Bizzy Cold Brew is a cold brew coffee company founded in 2013 with an obsession for cold brew and a commitment to organic beans with maximum flavor and strength.

In 2025, Bizzy Cold Brew collaborated with Day Job for an all-new identity from strategy to art direction; emphasizing quality ingredients, intense attention to detail, and sustainable business practices. The new look uses natural tones of brown, green, and tan as well as a visual ethos built around always pursuing perfection. Dayjob chose Tarnac by Marc Rouault, available from Sharp Type, as their main typeface to unify their overall identity that drew from vintage woodcuts and archival references. The supporting sans is Schick Toikka’s Dia Light, and the scripty logo appears to be custom drawn.

From information on the label of every “Ready-To-Drink” bottle and "Brew-It-Yourself" bags to their web layout, Tarnac brought a timeless look that merged historical visuals and modern coffee culture sensibilities.

Darden Studio’s Omnes is used for designing the packaging of Sun Squad.

Sun Squad is Target’s private label brand for all things summer. First launched in 2019, the seasonal collection of outdoor products ranges from inflatable mats and pool toys to beach umbrellas and towels, to bubble blowers and sidewalk chalk.

The wordmark with the wide U doing double duty as sunny smile is custom drawn. Product names are in Cooper Black. All other copy is set in the equally rounded Omnes. It serves for product descriptions including information about size or volume, age range, and price.

The packaging designs were developed by Target’s in-house creative team, Brand Design Lab. Ashley Hohnstein was the Lead Designer and Art Director for the project, working alongside David Hartman (Senior Creative Director) and Steven Jockisch (Assistant Creative Director).

Thanks to their shared roundedness and vertically compact proportions as well as details such as the double-story g, Omnes and Cooper Black go along together quite nicely.

Omnes is also used for the rhymes that are printed on the yellow bottom side of each packaging design:

Long summer days, time to hang out.

Together outside is what it’s about.

Colorful umbrellas shade from the sun.

Sun Squad is here, ready for fun.

Studio MPLS brings Roastar’s coffee tins to life with Coquette by Mark Simonson, adding a nostalgic yet vibrant touch to the packaging. Coquette’s unconnected, upright script delivers a playful, retro flair that pairs seamlessly with the bright color blocking and bold geometric patterns. Arrevederci JNL and Main Feature JNL, two quirky sans serifs by Jeff Levine, add to the retro vernacular feel of the design. The result is a packaging design that feels like a fresh take on classic pantry staples—timeless with just the right amount of charm.

Read more about the project on the Dieline blog.

From the case study by Zeus Jones:

Climate change is by far the biggest problem facing our world, and Dimensional Energy has created a bold solution: transforming carbon dioxide into sustainable aviation fuel and other everyday products like surf wax. As they worked to scale their technology, Dimensional partnered with Zeus Jones to evolve their brand strategy, positioning, and brand identity to help them usher in this new future of energy.

The new identity of Dimensional Energy is a brilliant display of Pangram Pangram’s Neue Machina Collection.

I am not quite sure how to refer to […], and that is the point. “I could not imagine a title for the book or for most of its poems in a time of extermination,” author Fady Joudah told Electric Literature. “The ellipsis in brackets highlights the space in which a Palestinian speaks and others listen.”

Cover designer Mary Austin Speaker worked closely with Joudah on all aspects of the design, noting that they wanted the cover to reflect the silence underlying the poems.

[A]s we considered several busier cover designs, we began to see that this book required a minimalist cover in order for the pictographic title to be the focal point. This book is very much about silence—the majority of the poems in the book are titled, simply, “[…],” and we wanted a cover that offered that silence in a very direct, highly visible way.

