In the complex world of ecommerce integrations, HighCohesion stands out by making the impossible feel effortless. As they approached their sixth anniversary, their growing expertise demanded a brand that could match this evolution.

At ARAN we worked to create an identity that would reflect their professional maturity and showcase their unique ability to dissolve technical barriers for business growth. The result is a stronger, more distinctive brand that transforms itself, just like HighCohesion does for their clients.

Each brand element was designed to tell HighCohesion’s story: smooth transitions mirror their seamless process, the dynamic-width brand typeface, Onsra, physically reflects HighCohesion's impact – shrinking problems and growing possibilities, and moments of vibrant color bring a human touch to what’s (typically) a cold software space.

Ingranaggi is a cultural festival organized by Radio Sonora and Filmeeting that brings music and art into the companies of the Bassa Romagna region. It features stages immersed in workplaces and performances that transform production spaces into artistic settings.

For the 10th edition of the festival, we took care of the new visual identity and all online and offline communication. Through social media and print materials, we gave visual form to the soul of the festival, creating an identity that blends industry and creativity.

Some posters, T-shirts and illustrations around the theme of glaciers, mountains and nature for Agir pour les Glaciers (“Taking Action for Glaciers”), a festival that took place in March 2025 in Bourg-Saint-Maurice, France.

Swehl (pronounced like “Swell”) is a LA-based startup hoping to transform breastfeeding from a cluttered and confusing experience to a bright and cheerful one for new parents.

Human NYC (with art director Katherine Phil) put together a brand “inspired by LA sunshine”, pairing pastel colors with super soft type to set Millennial and Gen Z moms at ease. A particular highlight of the brand is the cosmetics-inspired packaging. [Edit: see the comments for more credits.]

The star typefaces – Cheee (OH no Type Co.) in the logo and Caslon Rounded (Commercial Type) in headlines – really get along well. The relationship between the two hyper-rounded typefaces feels like that of two old friends of different sizes and shapes. The quirky geometric sans Roobert (Displaay) joins the group for support at text sizes.

Design by Principle and KUDOS have designed a website and identity for Chris Shepherd.

Chris Shepherd is a Houston-based chef, restaurateur, and entrepreneur who has been recognized with one James Beard Award, two James Beard Nominations, and “Best Of” list appearances in GQ, Food & Wine, Bon Appetit, Esquire, and many others.

The typefaces used are Degular, Denton, and Store Norske Ja.

Since 2014, Felix Dobbert has devoted himself to flowers in his photographs. The publication presents four different series. Again and again, the medium of photography itself is questioned, for example when the co-design of images by algorithms is thematized or when apps create almost three-dimensional effects. The range extends from images of transience to minimalist still lifes that link the artificiality of our commodity world with the artificial aesthetics of hydrangeas.

The classical subject of the still life is accompanied by a classical layout. Also in the typography, TT Nooks and TT Drugs together with TT Commons by TypeType reflect the fusion of tradition and innovation. The pages are fully printed with a Pantone tone, so that the white of the paper (Mango Volume by Igepa) can unfold its full radiance, similar to a display. The cover, on the other hand, with its great haptics (lisseé by Peyer) thematizes the delicacy of the objects. With foil stamping by Kurz. Published by Kerber.

From Zipeng Zhu:

✨NEW IDENTITY for @towards.utopia ✨ PRO-SEX, ANTI-FASCIST ? Towards Utopia is a trans feminist, anti-racist fundraising initiative. ?
Everyone has a role to play in the revolution. While this year has brought new breadth to the term ‘activism’ and what it means to sustainably fight for Black America, we are finding that the fight for Black Trans people and Sex Workers continues to fall short. This year alone has seen a tragic increase in the number of hate crimes targeting Black trans men and women. Bree Black, Merci Mack, Tiffany Harris, Layleen Polanco, Tony McDade and far too many more had their beautiful lives cut short by violence and systematic disenfranchisement.
While the Transgender community has seen strides of progress made in representation in the media, many folks still face violence due to discriminatory housing and hiring practices, social stigma, and increasingly transphobic, downright fascist legislation.
In an effort to raise money for boots-on-the-ground organizations that provide housing, food, and safety to Black Trans People and Sex Workers, @towards.utopia has put together an edition collection of artwork.

The logo was made using several different quirky typefaces – all of them from OH no Type Co. – to reflect the attributes of the brand. It pushes the boundaries of what a futuristic Utopia looks like where, where all quirks are celebrated. The type has no sharp lines, and everything is fluid, reflecting again the brand identity and its representation of non-binary folk and points to how fluid the spectrum is.

The fonts used in the logotype are Ohno Blazeface (T, U, O, A), Cheee (O, W, R, →, I), Ohno Fatface (D), and Eckmannpsych (S, T, P). The first A is probably taken from Fatface, mirrored and modified.

Creneau International:

The word “CAFÉ” in a custom drawn sans serif* with an extra-wide F is matched with an equally customized Tenez for “FLOR”. All uppercase and with its base serifs removed, the high contrast and quirkiness still shines through, especially with the quirky R matching the organicity of the illustrations. Filson is used for messages on the menus and tray liners.

The botanical illustrations and large use in the retail environment makes me want to go to Schiphol airport as soon as this pandemic allows :)

*) Deco Days JNL or Stereonic are somewhat similar.

