A full breakdown of R/GA's Android rebrand with real credits, decisions, and design rationale.
Creative Review covers R/GA Americas' overhaul of Google's Android brand identity, detailing the team behind it and the design choices made. The piece offers a credited, behind-the-scenes look at how a major tech platform's visual system was reshaped, with motion and brand design working together.
Larissa Kasper and Rosario Florio make typography feel alive — here's how they think about it.
A profile of Swiss design duo Kasper Florio (Larissa Kasper and Rosario Florio), exploring their rigorous, expressive approach to typography across editorial and identity work. The piece gets into their practice, influences, and what sets their typographic sensibility apart from their contemporaries.
Sharp Type's founders talk trends, client relationships, and why type design is basically trend forecasting.
Chantra Malee and Lucas Sharp of Sharp Type discuss how they navigate typographic trends much like fashion forecasters, balancing aesthetic zeitgeist with client needs. They also touch on building studio culture and their scholarship supporting women of colour in the type industry.
Typography as activism: how two geometric sans serifs carry the weight of protest history.
This Fonts In Use entry examines the typographic design of Strikethrough, a book about protest graphics. The design system references a 1970 Power to the People poster, using angled type and two geometric sans serifs chosen to echo protest graphic traditions while staying contemporary and distinct.
Custom type for a synth brand tied to Tame Impala — this one's genuinely fascinating.
Design studio Love And Money created a full brand identity and bespoke typeface for Orchid, Tame Impala's new synthesiser brand. The project involved crafting a tiny, functional typeface suited to hardware interfaces alongside a wider visual system that reflects the instrument's aesthetic world.
A sharp look at how São Paulo designers ditched minimalism for warmth, craft, and color.
The piece traces a shift in São Paulo's bar and restaurant branding scene away from clean geometric minimalism toward playful, illustrated, handcrafted identities. It explores why designers are embracing emotional appeal and warmth, and how this new sensibility extends far beyond the logo into full brand worlds.
How illustration softens an architecture festival without losing its edge.
Do Not Design created a flexible identity for Singapore's annual architecture festival Archifest, using a consistent visual language across all applications. The studio reinterpreted the mandatory orange brand colour as a near-pastel tone, letting illustration carry the personality while keeping the system coherent and scalable year to year.
A brand identity built around real human vulnerability, not just aesthetics.
FCKLCK Studio developed the visual identity for Moksi, a cosmetics brand designed for people undergoing cancer treatment. The case study explores how the studio balanced sensitivity with commercial appeal, building a world around the product that feels warm and empowering rather than clinical or pitying.
A rare look at brand architecture decisions, not just surface-level visual polish.
Intuit partnered with JKR to unify its portfolio of financial products under a single "One Intuit" visual and verbal system. The rebrand moves the company's story from separate product identities to a connected platform narrative, with a design system built to make those relationships legible across touchpoints.
Custom type, bold illustration, and a unified palette finally bring TurboTax and QuickBooks under one roof.
Intuit's new identity centers on Tally, a custom typeface built with Jeremy Mickel of Mckl Type Foundry, designed to feel 'hardworking with a human wink.' Its letterforms directly inspired a brand icon system, paired with high-contrast photography, vivid illustration, and an evolved color palette anchored by Superblue.
A newspaper's printing history becomes a live event identity with real visual ingenuity.
Creative Review documents the branding for the NYT's State of the Times event, where folded newspaper forms and printing process aesthetics shaped a central graphic that acted as a content 'entrance.' Motion design references the paper's evolving digital and journalistic range, from VR to podcasts.
Type-forward studio work that finds surprising common ground between rum, trading cards, and books.
It's Nice That profiles Horah Inc, a studio whose typographic sensibility and Pokémon fandom converge across three distinct projects: a spiced rum identity, a trading card design system, and book design. The feature highlights how personal obsessions inform a cohesive creative voice across very different briefs.
Collins' thoughtful rebrand of an iconic American institution deserves a close look.
Collins redesigned the Girl Scouts of the USA visual identity, working across brand strategy, design direction, photography, and motion. The rebrand modernizes a storied organization's system while preserving its recognizable equity, with a full creative credits list pointing to the depth of craft involved.
How&How pulled from Rodin and Magritte to build something genuinely unexpected for a B2B brand.
How&How developed the full verbal and visual identity for Jupi, drawing on classical artists Rodin and Magritte for a distinct aesthetic. The result balances expressive art direction with a redesigned website, aiming to empower decision-makers with a brand that feels less corporate and more considered.
Three carefully chosen typefaces hold a real conversation across this editorial design.
CEALD magazine's first issue pairs OO Lyga (a serif by Samira Schneuwly) with the custom CEALD Display and TWK Continental to create a typographic dialogue between expressive display and restrained text. The type choices actively support the publication's conceptual narrative rather than just decorating it.
A labneh brand built around wit, a geometric logotype, and a mascot that earns its place.