I designed the package to carry the colors of the Palestinian flag when it’s viewed in full, and added a cloth texture not only to summon the flag but also to signify the interweaving of lives the book illustrates: what appears to be separate is actually woven of the same cloth. The front cover uses only green and black, while the back cover is a red field featuring a single poem. It was Fady’s idea to bisect the cover with two colors, which I agreed lent itself to the very idea of division that this book seeks to subvert with complexity, trouble, history, names, art—all the things that get subsumed by silence—represented here by the ellipsis in brackets as well as Fady’s name in both English and Arabic. The black field offers a space for grief, while the green field below represents land that remains alive despite besiegement. We made the decision to represent Fady’s name in both the English and Arabic letterforms in order not only to render Fady’s presence as Arab and as Palestinian American immediately legible to an American audience, but also to push the boundaries of book cover conventions—Arabic script is beautiful and illustrative, but of what? Printing the author’s name in Arabic invites us to try harder to overcome our gaps in understanding. It’s a start.

In an email to me, Speaker elaborated on the type:

I used Manofa because of its calligraphic look, and because it offers a condensed heavy weight. I wanted a bold, strong, expressive look for Fady’s name, so that it would complement the Arabic script rendering of his name and set with it as one visual unit together. I did offer a version of this cover with the title set in Manofa Medium Condensed as well, but the author preferred Minion for how it reads as more typically Western/English. This book is very much written from a liminal perspective between American and Palestinian perspectives, so the blending of typefaces, with a skew in the direction of Arabic (e.g., title = Western/English, author’s name = English with a calligraphic / Arabic-honoring typeface, author’s name in Arabic = Arabic) speaks directly to the author’s experience as a member of the Palestinian diaspora, speaking to diasporic Palestinians, non-Palestinian Americans, Israelis, and Palestinians all at once—not to limit the audience, but to put a finer point on those whom the book addresses explicitly. The poems arise from these addresses, and address a much larger, more international audience and some astonishingly big subjects (time! nation-building and how it shapes people! love!), but I think it’s safe to say the events that occasioned these poems grows directly out of Fady’s experience as a Palestinian-American.

“It Looks Just As Stupid When You Do It.” poster (17½″×25″). This trademarked slogan was first used in August 1990. The “Youth Against Tobacco” text appears to be done by hand.

This anti-smoking campaign was developed in 1990 by Minneapolis-based agency Martin Williams for the Minnesota Department of Health.

Wendy Solie Hansen takes credit for the art direction, with copywriting by Lyle Wedemeyer and photography by Rick Dublin of Dublin Productions. In a feature in Print Casebooks 9, Teresa Reese writes:

For the copy line, […] Hansen chose Caslon Antique because it reminded her of smoke, “kind of wavy and jagged and not clean-looking.”

The small print sometimes is in Helvetica (or similar), but that varies between the various printings.

These two posters are dated 1989. Left: “If You Smoke, You Might As Well Start The Day With A Mouthful of This.” poster (17½″×25″). Hansen comments:

“Once we decided to go with a Scope look-alike,” she reports, “we tried to make it as close as possible

without getting into legal trouble. We changed the shape of the label somewhat but used the same typeface, Optima Medium […].”

Right: “If You Smoke, Your Expensive Perfume Won’t Smell So Expensive.” poster (17½″×25″). The label text uses Helvetica.

“Butts Are Gross.” poster (17½″×25″). This printing includes the logo of the American Cancer Society. This trademarked slogan was likewise first used in August 1990.

“Butts Are Gross.” poster variant in landscape format (13″×30″)

Goodhertz partnered with Chase Bliss to bring their popular audio software plugin, Lossy, to the pedal format. A description of the pedal from the Chase Bliss website reads:

Lossy captures the special kind of degradation that happens to digital audio when it’s shrunk, transferred, and compromised.

Streaming music on a 56k modem, an MP3 ripped from a CD-R, a viral video from 2007 played through a cellphone.

All the nasty and beautiful mistakes of heavily deconstructed digital audio in an easy-to-tweak real-time pedal.

VCTR Mono is used in the small text, labeling the controls. Poppins, the brand typeface for Chase Bliss, is used one some of the other labeling on the side of the pedal, as well as the logo.

