Wholesome Bakery, a San Francisco-based business known for its vegan, gluten-free, and sustainably made treats, blends creativity and clarity in its visual identity. The offbeat nature of OH no Type Co.’s Irregardless lends character to their logo and packaging, reflecting the bakery’s playful yet conscious ethos. It’s supported by Trump Gothic.

On their website, the clean, modern lines of Century Gothic ensure readability and reinforce the approachable, eco-friendly brand presence. Wholesome Bakery recently closed the doors to its brick-and-mortar location but continues to thrive online, with products available at retailers such as Whole Foods.

How do you live? is Anja Pleyer’s interior architecture studio in Davos and Zurich. The dynamic logo reflects the question's creative potential, combining solid typography with architectural elements. Variable paper and colors allow a subtle brand flexibility.

The branding was created by Anuschka Fink.

Bringing together an East Asian drink with Western European Renaissance writing might appear audacious. But in fact it turns out to be an intercultural love match where “craftsmanship” is the core value.

Breathing Tea is a small business based in Hong Kong that fully focusses on producing all sorts of Kombucha tea. As of fall 2024 the firm is represented in six places across Hong Kong and offers an online shop. Name and website of the brand make it clear that the purpose of the enterprise is to offer mindfully handcrafted brews, following the centuries-old tradition.

And it is here where you can see how well the chosen typeface fits in: Francesco was designed by Franck Jalleau on the basis of early Italian Renaissance printing, especially from the presses of Aldus Manutius. The typeface’s name pays tribute to Francesco Griffo who was the punchcutter of Manutius and is seen as one of the central figures in transforming Humanist calligraphy into typography.

Instead of copy-pasting recurring elements of type design, like for instance the serifs, Franck Jalleau strived to emulate the spirit of early punchcutting craftsmanship and to individually balance each letter in its own right, leading to more variation in those details.

Yet Francesco is not a mere revival, but a contemporary take on the Renaissance topic. Most noticeable are certainly the filled black counters of a and e, a characteristic that makes the typeface recognizable and therefore suitable for identity projects. Francesco comes with a variety of stylistic alternates and also provides full Greek and Cyrillic character sets. It was published by Production Type in 2017.

That same year appeared the geometric Halcyon by Jonathan Gibson, the complementary face used on the website of Breathing Tea.

Francesco is used with ample letterspacing. In the logotype, the letter i is represented by the dot only. The compact logo version combines a single letter B (modified to have one open counter) with that floating dot.

Social media typography doesn’t have to be loud or sloppy: a customer testimonial is carefully set using Francesco in roman, italic and small caps, with a discretionary st ligature and hanging punctuation

Box set with two bottles of tea

Homepage

Flavor selection menu

Product page

Kombucha in the making

The Wombles made their television debut over 50 years ago, bringing with them a strong environmental message long before eco-awareness became mainstream. Their influence led to the creation of ‘wombling’ groups across the country, dedicated to litter-picking and recycling.

Often seen as the original environmentalists, the Wombles’ inventive recycling methods have now been spotlighted in their updated brand identity. This refreshed image positions them as a seal of approval for sustainable businesses, offering a new layer of relevance.

With a fresh chapter ahead, the London-based agency How&How has taken on the task of reimagining the Wombles and their iconic characters, such as Great Uncle Bulgaria, Madame Cholet, Tobermory, and Orinoco. Staying true to the Wombles’ ethos, the agency adopted a reuse and recycle approach, incorporating visual elements from the past, including icons, illustrations, and pictograms.

Each character has been given its own sub-brand, complete with distinct color palettes and patterns, alongside a collection of illustrated icons reflecting their personalities from the original stories. The new verbal identity draws inspiration from the Wombles’ theme song and scripts and is paired with a fresh headline typeface, Kyle by French foundry Blaze Type.

Additionally, the Wombles now feature a redesigned W motif and wordmark. “For the wordmark, we aimed to stay true to the original chunky slab design, selecting Nordvest by Monokrom foundry as our base. We liked the way its horizontals are slightly thicker than its verticals,” says Cat How, the agency’s founder and creative director. Some of the pins and stickers use Fort Foundry’s Alkaline.

“This subtle inversion of traditional stroke weighting adds a quirky, playful quality that felt perfect for the eclectic spirit of the Wombles.”

While the digital illustrations and character icons are a departure from the furry models many remember from TV, these updates reflect the many versions of the Wombles that have appeared since their inception in Elisabeth Beresford’s 1960s books.

How&How’s initiative is focused on promoting brands dedicated to “making less stuff,” but it seems the new identity will also extend to the Wombles’ physical merchandise. It's hoped that this expansion will be handled carefully to preserve the environmental values that have made the Wombles so beloved.

We Oslo has redesigned the website and identity for Vinslottet. Vinslottet is the former Norwegian Wine Monopoly's factory transformed into a district and shopping centre.

The identity uses Alpina Typewriter from GrilliType, and Store Norske Tango from Skriftkompani.

Sneaky Chef Foods was founded by bestselling cookbook author Missy Chase Lapine in 2012. The product range includes No-Nut Butter (a peanut butter alternative made from golden peas), pasta sauces, and fruit spreads.

The main fonts used on the Sneaky Chef packaging designs from around 2014 are Kermel Serif by Ewen Prigent for the logo and Gotham Rounded by Tobias Frere-Jones for the product names and secondary information.

Atlas Farm makes great use of Dapifer Black as display typeface.

Founded in 2004, Atlas Farm is a family business in Deerfield, Massachussetts, selling its certified organic produce throughout New England. The website is designed using two sturdy slab-serif typefaces.

Darden Studio’s Dapifer was conceived as an unbracketed “Old Style”. The family spans six weights, in upright and italic (plus Stencil styles). Atlas Farm recognized the potential of its boldest weights for creating impactful headlines. Dapifer Black is used for page titles and, in reverse, for text graphics that help to navigate the site. Body copy is rendered in Sanchez, a low-contrast slab with wider proportions.

Contoured Gilligan’s Island, paired with Kidprint set on a curve, for the packaging of Trader Joe’s Mac & Cheese.

Sometimes Coffee – Sometimes Tea is Martin in ’t Veld’s new picture book. Each spread features a phrase on the left page and an illustrations on the right page. The words are set in Atica by R-Typography.

From the Happy Potato Press website:

On alternating pages, this caffeine-colored book serves you coffee and tea in various forms and flavours. It begins with a simple cup of coffee but quickly becomes more absurd with things such as coconuts filled with tea, buckets of coffee or dogs filled with tea, until both beverages find common ground in the same pile of dishes on the kitchen sink. A perfect companion for all coffee or tea tables.

Children’s book by Keith Negley, using PiS Creatinin Pro, a hand-drawn looking typeface based on a vintage ABC learning game for kids.

“Efteling is the largest theme park in the Netherlands and one of the oldest theme parks in the world.” — Wikipedia

The website makes heavy use of FF Ernestine by Nina Stössinger.

Annual booklet for the Rennes School of Art. Each section title is composed in two weights of the History font in order to give an identity to each parts of the booklet. Each of the letters on the cover regroups the two weights used in each titles.