LINII is a creative agency based in Moscow. They have issued merchandise in the form of a calendar where you are the main thing of the day.

In this alternative calendar, instead of work calls you’ll find “doing nothing”, instead of planning meetings – “a date with yourself”, and instead of deadlines – “arrange the best day for yourself”. CoFo Sona is used throughout.

Published by Moscow-based art center AZ/ART, Non-obvious intersections was designed by Konstantin Eremenko:

Non-obvious intersections is a subjective view of possible points of convergence, common creative methods, artistic approaches, imagery, language and plots of works by Russian unofficial artists and composers of the second half of the 20th century.

CoFo Weather is used throughout.

Бела Тарр: время после is the Russian translation of Béla Tarr, le temps d'après, first published in French in 2011 and known in English as Béla Tarr, the Time After. It’s the second edition in the Garage Screen series dedicated to film. The book is a unique retrospective of the work of the outstanding Hungarian director and a manifesto of the theory of cinema of Jacques Rancière.

The compiling editors were Marina Sidakova and Daria Loginopulo
. Konstantin Eremenko and Julia Boitsova 
provided the book design, using William and Suisse Int’l. Vladimir Semenkov 
took care of the pre-press. The book was printed by Imprint Lab.

„Параллельная архитектура“ оттепели и застоя. Визионеры последнего советского тридцатилетия / “Parallel Architecture” of the Thaw and Stagnation Periods: Visionaries of the Final Three Soviet Decades by Andrey Bokov is dedicated to the unknown and informal design and intellectual activities of Soviet architects of the 1960s–1980s.

From publisher Garage (Museum of Contemporary Art):

«Parallel architecture» was a result of personal and group activity by architects who did not fit into the system of large design institutes and standard projects. Parallel architecture comprised pictures of the future, individual responses to the challenge of the time, new images and meanings that, over time, would become popular and generally accepted. The book discusses those involved in parallel architecture and the forms their activity took, including participation in competitions, working at the seminars Senezhskaya Studio and Interdesign, designs for the City of the Future and children’s architectural studios.

Design by Konstantin Eremenko using Suisse Int’l (Ian Party) for headlines, while body copy is set in CoFo Robert (Liza Rasskazova) and Suisse Int’l.

MFBoats is a fishing boats repair and customization service for amateur anglers and professional sportsmen. Their visual identity was designed by Konstantin Eremenko using a pre-release version of CoFo Weather Narrow. The brand logo is based on CoFo Weather’s wide style, and was refined by Maria Doreuli.

YuliaWave is a fashion brand that blends the sensuality and strength of the modern woman. Maria Doreuli’s CoFo Gothic suits so well with its asymmetrical details that bring an unusual friendliness. It provides the stability of a classic sans and, at the same time, gives a bold and memorable shape to your words.

Design by design studio Shuka (Dina Issayeva and Anna Esedullaeva under direction of Dasha Zudina). For full credits, see the Behance presentation.

studiokwi designed an accessible newspaper for RuT, Germany’s first inclusive, intergenerational lesbian housing project and queer socio-cultural center. CoFo Sans is paired with Literata and Atkinson Hyperlegible. The preexisting RuT logo is based on Brush Script.

From the studio’s website (translated):

The project is being developed in cooperation with the municipal housing association Berlin-Mitte mbH WBM. On the first floor there will be a neighborhood café and a hall for cultural and music events as well as rooms for counseling, health prevention and educational seminars. The house will become a contact point for lesbians of all ages and lesbians with disabilities – a meeting place for exchange and living community: for the building community, for the neighborhood, for Berlin's LGBTIQ+ communities as well as for regional and supra-regional art and cultural actors.

Women Looking at Women Looking at Women: Reclaiming Histories of Women in the Arts and Proposing Models to Facilitate Future Friendships was published by Page Not Found from The Hague, Netherlands. The designers – Marijn van der Leeuw, Esther Vane, India Scrimgeour, and Hannah Meri – used a diverse selection of typefaces designed by women, amongst which CoFo Chimera counts as a local typeface. It started as Maria Doreuli’s graduation project at the KABK’s Type and Media course in 2013.