The Lossy logo is custom drawn by Rob Stenson, who describes the process:

We've used a pixel version of that logo for the Lossy plugin for a long time, and for the pedal I wrote some more Python code to transform it (outlining, blurring, then autotracing with potrace). I originally made the pixel version of the logo myself, based on the title on devonwho’s Lyon album cover. I thought the album cover was custom lettering, but years later I found it used an actual font (either “Italic 08_55” or “Italic 08_56”, not sure which, both listed here), and that my recreation of L, O, S, and Y were pretty dang close to the original (not hard to do when it's a pixel font).

The Goodhertz logo is also custom. Rob Stenson describes its history:

James Edmondson (OH no Type) did the original Goodhertz logo (which is a riff on an early Motown logo), but I transformed that for the pedal w/ some Python code (I “flattened” it with the FlattenPen).

A Halloween CD made by Tom Hambleton in 2009, containing “traditional Halloween sounds & music to greet your guests.”

What did the designer use to visually enforce the Halloweeny vibes? A digital version of Fanfare and condensed caps from Artcraft.

Design by Maria Friedrich with art direction by Megan Schaefer.

[More info on Discogs]

From Formist Editions:

A project dedicated to typographic exploration in a public space

Curated by Erik Brandt, Ficciones Typografika was a project dedicated to typographic exploration in a public space. Over a five year period, a modest poster board hung in a Minneapolis neighborhood became a barometer for experimental typographic practice within the global design community.

At 624 pages, 1642 is a dense tome that documents the complete project, featuring works ranging from big-name designers to talented students. Conceptually approached as the last Ficciones Typografika (hence the title 1642), the book is an expressive and visceral experience, rather than an encyclopedic documentation. Every installation of works is reproduced along with an overprint of the original posters at 1:1 scale. The overprints are essential to the poster experience and provide the reader with an actual size window into the Ficciones Typografika project.

The volume features a meditative text by Ben DuVall, as well as an enlightening conversation between project curator, Erik Brandt and Paul Schmelzer from the Walker Reader. Typeset in a custom Formist typeface, Ficciones Typografika, 1642 is an appropriately authentic and fantastically diverse design experience.

The book was designed by Mark Gowing Studio and published in May 2019 by his Formist Editions using one weight of Fiction throughout. Originally designed for this publication, Fiction is an automated typeface design, generated by interpolating the averaged center line of Akzidenz-Grotesk, Helvetica, and Univers, and then applying varying stroke widths to yield eight weights (plus obliques).

Early version of Burns by Nolan Paparelli shown on a poster series for the Ficciones Typografika project by Erik Brandt. These posters measured 72″×36″ and were installed on December 20, 2017.

Studio MPLS designed the logo and packaging for Strange Lands, a (now defunct) distillery that was based in Trois-Rivières, Quebec. The identity uses an elegantly-customized Crayonette DJR for the logo, monogram and perhaps, most importantly, the word “GIN”). Other display text is set vertically in Corfe, and supporting text is set in an all-caps combination of LHF Egyptian and Series A Signage JNL. The identity uses a variety of colors to distinguish the different gin varieties, all set on a label with distinctive stepped corners.

Studio MPLS senior designer Brent Schoepf spoke to The Dieline about the typographic palette:

[Crayonette] DJR all day! Dolly Parton’s album Home for Christmas made us do it. We’re just imitators in this case. All other typography is either from Letter Head Fonts or Jeff Levine, always and forever our default font makers. And a special shoutout to Beasts of England for the embossed type on the side of the bottle, done in ‘Corfe’.

Typography by Ian Babineau for Innocence of Faith, a photography exhibition by Bobby Rogers at The Bureau in Minneapolis. Marlfield is paired with Arial.

Poster campaign and illustrations for The Walker’s annual Skyline Mini Golf event of 2022 which features a ten holes artist-designed course on the rooftop of The Walker.

Designed: Studio Elana Schlenker and Jordi Ng
Illustrations: Jordi Ng
Typeface: Elastik regular C by Benoit Bodhuin.

Colle McVoy and 10 Thousand Design have combined to help evolve the Anytime Fitness brand to further reflect its values and goals. They’ve used F37 Moon by F37 Foundry as a versatile, impactful and contemporary typeface for the refreshed brand identity.

Omnes is used for the logo of Global Rights for Women.

