cross 600 m², a variety of information stations, interactive elements and objects highlight different perspectives on climate change. The theme of sustainability permeates the exhibition at all levels, not only in terms of content, but also in terms of the design: through the minimal use of materials, reuse of existing components and easy adaptability and updating.

Nina Schadensteiner and Letitia Lehner, from the collective Linz design studio MOOI, worked closely with Martina Schiller and Rainer Stadlbauer from the Viennese Architecture Studio Itzo to bring to life the design and vision for the exhibition.

A sustainable color palette is employed throughout: soft pastel shades create a friendly atmosphere, puff pastry yellow picks up on the colorfulness of the recycled compact panels, while magnolia and red act as signal colors for the more interactive and hands-on elements.

Across the exhibition the functional, geometric font PX Grotesk (Optimo) is used while Ulrike Rausch’s expressive Supermarker takes on the emotional part. “It gives the exhibition elements a human touch … for example at the interactive stations and in diagrams and quotations,” explains Nina Schadensteiner, adding:

The exhibition concludes with a “climate challenge”, which is very popular with the public. It is a playful invitation to take the newly acquired knowledge home with them and confront the climate crisis. But “Climate. Knowledge. Action!” is not only well received by the public, the exhibition design also won over the jury of the prestigious Caesar advertising award in October 2024, where it was awarded silver in the “Trade fair architecture and POS” category.

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he inaugural conference resulted in 15 concrete agreements, including the Global Battery Alliance and the Declaration on Sustainable Aviation. The next HSC is planned for June 2025.

Dörte Matzke and Julia Friese from the agency Matzke und Friese were responsible for the visual identity, along with the communication designer Ruth Heinlein. Their tasks ranged from logo development to corporate (website, printed materials) and event design.

For the logo, they used the symbol of a bridge, which was designed from the 17 colors of the UN Sustainable Development Goals according to the official SDG Color Wheel. Dörte Matzke commented on the design:

There was really only one suitable typeface for a conference on sustainability: Pangea, the reliable geometric sans by Christoph Koeberlin. Pangea is characterized by clear lines, excellent legibility and charming details and is suitable for both digital and printed applications. Its name refers to the primeval continent and symbolizes cohesion and global responsibility – a guiding principle that is also reflected in Pangea’s sustainability.

A quarter of the designer royalties from the sale of Pangea go directly to climate protection projects, in particular to saving and reforesting the rainforest. In addition, Pangea was deliberately developed for multilingual communication, with extensions such as Pangea Afrikan for African languages and later additions for Arabic and Hebrew for the Arabic and Hebrew language areas. The combination of aesthetic clarity, functional readability and ecological added value makes Pangea the first choice for global sustainability projects such as the Hamburg Sustainability Conference.

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ach year, two winners in each of the eight categories are selected, one by the academy and one by a People’s Choice Award.

We are delighted that our new Fontwerk.com has been nominated in the Websites and Mobile Sites – Shopping & Retail category.

Fontwerk is just one of five other nominees in this category and this year there were over 13,000 projects entered, so we are doing a big happy dance to have been recognized!

ounded in Paris by Le Grand Continent, the first Prix 3466 was launched in 2021 and the annual prize honors a major work of European literature every year. Thanks to an exclusive partnership with the cable car operator, Skyway, the award, which comes with a prize fund of a very generous 100,000 Euros, has found a home in the heart of the Mont Blanc massif. The award ceremony takes place at an altitude of 3466 meters on the Pointe Helbronner, which can be reached by a luxurious 360° glass gondola. The Pavillon du Mont Fréty stopover at 2200 meters serves as a beautiful meeting place for the nine-member jury.

The creative agency, Tundra Studio, which was founded in Turin in 2009, is responsible for the visual identity of the renowned literary prize. Francesco Busso, Matteo Pont, Pia Panzarella and their team developed the literary prize’s memorable logo, website and printed and digital materials. They chose selected styles from Christoph Koeberlin’s Pangea family as the house font and combined them with Mark Jamra’s serif typeface Latienne (TypeCulture).

Regarding their choice of Pangea, Pia Panzarella said:

Pangea also provides invaluable service in terms of language support, as the Prix Grand Continent currently communicates in French, Italian, German, Spanish and Polish.

