El cava elaborado en Requena is a compendium of more than 200 pages, celebrating 40 years of Cava production in Requena, written by José V. Guillem and illustrated by Miriam Ortega.

Our typeface selection was focused on getting a nice contrast between two classical fonts on the book block and an extra touch in the section titles. The pairing of Suisse Int’l and Chronicle (Text G1) along the text was OK for us, flexible to include a huge amount of text and consistent to keep a fresh visual identity we wanted to show. The use of Ogg Display Regular in a big size gave us this extra soft touch, some kind of chic façade if you want.

Printed in Gráficas River, Valencia, on different paper stock: Popset by Arjo Wiggins, Arena Rough by Fedrigoni, Matt 93 by Gmund Paper and Royal Blue by Colorplan.

The new digital platform about e-bikes. Fresh stuff, news, test and whatever you want to know about these electric monsters that have arrived to stay. After almost 15 years working in cycling journalism (eMTB, eRoad, eGravel, eCity), Dani Casasin has decided to branch out on his own. Now, trying and testing every e-bike that comes out, he is the massive reference on this kind of stuff.

We wanted to get a printed-magazine-essence for the website, a kind of “I would like to printed but I want to take advantage of the digital” way. To achieve this we paired Suisse Works by Swiss Typefaces for headlines and intros with the very sober Soleil from TypeTogether in texts to give the perfect combination of digital and print nature. One very expressive classic typeface combining with a neutral and modern, bit trendy, geometric-humanist font. A nice match in our opinion!

The E-Ridermag logo is based on a long and changing hyphen (trying to show the concept of different ways to cycle) in combination with a bespoke logo by Joanca Casasin.

Around 2016 we began to work in Equilibrium and Perfect Balance. We developed the new branding and on/off line strategy for the brand (here you can see our case study for them) and then we started to build their shop online for the mats division. In those days, selling yoga stuff was not the most usual thing to do over the internet. 4 years after this, selling mats in a different way has become a must.

Early 2020. The team is going to get the ball rolling. All the work will start doing to ourselves this first question: how do we buy mats in internet? Besides pandemias and other fortuitous reasons and after several months analysing different consumer behaviors, the answer was clear: not everyone knows what is going to buy.

We divided the contents of the site in two main rooms: one for the shop, another for the narrative. One on the main header, the other on the right-burger menu. One ready to explain what you have to buy in order to your needs; the other dedicated to all the brand storytelling. One rational. The other, emotional.

Following this first approach, all the rest would come together, sooner rather than later. As it was. An easy online shop for a beautiful project, making clear every click and all the user journey through the website. The Home as a big and long showcase, showing almost all the sections you can find on the site menus. Big pictures, big letters and stunning colours.

Regarding typefaces, we decided to work only with Majorant by Eduardo Manso as this clear and modern geometric-humanistic font works pretty well in big sizes. Its shape fits perfectly with our aim to reach the eye users in the digital platform; and its wide range of weights allows us to work only with one typeface for the whole site which is a must today.

This is a project that design studio Pino took as a personal project. An exploration deep inside the intimacy of a family, a Sicilian family, to find the beauty of a way of life: quietness, purity and flavor. A restaurant in Barcelona that can speak by itself as a perfect circle.

All started some time ago. Once she retired as chef and closed her own Sicilian Restaurant Z'alia in San Giuseppe Jato near Palermo, Maria Brusca decided to come to Barcelona to open a new restaurant with her son, Peppe Palo. It was a kind of back to the past, as he started to learn cooking in that Sicilian restaurant when he was fifteen. After a bunch of years, they have opened this new adventure that Pino catalogued as “Another Story”; read in Sicilian is “Un’Altra Storia”, pretty similar to what we said in Catalán, “Una Altra Historia”.

Once the naming was clear, we started to think about where the stories are placed. Obviously, in the books. Then, we thought this new story, this ‘another story’ had to be written in a book. But, what story does make a restaurant? This was pretty obvious as well: the menu. We went to visit a pair of old bookshops to find some old Italian books, disassemble them and make new books combining blank pages with those pages extracted from the old books. Once we had those “new” books, the last part consisted in making some super-stamps in the Vostok Printing Shop with the current menu. This is the part we like the most; every time Maria and Peppe are changing the menu, we have to print a new stamp, take the books, look for a blank page on them and stamp the new menu that, years after years will write the authentic new “Another Story”; the history of the restaurant, The history and story of them.

Why did we choose Neuzeit S and Chronicle?

The first one was a pretty personal election: we wanted a neutral, kind-of geometric-humanistic font that had a contemporary character but not too trendy. Then we found the Siemens corporate typeface that recalled us to Circular by Lineto. And it was absolutely working for us.

About Chronicle Text G1, printing stamps was a mandatory, and small sizes were going to be recurrent. We had to think in a typeface ready for be printed in hard conditions and easy to be read in small sizes. In addition, we needed this typeface to be hight contrasted between weights so we could use only two of them (plus italics) and this would be enough to explain whatever is necessary in a daily menu. Let’s say, we need a 4×4 typeface. And we found it.

The new identity for Granja Elena was developed by Pino and was revealed last September, together with the refurbished restaurant. Conceptualizing time without words, not saying “since 1974”, not saying anything, just a timeline. Formalizing that everything that is between those words, on that line, is what has made Granja Elena one of the best restaurants in Barcelona.

Founders Grotesk Text is probably one of my favorite contemporary typefaces when readability is crucial. I mean it, I didn’t find something like her that makes reading such a great pleasure. And taking into account the menu of the restaurant and the in-house printing that the staff will have to do due to the diary and continuous updates of the plates, I’m pretty sure it was a perfect choice.

Regarding Mars Extended, just by looking at it I was convinced that this a had to be in the identity. Plus, the Extended width helps Granja Elena to express and formalize the timeline they wanted to draw without drawing. A fine line combined with an extended typeface were a must.