As a study project at the HAW Hamburg, Leo Hülsmann created five posters for the five biggest one-day cycling races in Europe: “Paris-Roubaix”, “Milano-Sanremo”, “Ronde van Vlaanderen”, “Liege-Bastogne-Liege” and “Il Lombardia”. The Posters were made using screenprint, linocut and riso print and they are 70x100cm in size. Each poster aims to capture the unique atmosphere and history of the race it depicts.

On the occasion of the 2024 Ice Hockey WC, the National Gallery in Prague presented an exhibition that opened up the theme of skating and hockey in visual art. The exhibition featured approximately 100 works of art using various techniques. There were paintings by old masters such as Pieter Brueghel the Younger and Norbert Grund, as well as by the most prominent figures of 19th-century Czech art and with a section dedicated to 9 contemporary artists who have created new works relating to hockey.

As part of the City of Bern’s week of action against racism, local graphic design studio opak was asked to design a special jersey for the football club, BSC Young Boys Bern. Since 1996, YB has been involved in various partnerships and projects against racism, antisemitism, homophobia, sexism, and discrimination of any kind, and in promoting a diverse and open society. The illustration reflects on these commitments.

BSCYB: Jan Borgmann
Typeface: Brandon Nickerson
Foto: YB, Thomas Hodel

For Zalgiris’ 80th anniversary, we refreshed the club’s identity while staying true to its heritage. At the heart of the rebrand is Zalgiris Sans—a custom typeface inspired by the handmade posters created by the club’s fans. Their bold, raw lettering became the foundation for a visual language that captures the energy, fighting spirit and deep connection between Zalgiris and its supporters.

Extract from the Unicorn Display font specimen. High-contrast, compressed letterforms exploring the visual vernacular of vintage motorsport, speed, and mechanical tension. Appointed by the Unicorn. Of course.

FC Sans Pauli features a distinctive back-slant that reflects the club’s left-wing attitude, inspired by the graffiti and tape art of Hamburg’s St. Pauli district. With seven styles and support for 200+ languages, it covers every communication need while ensuring consistency across platforms. By replacing multiple fonts, it saves resources, reduces environmental impact and strengthens the club’s identity worldwide.

At the 2014 World Cup, Nike used the Samba font, by Tony de Marco & Caio de Marco, to write on the back of the official Brazilian national football team’s jersey crest: “born to play football”. The Samba font was previously awarded at the Linotype International Type Design Contest 2003.

LOKE JUDO is a local judo club in the Basque Country with 230 members ranging in age from 5 to 45.

The rebranding aims to unite the club’s two cultural identities: Japanese and Basque. I created a custom typeface for “LOKE JUDO,” using a vertical composition and shapes inspired by Japanese calligraphy, which allows both cultures to coexist within a single visual identity. The typeface reads like Western typography, yet it also evokes a Japanese symbol.

BOULDERING SUCKS ist eine typografische Provokation mit einem Augenzwinkern. Die handgezeichneten Lettern erinnern an grobe Holzschnitte und historische Letterpress-Drucke – roh und eigenwillig. Eine Marke, die für ihre Leidenschaft zum Bouldern steht, spielt bewusst mit diesem Widerspruch. Für ein kleines Label wird daraus ein aufmerksamkeitsstarkes Statement, das im visuellen Dauerfeuer hängen bleibt, provoziert und zum zweiten Blick einlädt.

The design of this poster is directly inspired by the origin of the race itself, which owes its name to the Belgian newspaper Het Nieuwsblad. To capture this heritage, the typography mimics a raw “cut-and-paste” aesthetic, reminiscent of dynamic newspaper clippings slapped together in a chaotic yet deliberate collage. Bold, distorted letterforms and gritty textures reflect the raw intensity, grit, and cycling culture of the Flemish Cobbled Classics.

