Glenmorangie logo

Glenmorangie is a Scottish Highland whisky distillery with origins dating back to 1843.

The brand identity, designed by LOVE Creative, features a wordmark based on Berlingske Serif Condensed, with a modified o. It’s suppported by Gotham. The typefaces are also used across Glenmorangie’s website and social media, creating a consistent typographic expression across the brand.

In 2025, Glenmorangie collaborated with actor Harrison Ford on Once Upon a Time in Scotland, a campaign directed by actor and filmmaker Joel Edgerton. The campaign centres on a 12-part short film series following Ford as he explores the Highlands and the Glenmorangie distillery, bringing the brand’s heritage into view through a playful and unexpected perspective.

Harrison Ford’s name is in Bunken Tech Sans.

The title sequence uses ITC Legacy Serif.

Source: www.worthpoint.com License: All Rights Reserved.

The Yes! era of Cartoon Network ran from 2006 to 2007, and was created as a successor to the City era, which lasted from 2004 to 2006 as the main era. During this era, Mattel released a whole slew of merchandise based on various Cartoon Network shows from Foster’s Home for Imaginary Friends to Ed, Edd n Eddy to Camp Lazlo! to the Grim Adventures of Billy & Mandy to My Gym Partner’s a Monkey.

The fonts used for the merchandise are Shag Lounge and the custom Spongeboy typeface.

Source: www.hobbydb.com License: All Rights Reserved.

Source: www.hobbydb.com License: All Rights Reserved.

La Flor is a family-owned spice maker from Hauppauge, New York. The use of ITC Bauhaus Heavy for the spice name gives these basic labels some punch. It contrasts well with the unobstrusive cursive logo which appears to be based on Filmotype Zircon.

Hummus Goodness is a Michigan-based hummus brand founded by Hannah Awada. They rebranded in 2025 with the intention of standing out in a crowded category. Crew Marketing Partners handled the rebrand. The new identity uses OH no Type Co’s Ohno Softie in its logo, packaging, and website.

This is the type of brand personality where Ohno Softie really shines. It's rounded soft-cornered forms bring a bright, friendly, warm personality which matches the Hummus Goodness vibe (their flavor names being “Big Dill” “Beetz” and “Tac-Oh!” just to name a few).

For the packaging, Ohno Softie is paired with Cubano by Chandler Van De Water. On the website, it’s used along with the Latin part of Ek Type’s Baloo as a secondary headline font and Mulish by Vernon Adams and others for menu and body copy.

Oliterrani is a superior category organic extra virgin olive oil, sourced exclusively from Arbequina olives grown on a family-owned estate of century-old trees in the Vall del Corb, in the Tarragona region of Spain. Hand-picked and cold-pressed immediately after harvest, the olives retain their full sensory expression, resulting in an oil of exceptional purity and clarity.

Rooted in tradition and guided by a belief in the luxury of simplicity, Oliterrani’s identity emerges from an artisanal, deeply considered approach. Every element honors origin and process – not through ornament or excess, but through restraint, intention, and quiet precision. Typography plays a central role in this expression.

Roslindale Display Condensed Regular, a refined serif typeface inspired by De Vinne’s 1892 design and reinterpreted by David Jonathan Ross with Jovana Jocić, brings historical depth and understated confidence to the brand. A subtle tilt in the letter O creates a visual echo of the olive itself – the product’s raw material and symbolic core.

The logotype was crafted using hand-applied nanquim ink, producing a bold yet organic mark. Its color palette draws from the natural tones of the Arbequina olive at different stages of ripeness, evoking both the texture of the oil and the untamed character of its landscape.

To further reflect the handmade nature of the product, the labels were printed using traditional linocut techniques. The resulting irregularities and textures ensure that no two labels are exactly alike – much like no two trees, no two harvests. More than an olive oil, Oliterrani is a quiet celebration of land, time, and process – where tradition, craft, and cultural restraint come together in their most essential form.

Tiki Type Wood is a typeface that seems to revisit an early-1970s design named Rosie. Designed by House Industries, it’s part of their Tiki Type collection, a set of eight type styles inspired by Tiki culture – an aesthetic that has more to do with US American stereotypes of Oceanian art from the second third of the 20th century than with actual Polynesian, Melanesian, or Micronesian cultures. The font set was originally released in 1997 on a CD-ROM that additionally included a set of clip art and “12 wave-crashin’ surf tunes” from Estrus Records.

Sometime around 2010, Tiki Type Wood was chosen for the box design of AMT’s Surfer Van, a model kit of a custom 1977 Ford Econoline van. Its alternating top-wide and bottom-wide letterforms are set on a bouncing baseline and embellished with a gradient fill. “1977 Ford Econoline” is in another style, Tiki Type Island, while the ampersand in “Surf & Woodie” comes from Tiki Type Magic. The patterned glyph between “Surfer” and “Van” as well as the Tiki decal on the van probably are part of the font set as well.