The prize has been awarded four times since its inception… Most recently to the German writer Martina Hefter for her novel “Hey guten Morgen, wie geht es dir?” (Hey good morning, how are you?).

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survey of customers helped develop the brand essence and a new central idea: “Friends for Life”. This tagline – previously set in a standard font – was to be made more individual, more concise and more emotional and needed to work in German and English (“Freunde fürs Leben”).

To find the right look and feel, we first tested various designs. We shortlisted a thin and a thick marker as well as a brush pen. We presented these variants to Trixie, who opted for the latter. We then tried out various written styles until we found one that we could present and from which we could start working.

We digitized the two versions, aligned them with the baseline, made initial adjustments (e.g. to the stroke weight) and resolved the connections for better writing flow. Further visual corrections were needed, but to give our client a feel for the direction, these steps were sufficient for the time being.

Based on these iterations, the team led by Head of Marketing Claudia Menzel was able to provide initial feedback: they asked for simpler i-dots, a better ‘e’, a more legible ‘r’, a more closed ‘s’ and the spelling of nouns beginning in capital letters. We corrected the details on the letters ‘n’, ‘d’, ‘o’ and ‘f’, on the letter connections, spacing and x-height and reduced weights and contrast. Office dog Ludo and his paw were the inspiration for the altered i-dots – a detail that not only went down well with our clients but also with the target group.

In another meeting, we discussed the result and agreed on further adjustments: The inclination of the lettering should be more dynamic, the loops of the letters ‘F’, ‘d’, ‘f’ and ‘L’ were dropped and further characters separated from each other.

After these adjustments, the final round of corrections was made. The finishing touches included a shortened stroke at the end of the lettering and two adjustments to the lowercase ‘f’: the upper ends were made more open and shorter, the descenders of the ‘f’ in ‘for’ and ‘fürs’ were extended. This made the design even more stable and concise. This detailed project was completed when the vector data was handed over.

Head of Marketing Claudia Menzel – herself a trained graphic designer – summarized the cooperation with us as follows:

With a clear briefing, mutual appreciation and cooperation from the outset, it was a pleasure to work on this project in collaboration with Trixie and we are absolutely delighted with the result too.

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century later, the Mannheim Art Hall (Kunsthalle) is once again dedicating a major exhibition to “Neue Sachlichkeit” (New Objectivity) from November 22, 2024 to March 9, 2025. It acknowledges the historical significance, but also critically questions it and adds to it—especially by showcasing the work of artists who were overlooked in 1925.

A 400-page catalog has been exclusively published for the exhibition. The catalog not only presents the most important works, but also provides an insight into the current state of research on New Objectivity.

It was designed by the Berlin designer and typographer Verena Gerlach. For the headlines, captions and body copy of the catalog she chose the fonts Moulin by Sandrine Nugue (Commercial Type) and West by Daniel Perraudin (Fontwerk).

With West, Perraudin has reinterpreted the concept of geometric sans serifs in a highly original way. But the roots are unmistakable. As Verena Gerlach says: “What could be more natural when designing a catalog about the New Objectivity than using a contemporary typeface revival from the 1920s?”

Test West

Test West

or the fifth time, Claudia Schramke is in charge of the art direction for the festival. During her studies at the Lette-Verein Berlin from 2006 to 2009, she discovered her “love for design, especially typography.” She then continued to develop her illustrative, colorful design style at the Weißensee School of Art.

The key visual for Berlinale 2025 is inspired by the almost forgotten film leader countdowns, which were used to help thread a film reel. “I wanted to create something lively that celebrates 75 years of film tradition and impressively interprets the theme of time. The beating heart of the Berlinale, so to speak,” writes Claudia Schramke on her website.

To contrast with the strong colors, the designer was looking for a high-quality, classic-looking font. She came across Pangea, designed by Christoph Koeberlin: “Because it’s from Christoph, it had to be good.” (Schramke)

Pangea Condensed in particular is “wonderfully striking”. She was also won over by the comprehensive language expansion of the font, which is of great importance for an international film festival. “Those were convincing arguments for me … absolutely brilliant,” she says, summing up her decision.

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