A design studio built the Bezi brand identity around labneh's Middle Eastern heritage while making it feel accessible to new audiences. The geometric logotype pairs with a creamy-swirl mascot, supported by a tone of voice that's playful and unpretentious. Copy, product descriptions, and naming all work together as a cohesive system.
Type design rooted in subway tiles and snail shells — this is typeface-making as microcosm-building.
Emily Klaebe treats type design as a form of world-building, drawing references from Art Nouveau, mosaics, subway tiles, and organic forms like snail shells and lollipops. Her typefaces extend beyond letterforms into larger conceptual systems. The piece explores her process and how typography can expand into richer cultural and visual ideas.
Before borrowing Japanese type aesthetics, understand the rules — this piece makes a convincing case.
The article reviews J Type 101 as a resource for designers drawn to Japanese typography's visual richness but unfamiliar with its underlying grammar, history, and cultural rules. It argues that Japanese type carries linguistic and contextual weight that goes far beyond decoration. Understanding the system, the piece suggests, is what makes thoughtful experimentation possible.
A clear-eyed case for treating motion as a brand foundation, not a finishing touch.
Toronto studio Vucko argues that motion design is still treated as an afterthought in branding, and makes the case for integrating it from the start. The piece draws on their work with major brands like Etsy and Spotify Wrapped to show how motion carries brand personality in ways static elements cannot.
A genuinely considered institutional rebrand balancing heritage, three distinct typefaces, and archival depth.
Baby Teeth redesigned the RSA's identity around a typographic system using three purposeful typefaces: display serif Goldschneider for the wordmark, Steps Mono for environmental wayfinding, and Helvetica Neue Light for editorial copy. The system is anchored by archival thinking and includes a brand film featuring Dame Judi Dench.
A French theater's full rebrand around a newly released typeface, with real craft behind it.
Zoo, a French graphic design studio, developed a complete rebrand for Bonlieu Scène nationale built around Metra, a new typeface by Hugo Le Corre released through Le Corre and Formagari. The identity spans the venue's seasonal program and a new annual event called Stayin' Alive.
A fluctuating wordmark built around body imperfection — genuinely clever identity work for a boundary-pushing fashion brand.
Greenspace designed a visual identity for fashion designer Sinéad O'Dwyer around the concept 'for the love of every body.' Collaborating with Swiss Typefaces, they created an ever-changing wordmark with alternating characters that shift like the human form itself, directly reflecting O'Dwyer's inclusive ethos and unusual material choices.
A sharp case for custom type as brand differentiation, from someone who made it for Mozilla, Heinz, and Vogue.
William Richardson of Studio DRAMA argues that custom typeface design is the most powerful and underused tool in brand voice differentiation. Drawing on projects for Mozilla, Heinz, and Vogue, the piece makes a strategic case that typography should be foundational to brand identity work, not cosmetic.
An AI brand identity that rejects the category's visual clichés by drawing from academic publishing.
Kiss Branding tackled the visual sameness of AI branding by showing the client a page of competitor logos as evidence. The resulting identity for AutogenAI draws from white papers and academic publishing aesthetics, anchored by the positioning 'Master the Win' — framing the tool as empowering bid writers rather than replacing them.
Collins rethinks Figma's visual language for a brand that outgrew its startup skin.
Collins undertook a full rebrand for Figma, evolving it beyond its tool-first origins into a more expressive, culturally credible brand. The project involved creative direction, strategy, motion design direction, and a multi-disciplinary team — making it a rich case study in holistic identity systems for a major tech platform.
Gretel's cinema-inspired overhaul balances brand sophistication with instructor personality. Worth studying.
Gretel redesigned MasterClass's identity to unify and elevate the brand across visual, verbal, and motion expressions. The design language draws from cinematic production values, using compositional and typographic cues to reflect quality while leaving room for individual instructor personalities to shine through the system.
A 50-year-old typeface gets a serious expansion into 15 styles. Type nerds, pay attention.
Kanon Foundry's Tor Weibull revisited a 1973 typeface called Paperclip Contour and extended it into a 15-style family named Clippy. The project explores how a historically narrow design concept can be systematically expanded for contemporary typographic flexibility while retaining its original character.
A type designer reflects on craft, systematic thinking, and what designers actually do with the tools she makes.
Sara Soskolne, typeface designer known for her work at Hoefler&Co, discusses her identity as a craftsperson rather than an artist or technologist. She argues that today's designers need more conceptual and systematic thinking than ever, and that her role is to create tools that enable designers to make meaningful visual judgments.
A sharp argument for why digital saturation is making physical paper more desirable, not less.
The piece makes the case that as digital tools proliferate, paper's tactile and sensory qualities have elevated it from commodity to premium medium. Rather than being displaced by technology, paper is being recontextualized by it — becoming a marker of intentionality and luxury in brand and packaging design.
A candid conversation on whether UK creative talent is finally escaping London's gravitational pull.
Deanna German discusses how hybrid work and shifting cultural investment are redistributing creative talent away from London toward regional UK cities. She touches on talent retention, career geography, and what this means for the broader creative ecosystem — including brand and design studios.