Italian Plate No1 in use for the identity and branding of hard seltzer brand Gloria d’Italia. The wordmark is based on Seventies, with a modified g.

The website additionally uses Neue Haas Grotesk.

Altina Drinks is an award-winning Australian company that makes non-alcoholic wines. In 2022 they hired the Boxer & Co. agency to design their new vibrant and colorful identity. The humanist typeface Zoran is used as a primary typographic choice – for headlines and body text, on printed packaging and website. Its warm, elegant voice that celebrates life fits perfectly with a sophisticated luxury niche that is aimed with this new branding.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

This project is proof that the cooperation between small players can produce great results, and this on all levels. In this post we feature the redesign of Champagne M. Marcoult, skillfully conceived, designed and realized by artistic director and photographer Camille Gabarra of vrai studio from Paris. The scope of the project is quite impressive and ranges from designing the logo and the bottles, to the packaging and the stationery paperwork, to the website.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

At the core of the design concept are two colors, cream representing champagne and a dark green that stands for the vineyard. The pictorial logo element resembling a crown is derived from playing with the initials of the company’s founder, Michel Marcoult. The crown was further developed into a pattern that you will see in various places, including corks, cardboard boxes, and the website. The whole approach is rounded off with beautiful photography and an interesting mix of typefaces.

Looking at the bottle labels you find, from top to bottom: the roman Spectral for “Champagne”, the narrow sans serif Tungsten for “M. Marcoult”, followed by the serviceable Trade Gothic on the lowest level of typographic hierarchy, in two widths. Designed by Jean-Baptiste Levée and available from Production Type, Spectral has all the features of a classic roman. It brings a flair of tradition and timeless elegance into the scene – while its counter-part Tungsten from Hoefler&Co. is reminiscent of letter painting and 19th century ephemera. The two typefaces complement each other and create an exciting brand image.

For their use in print one has to acknowledge also the fine craftsmanship in terms of enhancement through relief embossing, foil gilding, and UV varnishing. It takes a network of competent partners to achieve such quality, in this case Autajon Etiquettes Atlantique in Gradignan for the labels and Spind Artisan Imprimeur in Lognes (with papers from G.F Smith and Colorplan) for the stationery.

Founded in 1967 in Barbonne-Fayel, Champagne M. Marcoult is a family business, run today in the third generation by Florence and Julien Marcoult. They are members of the Vignerons Indépendants. This means that they exclusively produce from their own vineyards which they cultivate with utmost environmental responsibility. Certified by the French state as an agricultural business of High Environmental Value (H.V.E.), the soil of their vineyards is covered with natural gras and grazed by sheep. In cooperation with a local cooper, they design their own barrels made from acacia and oak wood available in the region. This way they are able to fine-tune on the wine aging process of each of their ten different sorts of champagne. Their cuvée Authentique les Macrêts was selected for inclusion in the Guide Hachette des Vins.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

Sketches by Camille Gabarra for the development of the logo and the pattern from two M shapes.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

3D effect through relief embossing and foil gilding

© vrai studio / Camille Gabarra. License: All Rights Reserved.

Behind the scenes: reference material used during the production process

© vrai studio / Camille Gabarra. License: All Rights Reserved.

Love is in the details: even the corks were carefully designed.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

A variant of the Marcoult lettering with a drop shadow

© vrai studio / Camille Gabarra. License: All Rights Reserved.

Spectral providing a box with splendor. The typeface is used in all caps, mixed case, roman, italic, and bold.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

Champagne M. Marcoult stationery, printed by Spind Artisan Imprimeur.

© vrai studio / Camille Gabarra. License: All Rights Reserved.

Spectral in gold: detail of the metallic foil stamping

Source: www.champagne-marcoult.com License: All Rights Reserved.

Detail from the Champagne M. Marcoult website featuring Spectral Italic and Trade Gothic

Dolly and Molly are organic sparkling wines made with the traditional production method, known for the production of Champagne in France. That’s why Studio Size designed a label in the style of the “Old World” wines. Studio Size combined a rich typographic treatment — Academy Engraved and Arpona​​​​​​ with off-white paper, and the logo was applied as a stamp to complete the classic aesthetic.

The third wine in the group is the unfiltered Pep-Nat, made with a similar natural process without added supplements. Since all the wines are organic, we reduced plastic materials in the packaging. Removing the foil wrap from the bottleneck made the bottle more transparent, which is an interesting contrast to the traditional ornamental style of the label.

