Typography loves illustration, and illustration loves typography. Paweł Mildner and Marian Misiak from Threedotstype collaborated on this poster, which celebrates the transformation of 2023 into 2024.

The fonts used are Maria, Tor grotesk and Di grotesk, all from Threedotstype foundry.

Pasta typeface from the Antwerp-based Working Title Type Foundry in use together with AG Book Rounded for a poster for the launch of a pop up store in Genk, Belgium. Risograph printed on DIN A2 paper (420×594 cm).

We feel a constant and rising sense of invasion: parasites, notifications, drugs, bodies, catastrophes, aliens. But the line between who invades and who is invaded can be more blurred than we usually think, heavily depending on perspectives.

INTRUSO Magazine challenges readers to step out of their comfort zone and break free from their confining filter bubbles. The magazine gathers investigations, opinions and interviews about topical and divisive issues, to question pre-established boundaries and power dynamics, encouraging dialogue and fostering a deeper appreciation of differing viewpoints.

Each issue of the magazine won’t be limited to a single topic, instead it will be a collection of opinions and essays around every kind of invasion we experience everyday. Issue 2’s lead article is a moving story about how devastating AIDS was to families and communities in the 1980s, while the lead photojournal takes a look back at the infamous 1978 mass murder-suicide in Jonestown.

The logo is based on Tiny by Velvetyne. Continuous text and headlines are set in Suisse Int’l by Swiss Typefaces. Inserts are set in Messina Modern by Luzi Type. Navigation, footnotes, credits and tags are set in Suisse Int’l Mono. The article “Every temple needs its sacrifices” additionally uses Armag by Blaze Type, and “How to raise your kids and their followers” adds Compagnon Light Italic by Velvetyne.

Beside the mentioned typography, in the Index spread we featured Boogy Brut by Bureau Brut, GoodDog New by Ethan Paul Dunham, Cooper Black by Oswald Bruce Cooper, Modula Ribbed by Zuzana Licko, and ITC American Typewriter by Joel Kaden.

This issue counts 104 pages and measures 23.5×33.5 cm. Printed on Cyclus Offset 90g/m² paper. It was made as a student project at Elisava, Barcelona, in 2023.

Estudio Soroche was founded by space and object designers Claire and Fran when they moved to Peru two years ago. Their visual identity was designed and art directed by Paula de Álvaro:

I developed the graphic identity of Estudio Soroche starting from graphic references that contextualize the studio and the style of posters that I found in the streets of Cusco when I travelled to this city. Focusing on the compositions, colours, typographies and techniques they use to make these posters, many times by hand, creating irregular and imperfect letters and layouts. The typeface Serial B Blur (by Dum Dum Studio) and its imperfections matched this idea and concept.

Serial B Blur is supported by a version of Clarel Serif used in all caps.

From glass to glaze, waste to wonder, there’s a new supply in town.

Almost Useful used Alte Haas Grotesk and Serial B Blur for the identity and website of Other Supply.

Other Supply are an experimental ceramics studio that creates new possibilities with glass waste in Singapore, created by artist Genevieve Ang.

Photos by Jovian Lim.

The Fondation Cartier pour l’art contemporain and the Institut du monde arabe joined forces with Naïma Huber-Yahi to present the first edition of Felfel, a festival of North African cultures in France. From July 12 to 14 2023, this event celebrated the Franco-Maghrebian scene through a shared program of concerts, meetings and screenings. It concluded on July 14 with a grand ball on the forecourt of the Arab World Institute in Paris.

The visual identity was conceived by Brest Brest Brest, using Gaya as the main typeface. It is used in italic lowercase characters for the name and in roman caps for most other text. On the poster and in the video, Gaya is supported by Plaak 35B Foch B.

Römerkastell Skate Sessions was a charitable event held in Stuttgart and organized by Stadtlücken e.V. It provided an opportunity for children from various social and regional backgrounds to receive complimentary skateboard and graffiti lessons from skilled instructors. The event utilized a unique blend of fonts, combining Måns Grebäck’s graffiti font Throwupz with Protest Grotesk, a font designed by Mark Julien Hahn.

For the 2022 ADCC Awards, the Advertising & Design Club of Canada approached Baillat Studio to brand their call for entries. Visually, the concept materializes in a galaxy of interlinked dots that represent the Canadian creative community. “Connecting the Dots” also forms the basis of creativity: the ability to connect different elements in order to generate new ideas.