From the Jury rapport of De Best Verzorgde Boeken:

This publication, a collaboration between a number of female designers, certainly makes a unique impression. The fragile, translucent paper reinforces the idea of collaboration that is so inherent to the DNA of this project: not a single page works only by itself. An idea that is also reflected in the marvellous self cover. The typography of the book is full of little visual jokes and experiments, such as a text about ‘pillars’ in which the text is partly laid out in the shape of a Greek temple. Almost too much, but not quite. All in all, Women Looking… is well thought-out and well made, from the quality printing to the colour of the thread with which it is bound, which corresponds to the special colour used to print the texts. Another attractive aspect of this book for the jury is that it is published as part of the inaugural Page Not Found Thesis Award, an initiative by this platform to promote ‘publishing as artistic practice’.

Printed by die Keure Printing, and bound by Boekbinderij Patist.

Hellfire Restaurant offers a unique dining experience in Dublin, Ireland. The identity was designed by CI Studio, using all-caps CoFo Meteor as the primary typeface. They write:

The dramatic typography, playful copy and punchy colour palette all have reference to the hell and fire aesthetics. It also mirrors Chef Rapisardi’s passion for this style of cooking and his fiery, Italian larger-than-life personality.

CoFor Meteor is supported by Neue Haas Grotesk Display and Auger Mono. Read more about the identity in the case study.

Robbie is a short story written by Isaac Asimov, and first published in 1940 under the title Strange Playfellow. Lucas Mosesson used the text as the starting point for creating a book with an experimental layout, set entirely in CoFo Sans Mono. The project was made as a student project at Lycée Camille Claude, a design school in Blois, France. Lucas comments:

The project ROBBIE: An Interactive Novel reimagines the structure of a conventional edition by opting for an interactive approach that renews the reading experience. It highlights the human dimension through design and interaction processes that involve the human hand. Scratching, cutting, tearing, pasting, unfolding… the interactions are numerous and serve to illustrate the story through gestures, actions, and movements rather than images. This reedition invites the reader to become an actor and shape the narrative through their manipulations. The project establishes connections with current issues related to technology and robotics through a science fiction narrative that encourages reflection. All of this is contained within an ephemeral book whose degradation is necessary to fully enjoy the experience.

The typeface selection is related to the main themes of this work: Isaac Asimov’s short story Robbie revolves around robots and technology! For me, CoFo Sans directly recalls the early digital fonts derived from more traditional typewriter typefaces. This allows for a blending of the human and digital dimensions, with a font that simultaneously exists in the past, nostalgia, present, and future!

Furthermore, it is particularly effective when applying rules and grids to achieve stricter compositions. At times, one might even have the impression of seeing lines of code or script. CoFo Sans is also useful when it comes to make patterns or typographic effects with repetitive characters.

Chess & Company claims to be “the world’s first chess agency”, connecting businesses with chess events and players. The identity and website were designed by White Russian, pairing Grilli Type’s GT America with Contrast Foundry’s CoFo Robert. Liza Rasskazova’s slab serif was slightly modified for the wordmark.

Imagining Otherwise “encompasses current and past projects at the FHNW Academy of Art and Design, and strives toward socially transformative educational and design practices and more equitable futures”. FHNW is the University of Applied Sciences and Arts Northwestern Switzerland (Hochschule für Gestaltung und Kunst) in Münchenstein near Basel, Switzerland.

Design by Mayar El Bakry, with interaction and code by Iyo Bisseck, combining Gabriela by Fernanda Cozzi and CoFo Sans by Contrast Foundry

See The Queens, or STQ for short, combines three fonts by Contrast Foundry for their website: CoFo Chimera Black, CoFo Sans, and the wide CoFo Kak Black.

STQ is a brand new community-built platform connecting drag artists with their audience. Born out of the need to find joy after the pandemic, STQ celebrates and uplifts the incredible performers and artists who bring so much vitality and life to our city. All forms of drag expression are welcome here and we look forward to going on this journey with you.

From AIGA’s Eye on Design blog:

Design challenge: create a wordmark for the more than 20-character long name of a cherished cultural institution. In 2019, Anna Kulachek, art director of Moscow’s Strelka Institute, commissioned Contrast Foundry to do just that for the landmark Khudozhestvenny Cinema. The project addressed a reconstruction of architect Fyodor Schechtel’s 1909 facade and signage, partially lost in the Soviet era when elements of neoclassical decor—including elegant bas-relief chariots flanking the theater’s name—were knocked off. The client liked the first sketches of the letterforms so much that they requested an entire typeface to use in developing the brand identity.

Contrast Foundry’s Liza Rasskazova found her design inspiration in the Moscow Metro. She was especially intrigued by the vaguely Art Deco-ish serif letterforms on the signage at the Komsomolskaya station of the Sokolnicheskaya line, as they were noticeably different from the various sans serifs seen at most other stations.