Label for a sparkling wine that's being sold in Tilburg, the Netherlands. ‘Krèk wèk wo’ is a local dialect saying, meaning ‘Just what I wanted’. The text is typeset in TilburgsAns, a typeface that is inspired by the local culture and that can be downloaded and used for free. The typeface is named after a fictional woman, Ans from Tilburg, who stands for the city’s character. Her iconic face is accessible as a ligature, just as 122 other icons of characteristic Tilburg locations, stories and dialect words.

F37 Bella by F37 Foundry in use by Mario Eskenazi Studio for Vallformosa, a sparkling wine substitute with zero percent alcohol. The stencil shapes of F37 Bella are used to create an abbreviation of the firm name: VFMS. The sans serif is Giorgio Sans from Commercial Type, using its titling alternates with circular shapes for C, G, O, Q, 0.

El cava elaborado en Requena is a compendium of more than 200 pages, celebrating 40 years of Cava production in Requena, written by José V. Guillem and illustrated by Miriam Ortega.

Our typeface selection was focused on getting a nice contrast between two classical fonts on the book block and an extra touch in the section titles. The pairing of Suisse Int’l and Chronicle (Text G1) along the text was OK for us, flexible to include a huge amount of text and consistent to keep a fresh visual identity we wanted to show. The use of Ogg Display Regular in a big size gave us this extra soft touch, some kind of chic façade if you want.

Printed in Gráficas River, Valencia, on different paper stock: Popset by Arjo Wiggins, Arena Rough by Fedrigoni, Matt 93 by Gmund Paper and Royal Blue by Colorplan.

Matheus Müller is a German brand of sparkling wines established in 1838 and named after its founder (1773–1847). These full-page ads from 1906 bring together a number of period typefaces.

“Cuvées”, “Matheus Müller” and “Schon seit einem Menschenalter” feature Klingspor’s Steinschrift. Released in the first years of the 20th century, it’s distinguished from other typefaces with this generic name (which is an old German term for sans serifs) by Jugendstil-inspired shapes including curved strokes in B or v. The wines’ qualities emphasized by single and double underlines are shown in Washington-Grotesk. First cast by Woellmer around 1895, it’s derived from their Breite halbfette Grotesk, with fancy swash glyphs added. (A few years earlier, Schelter & Giesecke had done something similar to their Breite halbfette and Breite magere Grotesk, and even used a similar name, see Columbus & Washington.) Washington-Grotesk can be seen with alternate glyphs for a e g t.

The relatively wide grot with double-storey g used for “Hofl[ieferant] S[eine]r Maj[estät des Kaisers und Königs” is similar to Breite halbfette Grotesk or Akzidenz-Grotesk (Bauer). In further roles: Römische Antiqua and the related De Vinne (or one of its German copies). The list of highnesses for which Matheus Müller was purveyor to the court is set in a widespread design known as Moderne Steinschrift, among other names.

Flyer advertising German sparkling wine by Sektkellerei Wille A.-G., Oldenburg in Oldenburg. While the front (shown below) features hand lettering – an expressive angular script for the company’s name plus various sans-serif styles – the back has text set in a number of typefaces, including Admiral by Julius Gipkens (Woellmer, 1906), Phosphor by Jakob Erbar (Ludwig & Mayer, 1923; with both forms for S), and Bravour by Martin Jacoby-Boy (Stempel, 1912).

The body copy is set in two weights and various sizes from Säculum. The first nine styles of this extensive series were designed by Heinrich Hoffmeister and issued by Stempel in 1906–19. Säculum merges characteristics from William Morris’ Golden Type (see Jenson Old Style), like the “Venetian” e or the square tittles, with traits from the Bookman branch, like the large-eyed a and the high ear in g. In this regard, it’s similar to Universum, which was Flinsch’s (and later Bauer’s) name for Old Roman.

Founded in 1865 by Carl Wille (1841–1915), the Wille winery was the largest of its kind in northwestern Germany after World War I. The business suffered during the global economic crisis and closed down in 1932.

The flyer is not dated, but mentions vintage sparkling wine from 1921, indicating a ca. mid-1920s date. It was printed by Adolf Essich & Co., previously known as F. Büttner, est. 1857. In 1922, this company moved to the Rudelsburg building where it operated until another move in 1981.