A dot is a singular entity in space that becomes stronger when linked and connected to others. The dots become a form, a shape, a complex entity, a society. Dots then form a line which gives direction and purpose. The French and English text composed for the occasion is generated from the simple search engine query “Connecting the dots…”.

For the typefaces, Monument Grotesk and Camera from the ABC Dinamo foundry and Tiny from the Velvetyne foundry are used for the campaign.

Papabou is a smash burger restaurant in Geneva, Switzerland who turned to us – Bureau TUK, a young Geneva based agency – for their identity.

This was designed to reflect the minimal and raw philosophy of the brand. We wanted to give priority to clear and necessary information by eliminating the superfluous. The curves of the logo are soft, giving it a playful side that is deliberately out of step with the rest of the signage.

The logo uses Pimpit by Benoît Bodhuin; Halyard Text by Darden Studio is used for information.

Innom is a new shop concept that houses the best from groceries, kiosks and bakeries.

TRY and Reitan worked together on strategy, name, identity and implementation on the project with the pilot store that opened its doors on Grünerløkka, Oslo on 5 May this year.

Illustrations by Jonathan Averstedt. The typeface is Pimpit regular by Benoît Bodhuin

Words from Atmos:

In the face of the climate crisis, one thing is clear: we will only get to an ecologically just future by way of working together. If humankind is to heal its relationship to the rest of creation, it must restore harmony—which cannot exist without collaboration. And what could be more emblematic of holism and harmony than a hive? A swarm of individuals working in unison to protect the whole? Does this symphony not symbolize our highest potential? For Atmos Volume 05: Hive, we are telling stories of synarchy and symbiosis, individualism and collectivity, queendom and colonies, entomology and ecology—an exploration of what is possible when we come together for a common cause or a belief.

Early use of Metaballs on headlines. The body copy is set in Union and the running titles in Suisse Int’l Mono.

Art Direction, Editorial Design: STUDIO 191 NY
Digital Design: Tessa Forrest

The Final Degree Fashion Show 2021 at BAU Centro Universitario de Diseño de Barcelona was presented as a film, directed by Anna Murciano:

A score of fashion collections. Young, free and inspiring. Together in a catwalk that is a film or in a film that is a catwalk.

The credit titles and the accompanying promotional graphics were designed by Paula de Álvaro, using Scope.

PetChoy, based in Saigon, Vietnam, provides meal plans for cats and dogs. The founders think pets should be served as well as their owners. The brand aims to educate and empower the pet-loving community with an accurate and comprehensive understanding of pets' nutrition and health. Since rebranding, PetChoy has grown quickly with their attention-grabbing packaging on the shelves.

Full case

Our approach was a complete transformation for local pet food brands to compete with international ones in visual and content direction, and targeting new customer types like ‘urbanist’ and ‘GenZ’.

The new logo is based on TT Trailers with characteristic inktraps and terminals inspired by wagging tails. Combined with “pet’s choice” and “pet’s joy”, M — N Associates aims to visualize the “happy choice of a pet knowing they’re getting PetChoy for mealtime”.

https://vimeo.com/630832415

TT Trailers was chosen for its great fitted personality with inktraps and funky narrow shapes. Working closely with foundry TypeType, we developed TT Trailers Petchoy – a custom typeface with happy tail-and-ear-inspired Vietnamese diacritics. This approach brought more fun, exciting characteristics, and bold statements to distinguish the brand on the market.

The complementary typefaces are Fragen Bold Italic for sub-headlines, VT323 for menu description, and Nunito for body content. The new typographic system evokes the brand’s elevated health and flavor strategy.

In contrast with the market standard, M — N Associates took the packaging to a typographic-based layout where “Bữa Ăn Tươi” becomes the main element, giving a strong message to define the product and distinguish PetChoy on shelves with others that use pet images. The paw and the dog/cat icon will describe the target animal. Nutrition facts are styled like restaurant receipts.

Design by M — N Associates, with creative direction by Duy — N and Anh Nguyễn (who also designed the website), and content direction by Quân Nguyễn. Graphic design by Quân Nguyễn and Anh Phạm who also directed social art.

Branding of Pantobaguette, a new hybrid place offering food and music, led by Animal Kitchen in Paris. The design combines custom lettering for the logo with Residenz Grotesk by La Bolde Vita for all accompanying text.

Three rounded fonts in use for Chip cookies: Rodger (Central Type), Duckie (Eclectotype), and Milk (Hubert Jocham Type).