On the Contrast Foundry website, Liza Rasskazova writes:

I vividly remembered not even the main sign, but the letters above the colonnade in the eastern part of the station’s entrance hall. I was inspired by the elegant letter Я, reminiscent of the R in the New Yorker logo, and the unusual proportions—a very narrow M, a wide A—the widths of the letters tend to unify. That’s when I had the idea to try and make a font based on that lettering and the elusive Soviet art deco.

In September 2022, CoFo Cinema1909 was released for general licensing. In the cinema identity, it is paired with CoFo Sans.

From red_mad_robot:

Since 2008 red_mad_robot was the leading application developer in Russia with offices in 10 cities. Now it is a digital partner for full-cycle product development — from idea to market launch, and further. They create award-winning digital products and services for startups and well-established companies. The visual language was redesigned for the reason to show the growth and the strategic position on the market. The new identity reflects the heritage of the company and the modern approach to the business where the present meets with the future. The single-minded system with savvy humour and bold character is a new red_mad_robot. Only here all robots speak one language.

The red_mad_robot team, led by art director Maksim Arbuzov, asked Contrast Foundry for a custom pixel typeface. And so, CoFo Redmadrobot was born, based on CoFo Sans. The typeface was later expanded and released for general licensing as CoFo Sans Pixel.

Grand Slam Mephisto is an exhibition by the Casablanca studio community in the Bunker-D gallery at Fachhochschule Kiel, Germany. They write:

The Casablanca studio community is a group of nine artists who work in the studio complex of the same name in Kiel-Gaarden. A special feature of the community is the close cooperation between the artists in terms of content: they not only work in their own studios, but also jointly on projects and always exchange ideas about their work.

The project uses CoFo Peshka in different widths and weights.

Manychat is a leading Customer Conversation Platform (CCP), offering to “automate interactive conversations in Instagram Direct Messages, Facebook Messenger, and SMS to grow your brand”. The new Manychat identity was developed in close collaboration with Collins and revealed in November 2022.

The main typeface is a customized ABC Gravity, with short descenders, square dots, and the alternate single-story a, the bearded G and the vertically cut r as default forms – as well as a special M for the logo. The accompanying typefaces are Rooftop and CoFo Sans Mono.

Manychat brand team:
Sergey Andronov, Aleksandr Shmelev, Arthur Reimer, Dima Bertoluchi, Sergey Lisovskiy, Nikita Shabalin, Anastasia Cherkasova, Nikita Krivonosov, Rovshan Eyubov, Kilian Klippenstein, Anya Derevyanko, Vladimir Lukashov, Nadezhda Savina

Collins team:
Louis Mikolay, Jump Jirakaweekul, Mackenzie Pringle, Michael Taylor, Taamrat Amaize, Christine Takaichi, Michael Di Leo

CoFo Sans Mono is used for the Ukrainian Charity fund People of February, in Ukrainian: Люди Лютого (Liutyi Liutogo, sometimes also transcribed as Liudi Liutoho). The two typefaces look amazing in the design. The fund helps Ukrainian hospitals by providing medicine and medical equipment.

The bilingual website (Ukrainian/English) pairs Cofo Sans Mono with the operating system’s Helvetica.

Innotech Group is a modern, fast-growing IT company that develops innovative solutions for digital business transformation. The Innotech Group identity was redesigned by design agency ONY, who state:

The brand's typography required refinement: the bold font in the layouts was rather basic. Such an accent font called for a tight assembly, tense margins and small line spacing, though the font itself had to be freshened up. As a replacement, we have chosen CoFo Kak Black, which is more concentrated and balanced, and have rebuilt the layouts to find the best possible ratio between font sizes, margins and spacing.

Soulful Sessions is a Belgian event organisation focused on “soulful music” as they call it: Dangerous Disco, Sweet Soul, Brazilian Boogie, Adventurous Afrobeat, and Holy House. “Soulful Sessions brings you a fine selection of artists from all over the world to different and unique locations”.

Tijsje Revalk is “a one-woman graphic design studio based in Antwerp, Belgium.
Specialising in illustration and animation, she creates original and colourful designs for use across print, digital or blended for both.” She rebranded Soulful Sessions in 2021, using CoFo Chimera to make a perfect match between the bold colours and shapes and text. The logo uses BioRhyme by Aoife Mooney, sometimes extended with a wordmark set in Coustard by Vernon Adams.