Mochi (by Typeverything) is used on the packaging for Plant Based Planet as part of the brand identity by Studio Spoke. The typeface’s soft, rounded forms support an approachable tone aligned with the brand’s focus on small, everyday shifts toward plant-based living. The sans used for secondary information is Neue Haas Grotesk or similar. On the website, it’s substituted by Work Sans.

Merriweather is used in the Netflix feature Glass Onion – A Knives Out Mystery in scene in which a web-based news headline is used to advance the plot. The website typography pairs Merriweather with Work Sans.

[More info on IMDb]

Friday Bird is an art gallery opened in 2024 in Berlin by Nicola E. Petek and Nora Vogel. They specialize in works on paper and original art prints.

The logo of the gallery, created by Katja Koeberlin, uses NaN Tresor and shows off one of its swash alternates for the second R of the name, with its long leg extended under the baseline. The logo was made as a woodcut for the signature gift cards of the gallery.

For the exhibition dedicated to artist Dennis Scholl, I Called Your Name from Beyond the Stars, a catalog was published showcasing the works alongside texts extracted from the Bible. The catalog makes extensive use of NaN Tresor together with Work Sans for contrast.

The Spanish edition of Omdenken: El arte de pensar al revés – Convierte los problemas en oportunidades was published in 2024 by Temas de Hoy, an imprint of Grupo Planeta focused on non-fiction and philosophy.

The cover uses Aqueduto by Naipe. Written by Dutch author Berthold Gunster and translated by María Rosich Andreu, the book adapts Omdenken, originally published in Dutch as Omdenken: kijk-denk-creëer, a long-running self-help bestseller that introduces the author’s concept of “flip thinking,” a method of reframing problems as opportunities.

One of the letters E in the main title appears flipped.

Industrie Africa started in 2018 as a platform to introduce the world to top-class fashion designers from the African continent. Developed further into an online marketplace in 2020, the website today includes the editorial blog section “Imprint” and allows to research for countries and designers’ profiles. In 2025 the first analogue concept store was opened inside the tourist resort of Bawe Island located in the Zanzibar Channel.

What developed so well is the work of founder Nisha Kanabar who was born in Tanzania to parents of Indian descent. After her Bachelor in Business Administration at New York’s Parsons School of Design in 2013, she pursued a career in communication and public relations in the field of fashion and luxury goods. Her path took her around half the globe to such prestigious workplaces as Vogue New York and Vogue Mumbai.

Industrie Africa’s website focuses on white as the main color. Apart from a few spots where earthy tones are used for emphasis, the colorful impact stems from the gorgeous fashion photography showcased. The typography follows two major lines: the use of generously tracked all-caps typesetting for headlines and straight-forward left-aligned typesetting for the reading text.

The font that coins the style of Industrie Africa is the seriffed roman Cardinal, designed by the team at Production Type under the guidance of Jean-Baptiste Levée. Cardinal is a complex design system encompassing the three basic variants Classic, Fruit, and Photo. While Fruit and Photo can be seen as two different display variants that share tight spacing, the Classic variant is a roman suitable for extended reading. Cardinal Classic takes references in the Garamont and Granjon styles without following the Renaissance pattern too strictly. As an extra, it offers ascenders and descenders in three different lengths, Short, Mid and Long, that enable graphic designers to pick the perfect style for a given purpose.

In use on the website presented here is Cardinal Classic Short, in Regular and Italic. For the running titles and functional elements it is complemented with Work Sans by Wei Huang, a rationalist (not geometric) sans serif inspired by the early Grotesque genre.

Micro Kickboard are renowned for producing high-quality scooters, kickboards, and other innovative personal transport solutions for both children and adults. They offer a range of products designed to promote a more eco-friendly lifestyle, with a variety of scooters tailored to different age groups and uses. The latest promotional graphics used on website and social channels combine Work Sans by Wei Huang and Spektra Tekst by Dotless Type.

The same old brand, with a renewed essence. Santis, present on Peruvian tables since 1969, evolves to continue being a protagonist in the country’s cuisine.

