Rebel Patch is an independent, female-owned sustainable fashion brand based in Bristol, UK, that creates limited-edition, artist-designed patches for clothing repair and upcycling. The company aims to make textile repair accessible and fun by offering wearable art alternatives to traditional iron-on patches, using organic cotton and eco-friendly manufacturing methods.

The visual identity of Rebel Patch is a blend of raster and vector elements. The art direction draws heavily on nature-inspired imagery, grounding the brand in an authentic, organic aesthetic that underscores its commitment to sustainability. In contrast, the graphic elements introduce a layer of energy and optimism.

Showcase is the graduate platform and end-of-year exhibition for the students of the University of the West of England (Bristol) in the College of Arts, Technology and Environment (CATE). The platform and its identity was created in 2020 and refreshed in 2023 by Rhombus under creative direction of James Ratcliffe. Originally launched as a digital showcase during the COVID-19 pandemic, the platform was expanded as part of a broader rebrand accompanying the return of the physical end-of-year show. The website continues to serve as a portfolio space for graduates to present their work and connect with potential employers and collaborators.

The identity takes cues from the “white cube” gallery model. A restrained monochrome palette and generous white space position the students’ work as the central visual element across the website and printed materials. Typography is set in Swiss Typefaces’ Suisse Works and Suisse Int’l. From the article “Showcasing creativity” by The Brand Identity:

The typographic direction maintains the professional look of the brand, thanks to Rhombus’ decision to use the elegant, modern and cutting-edge Suisse font family which, Ratcliffe explains, “felt right for an identity that needed to bridge art and education.” Suisse Works is used for the wordmark for its classical flair and ability to “stand alone as a logo without fancy customisation.” The supporting typeface, Suisse Int’l, was chosen for its versatility and legibility, ensuring a clear hierarchy, and its utilitarian ability to maintain accessibility across the extensive website.

The artwork on the poster to the right uses Velvetyne’s Pilowlava.

David Attenborough celebrates his 100th birthday today. The BBC pays tribute to the great natural historian and broadcaster, and the Guardian has a list of his 100 most spectacular TV moments.

On Fonts In Use, we take a look at the titles for The Living Planet. A Portrait of the Earth. Written and presented by Attenborough, the BBC nature documentary series first aired in 1984.

From Wikipedia:

The sequel to his pioneering Life on Earth, it is a study of the ways in which living organisms, including humans, adapt to their surroundings. Each of the twelve 55-minute episodes (one fewer than his previous series) featured a different environment. The executive producer was Richard Brock and the music was composed by Elizabeth Parker of the BBC Radiophonic Workshop.

Title designer Margaret Perry worked with a typeface that hasn’t come up here before: it’s Ageratum, a serifless roman – or calligraphic sans – with distinct contrast, flared stems, and large x-height. It was issued in the 1970s for phototypesetting by Headliners. I haven’t found out the name of its designer yet. The name of the typeface is, quite fittingly, derived from the natural world: Ageratum is a genus of flowering plants in the Asteraceae family, and better known in the United States as whiteweed.

A customized version of TT Hoves with round punctuation, a tileted e and a schoolbook a is featured on the website of True Digital.

True Digital is a full-service digital marketing agency.

The custom version named TT Hoves True is distinguished by round dots, an angled e, and a schoolbook a.

After recent changes to senior leadership and a hard-won grade increase from Ofsted, City of Bristol College was radiating with positivity. The perfect opportunity to draw a line in the sand, shout about its improvements, and reaffirm itself as the Bristol College.

Working alongside leadership, staff, and students, we wrote a simple proposition: Where Next? A question intended to challenge the college, and its people to be ambitious, self-examine, and continually improve.

The logotype is a customized Ryker Oblique. Ryker is used in the brand system together with Livvic.

Food on Svalbard is a 48-page publication that dives into the unique subject of food on Norway’s Arctic archipelago. With essays from Reidun Braathen and Even W. Hanssen, Nikhil Vettukattil, Samantha P. H. Dwinnell, and Maggie Coblentz, it explores everything from the culinary potential of Svalbard’s wild mushrooms to the foraging habits of reindeer, offering a fascinating range of perspectives on food in the Arctic.