The bilingual sticker has squeezed Tiki Type Wood alongside all-caps Burbank. The 2 is a stretched numeral from Tiki Type Magic.

Graphic design for the Hyundai Department Store Pangyo 10th Anniversary by studio Major Minority based in Seoul, South Korea.

The Hyundai Pangyo opened in August 2015 as the largest department store in the Gyeonggi region, blending high-end retail with the tech-focused lifestyle of Korea’s “Silicon Valley.” By 2025, it made history as the fastest department store in South Korea to surpass two trillion KRW in annual sales, cementing its status as a premier luxury destination. It is famous for hosting the “Big Three” luxury houses—Hermès, Louis Vuitton, and Chanel—alongside prestigious brands like Dior, Celine, and Gucci. Beyond shopping, the store functions as a major cultural hub through its Hyundai Museum of Kids’ Books & Art (MOKA) and the 7th-floor Garden Terrace, which frequently hosts art exhibitions.

In 2025, the store celebrated its 10th anniversary with a showcase by visual artist Steven Harrington, featuring giant sculptures and immersive installations that transformed the shopping space into a public gallery.

Major Minority (Eunji Lee and Ted Hyunhak Yoon) did the identity and graphic design using AC Affix by AllCaps. To accompany Affix, they used Workhorse Script by Workhorse Type Foundry from Pennsylvania, United States. The project was art directed by the Hyundai Department Store Design Team Hyunsong Lee, Day Kim and photographed by Bora Jang.

Typography is at the heart of the packaging created for Cookoa by the Brazilian design agency MOVE. Since around early 2020, the identity features Marujo from PintassilgoPrints, a lively hand-drawn script that gives the brand a warm feel. Its organic shapes bring a sense of craft to the packaging, echoing the care that goes into transforming fine cocoa beans and other ingredients sourced from agroforestry systems into chocolate and cocoa-based products with minimal processing.

Marujo’s expressive lettering contrasts with the clean, uncluttered layouts, becoming a recognizable element throughout the product line. The typeface feels natural rather than polished, helping communicate Cookoa’s focus on simple ingredients, hands-on production, and attention to detail. Earthy colors, straightforward compositions, and Marujo’s friendly voice come together to create packaging that feels honest, inviting, and closely connected to the natural character of cocoa.

The Cookoa logo is in Canopée from VJ-Type.

The light typeface is Marujo Fino.

Mujosh is a Chinese eyewear brand operating at the intersection of retail, fashion and culture. Grafa partnered with the brand to redesign its identity and reposition it for a new generation of consumers, moving away from its existing visual language towards something sharper, more expressive and culturally attuned.

The project centred around redefining Mujosh’s presence through a more reduced and confident system. Rather than creating disruption for the sake of novelty, the ambition was to retain recognisability while introducing a stronger point of view. The refreshed identity shifts the brand into a more contemporary space: one that feels less transactional and more editorial and self-assured.

Typography became one of the defining elements of the new identity. Built around Grtsk, the system uses the typeface’s balance of neutrality and character to create a visual language that feels precise yet expressive. Its flexibility allowed the brand to move fluidly between product communication, image-led moments and even patterns. More than a functional layer, typography became a central tool for shaping recognition and giving Mujosh a stronger voice.

Following the initial À table ! poster and T-shirt, this project expands the culinary universe into a fully playable card game. À table ! is a reimagined take on the classic Jeu des 7 familles (Happy Families), heavily inspired by the mechanics of Fachorama. The objective is to gather cards from different categories to build complete menus – starters, meat & poultry, seafood, and desserts – while navigating special joker cards designed to spice up the gameplay.

The game is a satirical tribute to the outdated, unappealing, yet completely unironic recipes found in French cookbooks from the 1960s, ’70s, and ’80s, sourced directly from parental cupboards and internet archives. Mirroring the concept of the original poster, the 45-card deck celebrates the bizarre aesthetics and questionable plating of mid-century gastronomy.

Production-wise, the 45 cards were printed using two-color Risography, then finished with a silkscreen varnish to set the ink. Each category features a distinct color profile. The custom templates for the card boxes were also designed from scratch and followed the same artisanal production process.

Special thanks to @bouricooo for the finishing (façonnage) and Sacrés Caractères for the die-cutting of the cards. This project was created during my residency at Atelier Garage in Lyon, from March to June 2026. 35 decks of cards were produced. The typefaces in use are (in alphabetical order) Bookman Swash, ITC Bodoni Ornaments, Cesare, Interlope, Martian Mono, and Zipper. Bon appétit !