The non-profit lobbying organization headquartered in Minneapolis is active around the globe to advance laws, policies, and practice to create communities where women and girls can live free from violence. Since the launch in 2015, GRW’s visual communication is centered around the two-line logotype in Omnes Regular, with the two aligned O’s substituted by overlapping color dots. The motto “Justice for Victims of Violence” is added in Archer.

Monochrome version of the logo as used for a previous version of the website

The logo as used on the cover of a report published in 2020, designed by Neerja Sharma. Text is set in Avenir.

The logo as used on the back cover of a report published in 2020, designed by Neerja Sharma. Text is set in Avenir.

Side with text

This handout was produced in summer/autumn 1964 to promote the United States presidential campaign of Barry Goldwater, arguing that Goldwater could combat communism and listing countries which had become communist dictatorships in the previous quarter-century. I'm not clear whether the organisation which prepared this image, “Minnesota Citizens for Goldwater-Miller”, was part of the official Goldwater campaign. The map is credited to Robert G. Ridgway of Minneapolis, and an R. D. Ridgway at a residential address is the contact for reprints. According to directories Mr. Ridgway seems to have owned a local construction firm.

I believe this document was prepared using a Varityper, a proportional typewriter used for professional documents. A 1967 specimen is on the Internet Archive (I’m deeply grateful to its uploader “MacSimski” for making it available) and both text faces use match Varityper faces in distinctive ways. Varityper also had a phototypesetting system for headlines (“you compose by simply dialling”), developed by the brother of Kennedy and Johnson’s Secretary of Labor, funnily enough.

The sans-serif is Eton Sans, a copy of Gill Sans. Some details, like the very narrow O Q W, seem likely to be the result of some restrictive character-width system of the kind Adrian Frutiger later complained about on IBM Composers. The wide a suggests the designer might have had News Gothic or Trade Gothic on their mind. A sort of proto-Whitney, then? I’m not aware of other typewriter versions of Gill Sans or widely available American releases of it in any other format; IBM’s Selectric Composer manuals show nothing similar at all. (Really cheap choice of name, I feel.)

The serif is Tribune News, a rational serif in the style of Linotype's Legibility Group and the Century family. Even more here several distinctive, odd character widths in the italic suggest a constrained spacing system, especially the very narrow h n u. The roman is much better.

Incidentally, an odd characteristic of the Varityper specimen is large headings which often seem very different to the body text, more crisply printed, better spaced and almost different typefaces altogether. These were presumably printed using their headline-setting phototypesetting system, given that the specimen claims that “all type in this book was composed on VariTyper equipment.” I don’t have a specimen of these faces. Futura Bold or a copy is also used for the largest heading. Varityper did have a clone on their typewriting system but it’s much more condensed, so could this have been phototype, or metal type? The specimen’s heading does look the same as Futura Bold. Ralf Hermann has a video showing the very similar Berthold ‹diatype› machine if you want to get the general idea of how these first-generation phototypesetting machines worked. It looks like the headine repertoire was different to the typewriter face list, because for some faces the heading doesn't match the text face or just defaults to Times New Roman.

Richard Polt quotes a very knowledgeable message from a former employee: “One of VariTyper’s favorite selling points was their interchangeable type. You could have two fonts in the anvil at a time and could rapidly change a font if you chose.” A striking thing about the document is how it switches from serif to sans for emphasis frequently; the sans is often only used in all-caps in these sections. Two weights of the sans-serif are used for the table. Polt’s correspondent also writes that Varityper's system was overtaken rapidly by the better-known IBM Composer in the late 1960s and notes the spacing characteristics.

Here’s a description of Varityper's later system. (With contributions in the comment section from two fairly well-known authors, Derek Lowe and Charlie Stross-man, the early blogosphere seems to have been a small world.)

Other side, showing map by Robert G. Ridgway

Crop showing type more clearly. All this text seems to have capitals too low relative to the lower-case.

A specimen of Eton Sans regular.

Varityper’s Tribune News. Some unusual character widths suggest a constrained spacing system. The top line “Tribune News Italic” is totally different, presumably phototypeset.