The essays are in both Norwegian and English. The book is typeset in RG Gaueko and Triptych Roman and Italick. The book was printed by Bristol’s Taylor Brothers in two spot colours (1765U and 412U) on PaperWise Natural from Fenner Paper which is created from 100% post-agricultural crop waste, and singer-sewn with pink thread. This is the third book in the series – see Artica Writings 2021 and Return to Nature? – all of which have been printed in two spot colours with binding methods that leave exposed threads.

See more images on the publisher’s website.

The arts weekender website and leaflet is maximalist, quirky and a riot of colours and shapes. Weston is a slightly weird place and we wanted the site to embrace that and challenge the conventions of a typical arts festival website.

Rooted in Westons unique coastal landscape, Promenade considers an ecology of place, and our relationship with the environment we live in.

It Were All Muck & Nettles is a folded “hot dog” cut zine for artist Sam Francis as part of her People Came for Tea and Stayed Forever show at East Quay Watchet. The zine examines the use of nettles in folklore, food, magic and traditional remedies.

Printed by Taylor Brothers Bristol in Pantone 7488U and black. A3 folded to A6.

Aardman Animations Limited is an animation studio based in Bristol, England. It is known for films and television series made using stop-motion and clay animation techniques, particularly those featuring its plasticine characters from Wallace and Gromit, Shaun the Sheep, and Morph.

The website combines the heaviest weight from Rubik – served as variable font – with Source Serif.

TANGK is the upcoming fifth album from Bristol-based band IDLES:

Pronounced “tank” with a whiff of the “g” – an onomatopoeic reference to the lashing way the band imagined their guitars sounding that has since grown into a sigil for living in love – the record is the band’s most ambitious and striking work yet. Where IDLES were once set on taking the world’s piss, squaring off with strong jaws against the perennially entitled, and exercising personal trauma in real time, they have arrived in this new act to offer the fruits of such perseverance: love, joy, and indeed gratitude for the mere opportunity of existence.

TANGK will be released on 16th February 2024 via Partisan Records.

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

The necklace numbers use Eurostile Black.

From Wikipedia:

Chicken Run: Dawn of the Nugget is a 2023 British stop-motion animated comedy film directed by Sam Fell and written by Karey Kirkpatrick, John O’Farrell and Rachel Tunnard. A sequel to Chicken Run (2000), the film was produced by Aardman Animations and stars the voices of Thandiwe Newton, Zachary Levi, Bella Ramsey, Romesh Ranganathan, David Bradley, Daniel Mays, Jane Horrocks, Imelda Staunton, Lynn Ferguson, Josie Sedgwick-Davies, Peter Serafinowicz, Nick Mohammed, and Miranda Richardson. It tells the story of Rocky and Ginger who lead a rescue mission when their daughter has been abducted to a highly-advanced poultry farm run by their old enemy Mrs. Tweedy.

The posters were designed by Empire Design, using Revla Sans as the primary typeface, paired with slanted caps from Impact for the logo. On the character posters, Revla Sans is used in all caps, with a drop shadow and set on an angle. The nicknames are added in Astounder Squared BB, with “Introducing” in Brophy Script.

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

“This time they’re breaking in!” is in Futura.

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

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

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

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

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

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

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

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

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

Superpower: Africa in Science Fiction was an exhibition that took place at Arnolfini in Bristol in 2012. It surveyed recent tendencies for artists and filmmakers to apply the forms and concerns of science fiction to narratives situated in the African continent. It considers the complex undercurrents for this occurrence in art today, and posits other and possible realities existing simultaneously, via careful re-orientations of tense; elevating the need for vigilance towards the present and future over a concern for the past.

This Riso printed A5 booklet accompanied the show and was written by Al Cameron and Nav Haq.

Lying at the head of Van Mijenfjord in the Norwegian archipelago of Svalbard, Sveagruva was one of the largest underground coal mines in Europe. In 2017, after almost 100 years of coal production, Store Norske Spitsbergen Kulkompani embarked on one of the most ambitious environmental projects in Norwegian history. Their goal was to end mining operations, remove all traces of mining activity and return the area to its natural state. In 2022 Artica Svalbard collaborated with LPO Arkitekter and UiT (The Arctic University of Norway, Academy of Arts, landscape architecture programme) to commission four new essays by leading experts from the Nordics to discuss the Svea project and its related issues. This essay collection is part of Artica Writings, a curated series of disparate texts around a central theme. Some relating to the polar regions and their global influence, others looking at climate change, cultural history and personal perspectives.

