Max Miedinger
Type Designer · Designer
Articles & interviews
- 15 typefaces designers love to use in 2026
Creative Boom’s 2026 roundup by Tom May highlights 15 typefaces that designers continue to use and admire, from timeless classics like Helvetica and Futura to newer, accessibility-driven fonts like Inclusive Sans. The article reflects ongoing trends toward functional, inclusive, and personality-rich type design, showing how both heritage and innovation coexist in contemporary typography.
- Beams by Only Studio
BP&O’s article by Thomas Barnett reviews Only Studio’s brand identity for The Beams, a new cultural venue in East London. The identity is built around the restrained use of Neue Haas Grotesk and a dynamic typographic system reflecting the venue’s industrial architecture and light-filled spaces. Photography and motion elements balance the minimalist design, resulting in a sophisticated and understated visual language.
- Molden reinterpret construction industry cues in their typographic identity system for Gebeiteld
Antwerp-based studio Molden rebranded construction company Gebeiteld, creating a typographic identity inspired by industrial forms. The system uses three contrasting typefaces and a minimal color palette, with yellow referencing the construction industry. Molden collaborated with STUDIO VERGULT to produce 3D visuals documenting Gebeiteld’s projects across Belgium and the Netherlands.
- Studio von Monkiewitsch’s identity for Museum Ludwig: Original and Fake is striking and surprising
Studio von Monkiewitsch created a striking identity for Museum Ludwig’s exhibition ‘Russian Avant-Garde: Original and Fake,’ balancing artistic and scientific themes. The design employs an evidence-table aesthetic, a red cross motif, and the Neue Haas Grotesk typeface to reflect the exhibition’s exploration of authenticity and forgery. The result is a refined, editorial-inspired system that is both conceptual and visually engaging.