Filme do Tempo is an album by Brazilian drummer and percussionist Pedro Fonte, known for his distinct and precise playing style that favors feeling over technical virtuosity. After more than a decade performing as a drummer, his debut as a composer brings in heartfelt lyrics as he curiously dives within to connect with his roots.

The design stems from basic graphic elements associated with rhythm, such as repetition. On the cover, title and artist name typeset in fat’n’funky Freehouse are repeated and deformed to create a frame, emphasizing the square format. Inside, further repetition of this pulse combined with the slanted distortion of letters creates a tunnel vision of concentric squares that suggests an inward perspective.

This logic is applied both to the CD with the track list (also in Freehouse) and to the 4×4 insert, which is type set to be read in a rotating motion. The font used for the text is Presley Slab. Its quirky wild-western inverted contrast is a pretty good match for the drunk fatness of Freehouse used in the titles, especially when it is squished to fit in the grid.

In Fonte’s music, precision lays the foundation for groove to set in. The rigidness conveyed by the justified text boxes and strict grids is balanced off with funky type and liquid like distortions, emulating concentric patterns found in sound waves and water ripples. Restricted use of color sets the tone in tune with the raw nature of the rhythmic instruments.

P.S.: I’ve sneaked in some stolen symbols from OH no’s Degular (✧) and Blazeface (✺ plus an unencoded ornament) for a final touch of micro-typographic groove.

4x4 insert front and digipak interior with CD

4x4 insert back

cover

Glenmore is an award-winning premier print and packaging house located in Vancouver, BC. Serving a wide range of businesses and industries, they have been at the forefront of printing and packaging techniques since 1981 including variable digital printing, foil stamping, embossing, bindery, and more.

Glenmore wanted to promote the fact that they are Canada’s only custom tube manufacturer as well as highlight some of their luxury printing and packaging techniques with a direct mail piece for Valentine’s Day. They needed something that would speak to their core audience of designers and design agencies and be visually engaging enough for people to take notice.

We created a gift set that was immediately eye-catching while highlighting several different print techniques offered by Glenmore. Each box contained three custom-designed candy containing tubes alongside cheeky Valentine’s Day cards and stickers that played up printing puns.

The Party by Ostbahnhof is an international event series that bridges the gap between queer, music, art, and political communities.

What’s my New Years resolution you ask? Be. More.
VERS

The sexy new spinoff where “Anything Goes” is back this Friday, January 10th. The producers of Ostbahnhof bring the weird, wild, and wonder of the warehouse to Precinct in Downtown LA.

The typography of this latest poster in an ongoing series brings together several of the fonts already used in previous editions. New to the mix is FH Giselle, designed by Fatih Hardal​​​​​​​ and released in September 2019. The sans with the extrathin horizontals in the uppercase is used for the R in “VERS”, alongside Lÿno Jean (V) and Ulys (E) as well as Harbour (S). In further prominent roles: Respira Black in all caps for “Anything Goes”, Roslindale for venue and date, and Beatrice Display for the rotated instance of “The Party by Ostbahnhof” at the right.

Poster designed for VERS: Anything Goes.

The sexy new FRIDAY SPINOFF where ‘Anything Goes’. Nov 8th (and every second Friday of the month) we bring the weird, wild, and wonder of the warehouse to Precinct in Downtown LA. Limited capacity, limitless possibilities. Anything Goes. ?

The Party by Ostbahnhof is an international event series that bridges the gap between queer, music, art, and political communities.

Carolyn Pennypacker Riggs is a Los Angeles-based interdisciplinary artist and composer who creates immersive public rituals with sculpture, video, costume, and collective performance. The core theme of her practice is the conviction that the creation of new mythologies can lead to the deconstruction/devastation of real-life hierarchical structures. These performances often take place at museums and performance spaces including The Broad Contemporary Art Museum, House of the Book, REDCAT (Roy and Edna Disney/CalArts Theater), and The Triforium in Downtown Los Angeles.

The programs for Carolyn Pennypacker Riggs’ performances were designed to serve as a poster on one side, announcing the performance, and a program on the reverse side, listing information such as the names and order of pieces performed, words and lyrics from selected pieces, and credits for performers, costumes, etc. The typesetting of the lyrics follows their performance, for example call and response pieces such as Who Do U Want 2 Love use different widths of text to indicate individual vs chorus lyrics. There in the Inbetween and A Journey That Wasn’t have songs which are sung in a loop so the words are typeset in an oval shape with no beginning and no end. And A Journey That Wasn’t additionally includes backwards text for lyrics which are sung backwards. The programs also include photography from the artist which relate to the specific, such as costumes, masks and sculptures used in the performances.

Poster for the season opening event at Lizdas, featuring Stevie Whisper and Kornél Kovács. Lizdas is a bar and music venue next to the Mykolas Žilinskas Art Gallery in Kaunus, Lithuania.

The typography brings together Cristian Vargas’ Salvaje Display (Coppers and Brasses, 2018), Jérémy Landes’ Digestive (Studio Triple, 2017), Berton Hasebe’s Druk Condensed X Super Italic (Commercial Type, 2014), and a yet unidentified serif typeface [it’s Émilie Rigaud’s Tongari (A is for…, 2017), see comments].