Andiamo is a neighbourhood bar and eatery in Herne Bay, a suburb of Auckland, New Zealand. They recently partnered with Studio 024 to reinvigorate a much-loved legacy brand, using AF Stelios by Abbr. Foundry as the main typeface, including for the wordmark. It is used together with Sharp Type’s Cordier Script.

From Studio 024:

The challenge was to modernise the identity while staying true to its history and local roots. The refresh introduces a new wordmark grounded in heritage and sophistication, alongside a refined palette of rich greens and buttery yellows. Together, these elements bring warmth, confidence, and renewed clarity to the brand. The result is a considered evolution, honouring Andiamo’s past while setting it up for its next chapter on Herne Bay’s main strip.

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Based in Auckland, New Zealand, Hone Studio is a small, collaborative landscape architecture firm focused on craft, refinement, and place-based design.

Drawing on years of experience, the studio works closely with clients and communities to deliver thoughtful, resilient landscapes across projects of all scales, guided by careful listening, local knowledge, and a commitment to honest, well-made outcomes.

Branding assets featuring Gatch were designed in-house by Hone Studio. The website additionally uses Crimson Pro.

Trilogy was founded by two sisters from New Zealand who discovered the amazing skin loving benefits of rosehip oil, and took it to the world. Besides the signature rosehip oil, the brand now features a wide range of skincare products that all follow the same conscious approach, to minimize the impact on earth. Trilogy is Toitū carbon neutral certified, NATRUE and BioGro certified natural and organic. They do not test on animals and use PEFC certified cartons and recyclable or PCR materials wherever possible.

The logotype uses Grand Slang (Nikolas Type). In 2022, Trilogy commissioned Nikolas Type to create a custom version of Grand Slang’s lowercase g which is in use since then.

The branding is completed by Attila Sans (Kometa) Ogg Text (Sharp Type) and National 2 Compressed (Klim Type Foundry).

Jimmy Consulting is the consulting business of Hannah Pearson-Coats, located in Te Whanganui a Tara (Wellington), Aotearoa New Zealand. The website is designed by Hannah Pearson-Coats herself, and built by her partner Charles Munat. The typefaces Name Sans and Name Mono are used throughout the site, along with custom illustrations and lettering by Hannah.

Homepage. See ystrdy.nz for image attributions.

Yesterday* is a curated collection of immersive large-scale prints from the photographic archives of New Zealand.

We use a combination of Mānuka Black and Mānuka Slab by Klim Type Foundry as our headline fonts. Mānuka Slab is primary used for product names and locations. Mikhail Sharanda’s Manrope is used for UI and information copy.

Category carousel. See ystrdy.nz for image attributions.

Navigation. See ystrdy.nz for image attributions.

Product page. See ystrdy.nz for image attributions.

Related content. See ystrdy.nz for image attributions.

About us page

The asterisk in the logo acknowledges the artists and archives who inspired us to start Yesterday*.

Moksha is a New Zealand-brewed, India-inspired gin brand. Borrowing spices and flavors found in Masala Chai (cinnamon, cloves, cardamom), the gin brand pays tribute to its inspiration through a wordmark pairing the name in both Devenagari and Latin associated with illustrations of a lush jungle.

From a Brand Identity interview with Charlotte Sole, Design Director at Tomorrow:

The wordmark was set in the open-source Le Murmure by Jérémy Landes, using the typeface’s catching beauty. On the bottle, it’s seen flanked by the product name – in Farmacia – and a second wordmark, set in Pancho Devanagari by Indian Type Foundry, which quickly nods to the spirit’s ties to India. Depending on the context, the wordmarks can appear close to each other, and sometimes, are even entangled to create a striking lockup.

On top of the wordmark, Le Murmure is also used across the brand for all titles. These three typefaces are also accompanied by Commuters Sans in all caps for sub-headlines, UI, and introductory paragraphs, and Right Grotesk Wide for all body copy.

When Moksha is only sold in New Zealand (for now), one could ask themself what this Devanagari wordmark is here for besides the obvious answer being exoticism, contributing to the Indian feeling of the brand while only the inspirations behind it are actually linked to the subcontinent.

Illustration by Victoria Garcia, copywriting by Hello Elo, packaging production by Porter, photography by Simeon Patience, and styling by Sam Van Kan.