From design studio My Creative:

Chip NYC is a Queens-originated cookie shop known for large gooey cookies & creative flavours that led them to go viral. ⁣With their first Manhattan project on the horizon, we were tasked with rebranding them from their current homemade, aesthetic to a more exciting brand that reflected their young social-media driven audience and creative offerings. ⁣They now have 5 stores and counting located around New York City. They have just launched a delivery system of box fresh cookies that can be baked at home.

⁣Their unique shaped gooey centered cookies were a direct influence on the logo mark design. With a vintage touch to represent a nostalgia for cookies shared by everyone from all generations. ⁣
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Once that was decided, we expanded on a world of Chip City Cookies, animating the illustrations of clouds to rain chocolate chips and rainbow sprinkles. ⁣

Find more images and animations on the studio website.

Oatly packaging for the US market in 2020.

Forsman & Bodenfors:

Oatly is a Swedish manufacturer of oat based foods and drinks. A tiny company with huge ambitions. They have a lot to say and want to be in the middle of the discussion concerning sustainability and health. The only problem is that their media budget is, to put it mildly, limited. Which is why we decided to treat the packaging as Oatly’s main media channel, as an advertising space in itself.

Over the last five years, Oatly has been taking the world by storm as many consumer’s favorite milk alternative (including mine). Near the beginning of their exponential growth in 2015, the company hired Swedish firm Forsman & Bodenfors to completely overhaul their identity and packaging. On US shelves, at least, the cartons really stand out, clearly indicating that Oatly is a different kind of product and very unconventional company. The informal design perfectly matches the irreverent copywriting, which frequently wears the founders’ independent personality and environmental politics in its sleeve. In other words, as their branding video puts it, “All this made us feel less like a corporation, and more like a collection of real people.”

The headlines are a mix of lettering and custom typefaces, including John Rounded (named after Oatly creative director John Schoolcraft) and Toni Grotesk (named after Oatly founder Toni Petersson). The type was designed by Lars Elfman, who was responsible for the other lettering, with font development by Caroline Laudon and art direction by Christoffer Persson. The text is set in FF Magda, Cornel Windlin’s distressed take on the Cubic typewriter style.

John Schoolcraft:

Why don't we look we just made these packages ourselves in the basement? And then people will pick them up in the shop and say "What's this?" And it they turn the side of the package, the idea is they will start to read, and if they start to read then they have to buy it.

Oatly UK packaging in 2016, shortly after the company updated its identity.

Oatly packaging in 2015 as the company updated its identity.

This year, the music label Mexican Summer released a series of digital singles titled “Looking Glass”. They are available from Bandcamp. Art direction, design and illustrations by Bailey Elder.

Each numbered single cover mimics a black print on colored paper and is set in DTC Rough M19 – one from the 100 styles in URW’s series of bitmap typefaces named DTC Rough Variants. The logo is set in Auriol Italic. The painted design elegantly complements Elder’s illustrations in a very nouveau Art Nouveau way. The whole setting of dreamy drawings with decorative framing and the organic feel of the design can be seen as a poetic nod to George Auriol’s symbolist illustrations and vignettes.

I designed Fermé, a range of garments in light of the global Covid-19 pandemic. Let's remember to be good friends and neighbours during this time, to look out for each other, support local businesses, and take care of those most vulnerable.

Fermé (“closed”) is a reference to my home city, acknowledging all of our closed restaurants, bars and gathering spaces.

All proceeds will be kindly donated to the Meals on Wheels organazation in Ontario and Quebec – preparing and delivering food to senior citizens and those non-mobile. The organization needs an influx of donations to help with the rising demand to feed our sick and aging communities who are most at risk for Covid-19.

Due to isolation guidelines, this campaign was photographed entirely on webcam – our new normal of communicating only through video chat and online platforms.

Second flyer and handout for a series of exhibitions at Burg Galerie im Volkspark, the art school’s gallery in Halle, Germany. Designed by Miriam Humm and Marcus Wachter, it features the recently released Tiny and the upcoming Eliza.

Every year, République Studio are in charge of the new design of the free Parisian cultural magazine Le Bonbon. For this A5 format zine, in 2019, they decided to use two freshly baked fonts: Production Type’s Kessler by Alaric Garnier, and Whyte Inktrap, published by Dinamo. While Kessler is used in almost all the layout (from Super Display for big titles, to Text version for small texts), Whyte (inktrap version) appears in small doses for folio and rubrics. The masthead, set in Underware’s Bello and slightly modified, didn’t change since the creation of the magazine ten years ago.