Varityper’s text-size “Sans Serif Bold”, a Futura knockoff, doesn’t match the document. Again, the top line looks like true Futura Bold, and presumably was made on their headline phototypesetting system.

Self-Esteem: A Classroom Affair. 101 Ways to Help Children Like Themselves by Michele and Craig Borda was published by Winston Press, Minneapolis in 1978, with illustrations by Constance Crawford. ITC Zapf Book (1976) is used in various styles and weights throughout the book.

Some materials from the identity designed for Avant Garden, an annual benefit at Walker Art Center, that supports the Walker’s artistic and educational programming.

The identity for Avant Garden (AG) 2016 is based on the Walker’s outstanding architecture, which has many unique construction elements such as skylights, windows, and slanted walls

The design process started with gathering images of the building and architecture plans. I outlined the windows and skylights from the images and filled them with a pattern similar to the rainbow terrazzo/marble stone used on the Walker’s floors. This flexible pattern used at various scales evokes associations with confetti and the various architectural elements of the Walker’s interior architecture. The colors are taken from diverse aspects of the building and from the new acquisitions in the lobby and Sculpture Garden.

The chosen serif typeface, Gletscher, balances the playful and illustrative feeling of the architecture-inspired pattern, giving a more elegant feel to the identity. Developed by Heavyweight Studio from Czech Republic, Gletscher is very geometrical with sharp and strong serifs, similar to the angles used in the Walker’s architecture. The proportions between the thin and thick elements of Gletscher’s letterforms successfully balance between modern and classical, between known and new. Each character is wide and airy, reflecting the new building at the Walker, which will be constructed with floor-to-ceiling glass allowing a view of the surrounding landscape. The secondary typeface, the sans-serif Dia drawn by Schick Toikka, relates to the diagonals used in the dramatically sculptured ceiling skylights.

Combining these two typefaces and a new Walker window-terrazzo pattern makes the identity of Avant Garden 2016: modern, elegant, exiting.

Personally, I was particularly captivated by the complex details in Andrea Büttner’s prints and woodcuts. My initial design sketches for the visual identity explored the combination of typography and woodcut patterns and an attempt to use fragments of Büttner’s works and her carved forms/line-work. What I found interesting was the complex markings that were left-behind by the sharp edge of Büttner’s carving tools and which range from hairline markings to triangular, gouge-like markings.

An important step in designing the visual identity was finding an appropriate typeface – ideally a classical, but not boring, serif typeface. Noe Display responds to the pronounced and crafted feeling of Büttner’s work. Designed by type foundry Schick Toikka, the typeface is transitional-style, high-contrast headline typeface. Noe Display’s sharp triangular serifs and terminals give it strong and distinctive characteristics, echoing the similar shapes which occur within Büttner’s etchings and woodcuts.

To emphasize a connection to Büttner’s sharp woodcuts within the typographic treatment, I slightly altered the height and appearance of the umlaut. Rather than keeping the two dots that typically appear within the umlaut, I instead swapped-in two triangle shapes that derived from the top, triangular part of the letter t in Noe Display. These triangles also replaced the dot above the letter i.

Intrigued by the small details in Büttner’s work, I then decided to respond by creating my own level of typographic detail through a series of customized punctuation marks that would subsequently be embedded within the texts associated with the exhibition. As a base for the punctuation, I used the same Noe Display-derived triangle shape to then create a comma, colon, period, and apostrophe. The resulting punctuation marks, which appear throughout the typeset materials connected to the exhibition, make a small intervention on the space, yet are elements that may go easily unnoticed upon first glance. This subtle intervention was made in order to focus more attention on the detailed and contemplative nature of Andrea Büttner’s work.

Find more about the exhibition and its typography on the Walk Art Center website.

Welly is a company that sells premium and fun first aid bandages and other essentials. For the identity they use a customised stencil version of DSType’s Leitura Display Italic together with Leitura News and Commercial Type’s Styrene A for the product tagline and descriptions. Welly worked with Prime Studio on product design and Partners & Spade on brand and identity.