In the very heart of Auckland, New Zealand’s biggest city, half way between Sky Tower and Victoria Park, sits Bowler, a contemporary eatery. As the name indicates, their specialty is breakfast and salad bowls, but they also offer coffee, cookies, and freshly prepared smoothies.

Fresh could also be the word to describe the visual communication of Bowler. Conceived by Studio 024, it’s based on a recognizable palette of earthy to radiant tones, a humorous selection of images, and a straightforward typography with cartouche-like obrounds around principle buzzwords.

Which brings us to the next fresh thing: the typeface Image Future, a fresh entry in Production Type’s still fresh Beta Program. Launched three months ago, the Beta Program offers more than 150 fonts, some of which have been in development for years but haven’t been officially released yet; others, like Image Future, very recent designs that the designers might not regard as quite completed. To access the Beta Program, (free) registration is required.

Image Future marks the entrance on the scene of type design of Guillaume Goron, a graduate of the prestigious École Estienne and ENSAAMA in Paris. His typeface family can be characterized as a geometric sans serif and spans a range of ten weights from Hairline to Black. Rather short ascenders and descenders allow for tight linespacing. The letterspacing is likewise very tight by default – a feature as much reminiscent of 1980s advertising as conveying freshness in today’s graphic design. Bowler exclusively uses the heaviest weight, Image Future Black.

Published by Laurence King (UK) and edited by Gemma Padley, The Women Who Changed Photography tells the stories of 50 remarkable women photographers from all over the world and across history whose diligent efforts have had a profound effect on photography. Offering insights into their lives and techniques, the book invites readers to celebrate these trailblazers in their own photography.

The display typeface Tatsuro, designed by Tré Seals and released by Vocal Type, was inspired by a photograph taken by Dorothea Lange, one of America's most prolific female photographers, in 1941. It’s paired with Klim Type Foundry’s Söhne for text.

From ancient whatu kākahu to contemporary installation art, Frances Hodgkins to Merata Mita, Fiona Clark to Mataaho Collective, Sight Lines tells the story of art made by women in Aotearoa New Zealand. With more than 150 striking images and essays by Chloe Cull, Ngarino Ellis, Ioana Gordon-Smith, Rangimarie Sophie Jolley, Lana Lopesi, Hanahiva Rose, Huhana Smith and Megan Tamati-Quennell alongside the author, Sight Lines is a bold new account of art-making in Aotearoa New Zealand through 35 extraordinary women artists.

Designed by Studio Katie Kerr, Sight Lines: Women in Art in Aotearoa is a 444-page book with a fabric-bound hardcover, that is debossed and foiled. It pairs two typefaces, Caslon Ionic and GT America, with vivid color and crisp artworks to create a warm and engaging layout.

Words by Art New Zealand magazine:

Sight Lines is a material object in its own right. The scale and feel of the book is more serious art-historical companion piece than lush coffee table book. Bright pops of colour and shifting fonts are used to mark transitions between texts and authors. Artworks are given space, either half- or full-page spreads. They punctuate the texts, but also offer a flow of their own.

Albra Book is used together with LL Replica and Suisse Int’l for the identity of Ecodure.

From Studio South’s website:

Ecodure is an independent house of brands, offering a variety of beautiful, durable, and authentic wood and rigid flooring products.

Ecodure collaborates with interior designers, architects, developers, and homeowners to enhance the aesthetics of homes, offices, and commercial spaces, with their flooring products delivering a modern yet natural tone driven by market-leading innovation.

South worked with the new owners following the acquisition of the company to rebrand and reposition the business in the market. Our strategy was to build a house of brands that felt like a consistent family of flooring products promoting the features and benefits closely associated to its customer's needs and wants. This led to a large brand identity, tooling, content, website, showroom interior design package and more.

Mark By South brought the product to market with a digital marketing strategy creating immediate new brand awareness, and strong lead gen.

The visual identity of Slabs Pizza, located in Auckland suburb Onehunga, New Zealand, was designed by fellow Auckland company Blink. Brik is used throughout from logo to packaging and headlines, with Gustavo for supporting text.

The Corner is a beloved neighbourhood pub located in Remuera, Auckland. The client required a fresh creative direction in order to update its various touchpoints across the identity. This included their overall aesthetic, food & drink menus, signage, uniforms and ongoing social media collateral.

Inspiration for the new aesthetic was taken from the casual style of your classic neighbourhood shop signage, aiming to capture the essence of community and camaraderie. There is a strong focus on bold typography, illustration and warm tones for a welcoming feel.

