This is a recruitment poster for a buyer's shop called Code Me. The building in this poster is the appearance of the buyer's shop. The whole illustration is depicting a person holding a trumpet in the shop to tell everyone about the recruitment information. Since the overall image is lively and interesting and the patterns are complicated, Bazinga chose Tenor Sans which is a more concise but without losing the advanced sans serif as the main font. And for the small fonts, she selected Innova as the basic font which let font weight changes to increase the sense of hierarchy.

Van de Boom is a Dutch brand that launched in November 2016. They see a growing demand for products with less sugar and hence have developed and marketed delicious, surprising and healthy drinks that do without a lot of saccharides.

The product names are presented in Animo (Durotype). Smaller type on the packaging is in Archer; the wooden sign (“Full of taste”) shows Cera Stencil with a burn effect.

The logo combines Cera Stencil with Archer, both in all caps.

The website pairs Animo for headlines and menus with Archer for text. TrashHand appears for extra comments.

Re-release of Ennio Morricone’s original motion picture soundtrack for Il mio nome è Nessuno (My Name Is Nobody), a 1973 Spaghetti Western starring Terence Hill and Henry Fonda. Issued as a Record Store Day 2015 exclusive by AMS Records, in a limited edition of 100 copies in clear transparent or solid orange vinyl, the album was later reissued with new artwork and on black vinyl. The gatefold LP comes with a 59×30cm insert, flyers, and lobby cards by Fabio Capuzzo Design. Design, layout & liner notes: Eugenio Crippa for Advent Productions.

While the title replicates the crude black capitals as found on the original movie poster and album cover, the subhead and names of the composer and the actors are set in Ed Interlock. This OpenType epiphany was made by Ed Benguiat together with Ken Barber and Tal Leming and released by House Industries as part of the Ed Benguiat Font Collection in 2004.

The track listing uses Clarendon, credits are in Simplo (Durotype’s tribute to the Italian classic Semplicità).

Corporate Design for meb by Simone Eberhard-Burki (mediations, inheritances, consulting in legal issues). The logo is in Flexo Demi, paired with Maven for text.

“Pioneers of the crowdfunding space since 2008, Indiegogo felt it was time to take their brand identity and website to the next level. Influenced by their brand essence of personal empowerment and global inspiration, we used multi-colored, interwoven shapes to evoke the collaborative and multicultural nature of the platform. The heart shapes converge toward a center point, symbolizing the passion people have about pursuing and funding their own ideas. All aspects of the visual identity were designed to give Indiegogo an inviting and international appeal.” — TRÜF

For the logotype, TRÜF chose Bryant over the much more common typeface in this soft-ended geometric genre, VAG Rounded. This gave them the spurless ‘n’ (a Bryant alternate) and a more circular ‘g’ and ‘o’ than those of the oval VAG Rounded from Adobe/Linotype. The choice is commendable. What does not seem so wise is the decision to take the scissors to the two ‘i’s, snipping their bottoms in a manner that is now becoming trite. The original round end of the ‘i’ echoes the shape of the hearts in the logo’s symbol, so I can’t make any sense of this move other than to feign originality.

Otherwise, the identity is certainly memorable, recognizable, and responds to the brand goals for Indiegogo. Seconda Soft supplements the logo as a corporate typeface on the website and other materials. There are similar typefaces that are far better designs (including Proxima Nova Soft, Gotham Rounded, and Bryant itself) but Seconda does the job ok.

Minor typographic missteps aside, TRÜF’s rebranding as a whole was a huge step up for Indiegogo, instilling potential funders with newfound confidence in the service.