This poster started as a typographic experiment. I wanted to capture the rawness and weight of Paris–Roubaix and its rugged surroundings by creating a custom typeface inspired by the race’s iconic cobblestones.

The fine line between being celebrated and ignored often comes down to a few milliseconds or millimeters. Using a typeface associated with the visual language of Olympic sports, this composition shows how one letter can make the difference between being a Hero or being a Zero. The dedication and preparation of elite athletes are remarkably similar; the difference emerges in the final moment, when the smallest margin can be exponentially rewarding—or devastating.

The biggest enemy of sport is every excuse not to show up, keep going, or simply give up. For Dynamic Squad, a basketball project inspiring children and young people to love the game, we created a campaign that activates their inner motivation coach. Under the motto “Play on,” it encourages them to get back up after every fall, setback or defeat. The emotional campaign launches a dynamic new brand identity whose typography makes the energy of basketball tangible.

The BETON campaign captures Red Star FC’s transformation by celebrating imperfection instead of hiding construction. Built around raw concrete textures, hand-cut typography and a reduced, minimal palette, it turns Stade Bauer’s renovation into an honest design language. As the club’s new identity, BETON bridges architecture and communication, turning resilience, truth and belonging into a lasting cultural statement.

The campaign captures the unique spirit of Wiener Sport-Club by celebrating its history, humor and strong sense of community instead of relying on traditional football clichés. Built around authentic local expressions, a bold black-and-white visual language and the Tausend typeface by Christoph Koeberlin, it reflects the club’s identity with honesty and warmth. As the launch of a new brand identity, the campaign strengthened recognition, united supporters and became part of fan culture as poster

The poster transforms Olympic sports including badminton, table tennis, tennis, basketball, and volleyball into images composed of dense characters and symbols. Type becomes both the basic unit of the image and a reference to how public sporting events are translated through text, data, and media. Familiar objects become strangely unfamiliar, yet remain recognizable through form and shared visual memory.

The poster was originally created for the 2026 Chinese Year of the Horse. A horse in motion is captured through deliberate blur, while distorted typography turns “放马过来 2026” and “BRING IT ON!” into traces of speed. The Chinese phrase plays on the horse itself while also meaning to accept a challenge, connecting zodiac culture with the speed, force, and competitive spirit of equestrian sport.

The poster transforms the Chinese zodiac horse and the characters “放马过来 2026” into a visual language of speed and competition. The geometric horse evokes racing and equestrian motion, while the stretched, sharp typography conveys force and tension. “放马过来,” meaning “bring it on,” echoes the courage and challenge of sport, turning Chinese type into a form of movement.

FC Sans Pauli features a distinctive back-slant that reflects the club’s left-wing attitude, inspired by the graffiti and tape art of Hamburg’s St. Pauli district. With seven styles and support for 200+ languages, it covers every communication need while ensuring consistency across platforms. By replacing multiple fonts, it saves resources, reduces environmental impact and strengthens the club’s identity worldwide.

Combining the colors and patterns present in the refereeing instruments to different types of balls used in the various “soccers” around the world, the event’s visual identity presents a dynamic and flexible language, translating the diversity and democracy discussed at the symposium.

For ARQUIBANCADA magazine’s visual identity and graphic design, a typographic system was developed, highlighting the magazine’s dialogic nature and exploring the unpredictable movement of a crowd.

The objective of this graphic design was to convey the physical experience of visiting a stadium. The cover, with its arrangement of texts cut out like a detached paper, alludes to a ticket, just like the issues were numbered like the seats in the immensity of a stadium.

Original Czech magazine Sport in Art designed by Milan Nedvěd from issue 1 to 9 (2024–2025). It explores the intersection of sport and contemporary art and design. Each issue dedicated to a specific sports topics. It uses Shreck Mono by Pizza Typefaces, which is wildly stretched. It jumps, it bends, it schrunches. Just like our bodies when sport. Secondary typeface is disciplined and elegant Suisse Works by Swiss Typefaces.