Chevron Parquet is a renowned Swedish wooden flooring specialist, and a family business. “With a deep-rooted passion for wood, we produce high-end wooden floors based on our desire to embrace and show the real strength of fine craftmanship.”

For their rebranding, Studio Nineties designed a minimal and clean visual identity, centred around the natural wood tones and textures. The brand typeface is Bastardo Grotesk, also used for the logo. On the website, all typography uses Acid Grotesk and FH Ronaldson Condensed.

Albra Book is used together with LL Replica and Suisse Int’l for the identity of Ecodure.

From Studio South’s website:

Ecodure is an independent house of brands, offering a variety of beautiful, durable, and authentic wood and rigid flooring products.

Ecodure collaborates with interior designers, architects, developers, and homeowners to enhance the aesthetics of homes, offices, and commercial spaces, with their flooring products delivering a modern yet natural tone driven by market-leading innovation.

South worked with the new owners following the acquisition of the company to rebrand and reposition the business in the market. Our strategy was to build a house of brands that felt like a consistent family of flooring products promoting the features and benefits closely associated to its customer's needs and wants. This led to a large brand identity, tooling, content, website, showroom interior design package and more.

Mark By South brought the product to market with a digital marketing strategy creating immediate new brand awareness, and strong lead gen.

Exclusive to parent brand Ecodure, Duracore is a high-performance rigid-hybrid flooring product. South's identity for Duracore aims to tell the story of its technology and process, supported by supplementary video and art-directed imagery that documents its method of installation and fit for purpose across a range of homes and commercial spaces.

While considered as part of the Ecodure brand system, we wanted to ensure that it maintained its own tone of voice—with a bespoke graphic language required to convey Duracore's unique performance. We took inspiration from the interlocking bevels of the Duracore floorboard system and translated this into a modern, yet storytelling graphic language.

This catalog with items produced at Bruynzeel’s factories was issued in c.1932 (Invaluable Auctions), 1936 (Art Institute of Chicago), or c.1937 (eMuseum). The typography and design is by Piet Zwart (1885–1977), with the vignette on the cover drawn by Vilmos Huszár (1884–1960). The book measures 17.5×12.5 cm and is distinguished by round corners and a thumb index that allows the reader to quickly access the various sections. Most pages are printed in three colors: orange, blue, and black. Technical drawings are combined with photomontage. For the typography, Zwart used two sans serifs of wide proportions throughout the catalog: the bold Annonce Antieke and the light Kaart-Antieke.

Both typefaces were available from Typefoundry Amsterdam. Annonce Antieke originated at the punchcutting company Wagner & Schmidt in Leipzig and also went under various other names, including Aurora-Grotesk V breitfett at Weber. Amsterdam issued their version around 1913 (and again in 1955, then as Vette Annonce). Hans van Maanen digitized Annonce in 2006 for Canada Type. I believe that Kaart-Antieke is a version of Inland’s Litho Gothic from 1910/1911, but due to a lack of comprehensive samples, I can’t say for sure. Zwart famously used Kaart-Antieke for his never officially published essay about modern typography called “Van oude tot nieuwe typografie”. Florian Schick’s Trio Grotesk is a digital interpretation based on that use.

C. Bruynzeel & Zonen was founded in 1897, by Cornelis Bruynzeel sr. (1842–1901) and his two sons Willem (1873–1918) and Cornelis jr. (1875–1955). The company initially produced wooden floorboards, planing products and, by 1911, school desks. After the steam carpentry plant de Arend (“The Eagle”) burned down in 1919, the company relocated from Rotterdam to Zaandam in 1920. There, they built three specialized factories: one for doors, one for floorboards, and a planing mill. In the 1930s, Bruynzeel branched out to other product groups such as cabinets and pencils.

In 1939, Piet Zwart designed the company’s first kitchen. Already before, Bruynzeel commissioned modernist architects and designers like Jan Wils and Bart van der Leck – who, like Huszár, were founding members of De Stijl. Both Zwart and Huszár worked for Bruynzeel over a long period of time, see for example these catalogs from the 1960s. With the reconstruction after World War II, Bruynzeel products were in great demand. By 1965, the company had twenty-eight factories in fourteen countries, employing a total of 12,000 people. The factories in Zaandam were decommissioned in the 1970s, and broken down in 2016. The company is still in business, after more than 125 years, with separate branches for kitchens, home products, and storage.

Index page with an explanation of the thumb index. The eight sections are: 35mm and 40mm interior doors; balcony and garden doors; veneer doors; locks, moldings; dust sills, plinths, buttresses; cabinet shelves, and the vertical French cleats and horizontal laths that hold them in place. V for vloeren (“flooring”) looks like a last-minute addition that gets highlighted in the top left quarter, together with the contact info. At the bottom left, in all-lowercase letters: the names of the designer and the printer, Luctor et Emergo.

Door profiles are shown at actual size. Kaart-Antieke is mixed with Annonce for emphasis.

The Bruynzeel door model 11. Note the use of proper multiplication signs (×). The superscript 5 following the length (in cm) appears to indicate five millimeters.

More door profiles shown at actual size

Balcony and garden doors, models 83 and 84

Veneer doors: “the door is and will remain level”

“Bruynzeel doors remain superior”. The reflection in the door shows the silhouettes of two people, one of them giving the OK sign.

This image and the ones below show a different edition dated c. 1932, with a slightly different thumb index.

Linney Cooper are an established, family-run flooring company renowned for creating bespoke carpets for luxury interiors throughout the globe, including Buckingham Palace. Since 1964, they have used a combination of traditional methods and modern techniques.

In 2022, Linney Cooper undertook a rebrand, using F37 Foundry’s F37 Bergman. With its tapered stems and geometric thick/thin lines, F37 Bergman is just the job for luxury branding. According to View Creative Agency, “the typography was chosen to compliment the logomark to tie in with the Royal Warrant and luxurious look.”

Linney Cooper comments:

We chose F37 Bergman for our main logo font and promotional material headings due to its strong and bold presence. The modern and slim letters are also aesthetic with a professional quality which represents our brand well.

F37 Bergman is supported by Lato.

Linney Cooper’s showroom in Rhos-on-Sea, North Wales

Bob Newman’s Zipper (Letraset, 1970) in pink caps, used for the sign of a shop on Hindenburgdamm 85 b, Berlin, offering “flooring, paint, wallpaper”. Unlike the funky font and the cracks in the letterforms may suggest, this sign isn’t several decades old yet. A capture on Google Street View from July 2008 shows that this address then was still home to Orgel-Hain Berlin, with a sign in Fette Fraktur.

Designed by Lantern, Growth Rings brings almost seventy years of New Zealand sawmilling heritage to the Kent coastline, where they handcraft the finest oak flooring, furniture, and homewares this side of Auckland. As a social enterprise, they also provide education and training for those who have otherwise been met with barriers to employment.

Lantern celebrated the imperfections of the company’s oak, and its folk, through a suite of powerful creative headlines and textural photography, designed to personify the character and personality of their people and products. They told these stories using BIG — a raw, condensed display font developed by João Miranda and Bruno Rodrigues. Coming from a series of handprinted wood type specimens, the letterforms not only reflect the era of timber typesetting, but the angular forms also compliment the quarter-sawn styling of the logo.

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CROCI PIETRO / Pavimenti & Rivestimenti is a company that sells flooring and tiles.

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