From Wikipedia:

Crash Bandicoot is a 1996 platform game developed by Naughty Dog and published by Sony Computer Entertainment for the PlayStation. The player controls Crash, a genetically enhanced bandicoot created by the mad scientist Doctor Neo Cortex. The story follows Crash as he aims to foil Cortex's plans for world domination and rescue his girlfriend Tawna, a female bandicoot also created by Cortex. The game is played from a third-person perspective in which the camera trails behind Crash, though some levels feature forward-scrolling and side-scrolling perspectives.

The logo uses caps from ComicsCarToon with a 3D effect as well as a flipped C and a modified H. “Bandicoot” is added in stretched Roquette.

Global brand identity by Vilnius-based andstudio for the new Mostai Padel Club using Marlfield coupled with ABC Solar on all media.

Photos by Vytautas Dranginis and Vincas Čygas.

Pauline Desombre designed the visual identity for Simone, a purpose-driven menstrual disc brand. Inspired by a legacy of women who have shaped history and challenged conventions, Simone’s visual identity is built around the ideas of confidence, authenticity, and empowerment.

The logo and identity are set in Ninna by Margot Lévêque, alonside the sans serif Lexend by Bonnie Shaver-Troup and Thomas Jockin.

Skins is a British teen drama series that aired from 2007 to 2013.

The logo is set in lowercase Neo Sans Bold, a typeface designed in 2004 by Seb Lester. London-based visual artist Tal Rosner developed the show's title sequence. Rosner's work won the 2008 BAFTA for Best Title Sequence. Neo Sans is also used for the DVD packaging.

La Petite Boisson is a young, committed natural apple cider brand rooted in the heart of the Norman bocage, in Castillon-en-Auge, Pays d’Auge, France. Built on principles of organic farming, hand harvesting, and additive-free apple processing, the brand launched its first product – Le Titi, a cider named in homage to the Parisian working-class spirit – as a small-batch release distributed exclusively to select restaurants that share the same dedication to quality. This debut was followed by a 100% organic apple juice line, Jus de Pomme LPB, which extended the brand’s commitment to nature-conscious, artisanal production. Most recently, La Petite Boisson introduced Vesper, a new 100% organic cider whose visual identity carries a deeply personal touch – centered around Vesper, the owner’s dog, now an affectionate and defining symbol of the brand. Each product line is cultivated through traditional pre-orchard methods that actively promote biodiversity, where trees, grass, and animals coexist within a living ecosystem.

The visual identity across all three product lines was conceived by French creative studio Le Piret à Venir, whose bold and distinctive design approach mirrors the brand's character at every stage. As the logotype and primary visual typeface, La Petite Boisson employs Base Neue, a typeface crafted by Power Type. Supporting typefaces include Editorial New and Helvetica or similar. Together, the brand identity, typography, and product philosophy cohesively articulate a single clear proposition: “Be Brighter, Drink Cider.”

The Vesper label uses Base Neue Super Condensed.

Plant Good Seed is a California-based seed company with a catalog of 300+ vegetable, flower, and herb varieties. The package design by owner Quin Shakra pairs Exchange and Mallory – both by Frere-Jones Type – with unique hand-drawn lettering and illustrations by Goda Trakumaite.

First published in 1975 by the Lawrence Hall of Science and the University of California, Berkeley, this packaging makes use of several alternate characters of ITC Serif Gothic with ITC Bauhaus and Helvetica for secondary text. The graphic design is credited to Rebecca Martinez inside of the packaging.

Blah Blah Yeah Okay is a packaging system for a line of shampoo and conditioner bars by Angelopoulos Hair Co.

The name sets the tone through attitude, rhythm and instant memorability. Bold typography and high-contrast color carry that energy across the range, creating a playful, graphic language that catches the eye and invites a closer look.

Designed to stand out on shelf, the boxes turn the product into a graphic statement. The visual system extends to soap bars and supporting materials, reflecting its bold identity.

The business cards were Riso-printed by Studio Fidèle.

Herbathera is a herbal shop owned by Mathilde Sérézat that opened in 2022 in the 12th arondissement of Paris. Its visual identity contains the logo, cards, packaging designs, and the website.

Designer Magali Brueder on Matorral:

We chose Matorral because the style reminded us of the world of plants, with its blend of softness and sharpness!

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Smugglers Society is a CBD social club based in Paris, located on Hauteville street. The brand identity has been designed by Studio Furious, with a comprehensive approach covering art direction, photography, campaign development, store signage, packaging, and merchandising.

Studio Furious developed a distinctive visual language built around the typeface Exposure by 205TF, used in both –60 and +40 variations. Its soft, rounded forms and slightly blurred appearance evoke the diffuse, intangible quality of smoke—subtle, atmospheric, and constantly shifting.

The photo series is built as a playful visual guide to the “10 golden rules” of a modern-day smuggler. Use them at your own risk...