Marx Design (Marx) is a branding and packaging design agency based in Auckland, New Zealand. Unlike most agencies, Marx doesn’t work to a single mantra or a rigid process. Instead, they adapt their approach to delivering idea-led design that seeks to engage the audience beyond its core function and purpose.

Marx came to me requiring a new website to showcase their highly visual and eclectic body of work. As part of this process, they also needed their identity re-developed.

My solution was to create a website full of rich interaction, fun and playful intrigue — a functional yet engaging experience to house Marx’s portfolio and accurately reflect the qualities that make them unique.

Marx Design chose TT Trailers and Lars Extended as the branding fonts for Yes You Can beverages. From the Behance page of Porter Packaging who produced the packaging:

Newly launched and carving the way to less alcohol fuelled evenings, Yes You Can sought a packaging solution to house their 3-pack of non-alcoholic canned cocktails. The inner of the boxes come in 4 different colour ways which compliment the bold, vibrant product and is printed and matte laminated with positive messaging to reinforce the brands ethos.

Oli Booth Architecture is an architecture enterprise based in Auckland, New Zealand. The new brand identity taps into the distinctive intentionality of the OB A design philosophy.

A reductive typographic system is utilised and allows the architecture to tell the story. Moderat acts as the primary brand typeface for its contemporary feel and subtle character and is supported by Söhne and Söhne Mono. Alongside this is a distinctive art direction approach that evokes the personal, connected feeling of the architecture.

Forking good food for forking good people!

A confident brand identity for Fork Catering that plays with bright colour and simple, bold type. Steinbeck acts as the primary brand typeface, being used for its quirky, irregular forms. DM Sans and DM Mono play supporting roles.

Presented as an exhibition at Te Uru and as this publication, MOTUTAPU is:

the conclusion of a four-year journey by artist Benjamin Work and photographer Brendan Kitto. This project looks at the shared history of Motutapu (sacred island) throughout Moana Oceania – including Tongatapu, Rarotonga and at the entrance to the Waitematā Harbour here in Tāmaki Makaurau. Motutapu is a place of sanctuary. [...]

Work and Kitto’s inquiry into Motutapu was initially centred around the shared name. What soon became apparent was a deeper connection to their own hohoko/ʻakapapa (genealogy) as they travelled to three of the Motutapu locations and connected with key knowledge holders. Motutapu has become a metaphor for Work and Kitto as a starting point for these personal journeys. Through Work’s paintings and Kitto’s photographs of their journeys, combined with the introductions to the three Motutapu locations by Pita Turei, Paul Johansson and Stan Wolfgramm the book offers, for the extended diaspora of Moana Oceania, a way for reconnection and reconciliation and as a reminder of what joins communities across time and space.

From cover to interior, all typography is set with the two styles (Regular and Bold) of Girott, designed by Radim Peško.

Cookie Dough Collective is a boutique brand selling pre-made cookie dough that is edible raw or baked. Cookie Dough Collective believe in sharing joy, optimism and nourishing social bonds to inspire a sense of community amongst their collective of dough-lovers.

Colour, typography and pattern are integral elements of the identity and packaging. The colours were selected to give a bright and optimistic feel. While the ‘cookie cutter’ pattern further communicates the fresh, joyful and playful expression of the brand.

Working alongside this is a simple yet bold typographic application – Playtype’s Italian Plate No1 typeface (in weights Black and Expanded) is used for its purity and distinctiveness yet still retains a softened, friendly and approachable quality.

Photography by Erica Boyd-White.

Dan Carter: 1598 is a career celebration of the iconic All Black who is rugby’s highest-scoring player of all time.

This book exists in two editions: A regular one and a signed limited edition available to pre-order from Dan Carter’s website. It comes cloth-bound in a special slipcase, with Adidas boot lace detailing and Swiss layflat binding.

Studio South designed this book closely alongside Dan Carter and using TWK Lausanne (by Nizar Kazan) for the whole design.

Fold-out poster and web presence for the debut solo exhibition Ōtairongo by artist Maree Sheehan, designed by Tyrone Ohia, founder of Extended Whānau (NZ). The project uses Everett Light in a very elegant way with alternate single-storey a and graphic lowercase g. Some pictures of the exhibition are available on the website of the Artspace Aotearoa. This identity for Ōtairongo has been awarded many times by the Best Design Awards of New Zealand.