studio’s four-petalled flower mark, called the Quatrefoil – a form that materialises in 3D through a series of animated renders and assets depicting the fictional flora, in equal parts science-fiction and biomimicry. It becomes both symbol and part of the visual system: a shape that holds light, reflects motion, and suggests growth.

Typography plays a crucial role in translating this duality. The identity and site utilises a combination of typefaces from Displaay Type Foundry across both headings and body – the newly released Serrif is deployed in Condensed Regular weight as a title font, fading in with the site’s sunrise animation — allowing each headline to contain many words with the condensed density, but remaining detailed and light because of its weight.

This is paired with Saans for body, interface, and button copy – a grounded counterbalance that provides clarity, rhythm, and accessibility across any device. Together, the two create a visual cadence that mirrors the studio’s philosophy: one of where natural elegance meets designed precision, and creative expression meets engineering.

The New Genre studio website homepage, featuring Displaay Serrif

Displaay Serrif and Saans paired on portfolio pages

Tre Mari is an Italian bakery and deli in Toronto’s St. Clair West neighborhood that has been open since 1960. Now in its third generation, they worked with Blok Design to reimagine their identity, packaging, and visual system.

The new identity features my typeface Condor in Compressed and Condensed widths, Displaay’s Avantt and Lineto’s LL Brown, punctuated by moments of Dinamo’s ABC Honeymoon. The logo is typeset in Ivar Headline from Letters from Sweden, with a custom head serif on the A, a featured carried forward from the bakery’s previous logo.

The folks at Blok Design were kind enough to share their motivations:

With this identity our goal was to bring a staple of the community forward without losing who they are. Tre Mari is very much a family business with many different characters all coming together. To express this we knew we would like a diverse typographic language and colour palette that evoked their bold, playful side while still holding their Italian heritage and strong family roots. We felt that the final identity evokes these classic elements of Italian/ European design while still feeling contemporary, fresh and bold.

Crafting Modernity: Design in Latin America, 1940–1980 looked closely at materials and methods of designers in Latin America who brought modernity to homes between 1940 and 1980, a period of dramatic political, economic, and social change. Objects included furniture, posters, textiles, and ceramics highlighting the work of pioneering designers—many of them women—as well as their sometimes conflicting visions for modern living.

We chose a bold, vibrant color palette for the title wall to capture the spirit of Latin American design and anchor the open gallery. The typography reflects rounded forms found in many of the exhibition objects.

Indoor/outdoor interplay is an important part of Latin American home design; we emphasized this with wallpapers featuring Latin American homes and garden spaces overlooking MoMA’s Sculpture Garden.

On the back wall of the gallery, we designed a 32-foot diagram that mapped the multidisciplinary, creative networks of six Latin American countries. We pulled out key figures and expanded on individual stories to further contextualize these complex connections.

Bonifacio is located at the southern spot of France, in Corsica. For the city branding, we were inspired by the vintage posters of Air France (a French airline company), typical of French territorial graphic design in the 1970s. We opted for a font combination with a strong identity and vintage mood.

The logotype typeface Avantt by Displaay gives a strong personality to the brand communication, even when the font is used on its own. The typeface is altered (with rounded corners and shaky lines) in reference to the textures and eroded walls that are characteristic for Bonifacio.

Combined with playful colors and naïve illustrations, the titling typeface Bobby by F37 Foundry creates a warm and inviting brand identity. The use of italics yields a contemporary dynamic and helps putting forward important words and action verbs in an attempt to focus on the diversity of activities you can experience in the city and surroundings. Euclid Circular B by Swiss Typefaces completes the typographic palette.

See more images in the case study.