Quality preserves, legumes, grains, and spices: essential ingredients now presented with a modern, authentic, and vibrant visual identity, without losing their heritage.

The challenge: to leave behind a generic aesthetic. The opportunity: to build a flexible, relatable, and visually powerful brand.

We created a structural S as our emblem, chose fonts that balance elegance and modernity, and came up with a visual system that celebrates nature. The traditional red remains as a seal of origin, and the new packaging segments by category to make choosing easier.

The result: an identity that honors its history, adapts to changing times, and reinforces its place at the heart of Peruvian cuisine.

seekicks is an experimental platform for innovation and entrepreneurship at the Weißensee School of Art. seekicks understands art and design as transformative practices that shape our world.

The design, editorial, and accessibility-optimization were made by studiokwi, who have been involved with the project from the beginning. The illustrations were created by Elisabeth Kitzerow and Kathrin Windhorst.

Founded over a century ago, the University of Hong Kong is the region's oldest institution of higher learning. HKU commissioned us to develop a distinct brand identity for a newly formed school, merging the esteemed departments of Computer Science and Statistics and Actuarial Science.

Through our brand strategy workshops, we worked closely with the department’s professors and stakeholders to uncover core values and craft a unique personality and positioning for the school, unified around the purpose of ‘Empowering Changemakers’.

We chose Work Sans for the wordmark and as primary typeface for the CDS brand identity. Work Sans is a grotesque style, with a functional, no-nonsense, factual expression.

The understated identity for Trysil-based restaurant Løkja uses Nina Stössinger’s Nordvest as its primary typographic voice. It’s supported by Wei Huang’s Work Sans. The traditional guesthouse has a long history of feeding and housing lumberjacks who used the Trysilvassdraget river for rafting logs. The identity is designed by Tank Design.

MadeByShape revitalised the digital presence of Skew Studio, a dynamic brand licensing agency in London. This collaboration centred on a full rebrand and the development of a new web experience designed to position Skew Studio as a leader in its field. We introduced a bold new logo, dynamic patterns, updated typography, and playful human elements to embody Skew's innovative ethos. These visual elements were harmoniously integrated across all brand touchpoints, enhancing Skew's identity.

Furthering the transformation, MadeByShape designed and developed a bespoke website utilising Craft CMS, ensuring flexibility and control over design and content, which improved both user experience and SEO performance. The website features engaging animations and parallax scrolling, creating a dynamic user journey that effectively communicates Skew Studio’s brand message. This strategic overhaul not only amplified Skew’s digital presence but also underscored our expertise in delivering comprehensive branding solutions and innovative web design.

The display typeface us Queens Medium by Kilotype. It’s supported by Work Sans for menu and text. The logo predates the redesign.

The YaleWomen community has received a new logotype designed by Oddity Studio. The visual identity of YaleWomen draws inspiration from the concept of connection.

This theme is represented through the interconnected letters of the logotype, the overarching swash of Romie Italic’s W, the patterns, and the underline style of titles and connecting lines.

The logotype combines Romie Italic’s swash W (designed by Margot Lévêque) with the serif Gestura Display by Sociotype Foundry, and Work Sans by Wei Huang.

Ingenius is a Singapore-based technology company. Their visual identity makes use of the technical aesthetics of Scope.

On their website, Scope is used for headlines, while body copy is set in Work Sans.

Buffalo Skincare is a skincare and beauty service that offers medically licensed, results-driven, and personalized care tailored to individual needs. They emphasize a personalized approach that allows clients to understand the reasoning behind each step.

Buffalo Skincare uses Pixesia Studio’s Merilux as all uppercase logo and headline. In addition, Commuters Sans is used for subheading, Misspiece for some selected text and block quotes, and Work Sans for the body copy.

Coolhunter Favela is an initiative by Rafaela Pinah that acts as an ethnographic research laboratory, uncovering the origins of aesthetic and cultural manifestations in the world’s peripheries. The visual identity created is simple yet impactful, highlighting the unique work of this project.