The book cover is printed using coal from Sveagruva in Svalbard. It was ground down to a particle size below 100μm and mixed with a transparent ink base which was then used to print the covers on a Heidelberg press by The Letterpress Collective in Bristol, UK.

The titles are set in a few layered styles of Q Project and Q Project Mechanic by Typotheque, and aim to represent the recolonisation of industrial matter by natural elements and the transition from an industrial landscape to a natural one. The variable version of Isola – a recent release by Luzi Type – is used throughout for all reading text, partially backslanted as a further nod to things returning, or going back, to how they were before the mine was established. The subtitle on the cover, “The Transformation of a Post-Coal Mining Landscape”, is set in Kommuna 400 by The Temporary State.

The text pages were printed by Taylor Brothers Bristol Ltd in yellow and black plus a Pantone spot color that matched the coal ink used on the covers.

TT Commons is branding typeface of Charcoalblue Experience.

International design consultancy Charcoalblue has launched Charcoalblue Experience, a new business entity aimed at delivering a great guest experience for businesses in the workplace, technology, exhibition and events markets. Charcoalblue Experience works with any business looking to create spaces for collaboration and storytelling that wants to deliver an enhanced experience for staff, visitors, guests and spectators.

Irene Vlachou is a typeface designer specialising in Greek and variable fonts working between Bristol, UK, and Athens, Greece. For her personal website, she’s using Recursive (Mono Casual style) as variable font.

On hover, the link with the IPA pronunciation changes from bold (weight 700) to regular italic (weight 400, slant –15) via the CSS property font-variation-settings. Thanks to the fixed width, there is no text reflow.

The new UK brand Eat Curious describes itself as being on a “mission to help everyone discover new ways to eat healthy and delicious plant-based food, without taxing the planet.” Fiasco Design set out to help them on their mission by creating a colorful and vibrant brand that will pop out amongst competitors in the supermarket aisles. To help see that idea through, they utilized Obviously from OH no Type Co. as their brand font, which they describe as “unapologetically bold, with luscious curves and details that are good enough to eat.” The brand system includes wonderful illustrations by Madrid-based illustrator Miguel Angel Camprubi and food styling and photography by Alan Newnham and Rachel Miles.

Rubik by Hubert and Fischer is being used for text on the website and Ohno Softie by OH no Type Co. can also be spotted on a badge that says “100% Plant Based. I'm Vegan Friendly.”

[Edit: the logo uses Champ by Typeverything, see comments].

Gotta love the eat-curious.com website contact form!

Established in 1967, Sotiris are specialists in Greek pies and pastries as well as specialty coffees. The shop front on Bristol’s Park Row features three typefaces. While the logo is shown in raised lowercase letters from Kino, the range of products is advertised in Dael Calligraphy and Choc. Roger Excoffon’s bold informal script was also chosen for the menu above the counter inside the shop.

An alleged photo of the elusive Banksy holding the artist’s trademark stencil signature which is based on Stop, with horizontal stretching. The a seen here seems to have been refined over time, being either a custom modification of Stop's C or D, or perhaps loosely based on another font entirely, such as the similar Motter Tektura.

Various works by the elusive street artist Banksy. The artist's trademark signature stencil is based on Stop. Other fonts used in works by the artist include stencilled versions of Courier New, Arial and Monotype Corsiva.

A work from 1998, featuring the artist’s trademark stencil signature which is based on Stop. The A featured in this early version of the Banksy signature more closely aligns with Stop.

First appearing in 2002, Banksy’s monkeys feature messages set in a stencilled version of the bold weight of Courier New.

A work from 2007, featuring text set in a stencilled version of the bold weight of Courier New.

A work from 2003, featuring text set in a stencilled version of the black weight of Arial.

A work from 2004, featuring text set in a stencilled version of Monotype Corsiva.

A poster for the Festa de São João do Porto at Underfall Yard in Bristol for Port O’ Bristol and Pickle Cafe. Port O’ Bristol’s wines are brought from Portugal by traditional cargo ships without engines. No fossil fuels are used on their voyage. The festival celebrates this rediscovery of traditional, ethical trade links.

The Weston-super-Mare Art Trail is a guide of summer and autumn activities for all in Weston, commissioned by Culture Weston. The guide features a map, creative writing, and details of many of the activities and events happening in Weston in autumn 2022.

The guide is printed in fluorescent red and light blue inspired by the riot of colour encountered on the Weston seafront.