Museum of
Typography
Identity & Brand System
Identity & Brand System
The brief was to design a full identity for a typography museum. The challenge: how do you build a brand about typography without it feeling like a textbook?
Early exploration went wide — gothic letterforms, 3D extrusions, stacked initials. What clicked was treating the three initials as one mark. The O sits as negative space between the M and the T. The inline stroke on the letterforms references letterpress — the double edge left when type is pressed physically into paper, the technique that started it all.
The palette follows the same thinking. Black and white as a direct tribute to the origins of print. The accent color is pure CMYK yellow — one of the four inks that make up every printed image. Not chosen for mood. Chosen because it belongs to the world the museum exists to celebrate.
The brand personality is built around one idea: expertise without intimidation. Typography made accessible without being dumbed down. That shows up in the typeface choice — Kohinoor Bangla, modified — clean and authoritative without being cold. And it carries through every application: business cards, wayfinding, tickets, packaging, exhibition posters. Each piece demonstrates typographic principles in action rather than just repeating the logo.
The exhibition poster series is a tribute to Paul Renner, Max Miedinger, and Josef Müller-Brockmann. Each poster is designed within the brand system while borrowing from its subject — Renner's geometric clarity, Miedinger's precision, Brockmann's grid logic — a way of letting each designer speak through the work without leaving the identity behind.
This is a conceptual project created as part of my design studies.