Inspired by the cultural richness and strength of peripheral communities, we developed a visual identity that uses contrast and the power of geometric shapes to capture the authentic essence of the favelas. The combination of robust typography with minimalist graphic elements creates a powerful and meaningful visual presence, reflecting the energy and depth of these communities.

This approach not only enhances Coolhunter Favela’s mission and values but also provides a visual platform that amplifies the voices and stories of the peripheries, bringing forth the beauty and depth of deep Brazil.

From Schilt Publishing:

Produced in conjunction with the FotoFest Biennial 2020 exhibition, African Cosmologies: Photography, Time, and the Other brings together 33 artists of African origins from around the globe whose works challenge traditional notions of Blackness and transnational histories in relation to concepts of liberty, rights, and representation.

In their unique practices, the featured artists turn an eye to social, cultural, and political conditions that inform and influence concepts of representation as they pertain to image production and circulation in Africa and beyond. These artists question the ways in which subjectivity is constructed and deconstructed by the camera, and in the process, reveal legacies of resistance by those who defy traditional ideas of sexual, racial, gender-based, and other marginalized identities.

Kade by David Quay is used throughout in two weights. The typeface used for body text is Wei Huang’s Work Sans.

The cover image is by Rotimi Fani-Kayode.

Popular is an agency founded in 2005, from which you can book advertising models and speakers for your production. Piia Kankare, founder and owner of Popular, worked for a long time as a casting director and shooting organiser.

Popular picked Norman Stencil for its branding, website, and social media, using different weights and styles of the family.

On the website you can see how Norman Stencil has been used for the menu and for the header, mostly in black on coloured backgrounds. It is paire with Work Sans for text and smaller elements.

Firm.gs developed the rebranding of Fiscozen, an innovative digital accounting management service for freelance professionals. The new visual identity aims to give voice to the brand’s values, accompanying its strategic repositioning in a very crowded competitive landscape, and allowing it to take a step forward in quality, elevating its status from digital start-up to solid and well-established company.

The Fiscozen symbol is an extreme synthesis of the letters F and Z, an exercise in simplicity and pragmatism that reflects the approach with which the company wants to accompany users through the labyrinthine Italian tax system. A clear approach, free of superstructures but always serious and professional.

The color palette speaks a strongly digital language and is accompanied by a photographic style that puts the person at the center, with a positive and self-assured attitude.

This typographical poster combines a 1970s funk aesthetic with a visual reference to vinyl records. The typography allows the poster to be conveniently and quickly mounted: either side is up.

Cheee is used together with the bold version of Walter Grotesk in the circle and on top/bottom. Since the font didn’t have a glyph for the tilde symbol, I used Work Sans to fill that gap.

Templemore Baths is one of Belfast’s heritage gems: the only Victorian baths building in Ireland that survives in its original form, with its original swimming pool and slipper baths.

This important amenity has been used by the community in east Belfast for over 100 years. Following a multi-million pound project, it has been sympathetically restored and interpreted for people to continue to enjoy today.

Our interpretation focuses on telling the story of the baths through the people and place surrounding it, giving voice to the memories of those who once bathed, swam and worked there.

We delved into the history of Templemore, compiling comprehensive research that explored the context for establishing the Victorian bath and the industrial development of the city. This lead to our in-depth Interpretation Plan which supported a NLHF funding bid.

We developed a bespoke visual language that was sympathetic to, and enhanced, the architectural qualities of the space. Our visual language helps to interpret the building’s former functions, with a design that draws inspiration from the original Ticket Office, Slipper Baths and Minor Pool with a contemporary slant to appeal to today’s audiences.

We used signage and materials left in the space to create a visual language that would act as if you stepped back into time — but also learn a bit about the space and history as you did it. This resulted in a mix of beautiful typefaces: working hard to represent the story that spanned decades.

Work Sans was used extensively in the newer areas of the exhibition space and within the ticket office, slipper baths and more heritage areas, copy sits in Work Sans to inform.

Overall, the heritage space is a multi-faceted visitor experience at the heart of the newly-revitalised Templemore Baths. It brings the history and the community who used and looked after the baths to life, through sympathetic and engaging interpretation.