Typography is at the heart of the packaging created for Cookoa by the Brazilian design agency MOVE. Since around early 2020, the identity features Marujo from PintassilgoPrints, a lively hand-drawn script that gives the brand a warm feel. Its organic shapes bring a sense of craft to the packaging, echoing the care that goes into transforming fine cocoa beans and other ingredients sourced from agroforestry systems into chocolate and cocoa-based products with minimal processing.

Marujo’s expressive lettering contrasts with the clean, uncluttered layouts, becoming a recognizable element throughout the product line. The typeface feels natural rather than polished, helping communicate Cookoa’s focus on simple ingredients, hands-on production, and attention to detail. Earthy colors, straightforward compositions, and Marujo’s friendly voice come together to create packaging that feels honest, inviting, and closely connected to the natural character of cocoa.

The Cookoa logo is in Canopée from VJ-Type.

The light typeface is Marujo Fino.

Champ (by Typeverything) is used in Infinito’s branding fo Casino Galletas to reflect the brand’s playful, youthful spirit. With a 34-year history and a constantly evolving audience, the typeface helps give the brand a bold, expressive voice across messaging, patterns, and product naming, connecting authentically with a modern, diverse audience.

Thesis project for a MFA in Design at School of Visual Arts, about the first two weeks of the Gezi Park protests in İstanbul, Turkey, that began in May 2013. Encompassing the personal experiences of the author with audiovisual archives, it also serves as an object of remembrance. With an emphasis on storytelling, the book aims to expand the limits of print by offering a personal experience.

Albra Grotesk and Albra Sans by Rellence are used for the brand identity of Läderach across packaging and brand communication. The Swiss chocolate maker, founded in 1962, is known for its high-quality, bean-to-bar production carried out entirely in Switzerland. The family-run company offers a wide range of products, including its signature FrischSchoggi, pralines, and seasonal specialties.

Läderach approached us to customize Albra Sans for their new updated visual identity. The primary focus was on the uppercase A, inspiring us to redesign the distinctive A of Albra into a more neutral, toned-down version with a flat apex. This redesign aims to provide long uppercase words with a more harmonized cap rhythm, seamlessly complementing the aesthetics of the new Läderach logo.

Lunenburg Academy is one of Nova Scotia’s most iconic public buildings, a designated National Historic Site overlooking the harbour. In 2018, the former school began a new chapter, becoming home to the Lunenburg Branch of South Shore Public Libraries.

The challenge was to create a welcoming, contemporary public library within a protected heritage structure, honouring its past while meeting modern accessibility and public-use standards.

Fathom Studio (formerly Form:Media and Ekistics) worked closely with library staff, town officials and contractors to shape the new environment. Interior colours and materials were chosen to complement the Academy’s historic character, while standing up to the demands of a busy public space.

The signage and wayfinding system drew inspiration from late nineteenth- and early twentieth-century academic traditions. Referencing felt banners and pennants associated with school pride, the team created sectional markers – adult, children and youth – to identify the book stacks. Brim Narrow was used prominently across these elements, as well as for room numbers applied as cut vinyl to interior transoms. The accompanying condensed gothic is Knockout No. 27.

Interpretive elements celebrating the career of William J. Roué, designer of Bluenose, Lunenburg’s famous fishing schooner, formed an additional narrative layer within the space.

The project was commissioned by the Town of Lunenburg and realized in 2016–2018. The experiential graphic design and interpretive planning (signage) was in the hands of Fathom Studio, with John deWolf serving as project manager and experiential graphic design lead and Robert Currie doing the research. The architecture and interior design was carried out by Ekistics Planning & Design, featuring Chris Crawford (lead architect), Rebecca MacKenzie (project lead / intern architect), and Julian Boudreau (design). Eye Candy Signs fabricated the signs.

1982 is a limited edition artist book by Rhea Karam, published in 2025 by Small Editions. It features a custom-cast concrete brick slipcast, typeset in English Egyptian by Abyme.

1982 is the year that artist Rhea Karam was born. In the same year, her family fled Beirut and moved to the United States to escape the war in Lebanon. All that remains of her family’s visual records of that year is a single photo album with 67 photographs, depicting birthday celebrations; meals with family and neighbours; fabric, furniture, and toys adorning a childhood bedroom.

1982 is an artists’ book that contains photographs from that album, juxtaposed beside images of walls from Beirut and New York City, where Karam now lives and works. Family photographs portray details of a house that no longer exists as such; photographs of walls portray textures and colours of two vibrant, complicated cities. Using the double-page spread, or the dual recto-verso relationship, Karam creates a charge between past and present, between life before and after displacement, and invites readers to imagine a third, unseen space between the two. All books in the edition are different, as each contains a unique sequence and selection of images. The album – in its full, original form – can only be reconstructed by combining all 67 books side by side.

1982 is a continuation of Karam’s broader artistic interest in walls, which she has been photographing and studying for the past 20 years. For 1982, she wanted to create a wall of her own: each of the 67 books are housed within a concrete brick slipcase, sturdy enough to be stacked on top of each other but ultimately intended to be dismantled and scattered.

Brick fabrication by Baylor Ward
Variable Edition of 67 + 2AP

68.7×99.7cm letterpress printed poster

Exhibition poster announcing a project that was working with LEGO® bricks to letterpress print letterforms by different typedesigners and graphic designers from many places around the globe.

The posters have also been letterpress printed from a total of 5,469 pieces of 1×1 LEGO bricks. The large outline type with the checkerboard gloss is a pixelated form of Univers 93 Extra Black Extended. The main info has been cast from Ludlow hot metal slugs in Record Gothic Bold Extended and the small bottom line was set in Record Gothic Bold.

Otherly is a dairy-free chocolate brand from Edinburgh that uses oatmilk in place of traditional dairy. Rather than leading with functional benefits, the brand positions itself as a celebration of individuality and differences.

Designed by Glasgow-based Freytag Anderson in collaboration with Brooklyn illustrator Tomi Um, the identity centers on fantastical, illustrated worlds populated by quirky characters. Each flavor variant features distinct settings—from underwater realms to outer space, the jungle, beach, moon, and city—where no rule is followed and logic can be broken.

The wordmark uses OH no Type Co's Irregardless, a sans serif with irregular details that mirrors the brand’s off-kilter personality. Obviously serves as the secondary typeface across the packaging and brand system.

Tomi Um’s illustration style dominates the packaging, creating immersive, whimsical scenes printed on home-recyclable wrappers. The design extends across the full brand experience including website, motion graphics, and social content.

The project received a Wood Pencil at the D&AD Awards 2024 in the Packaging Design category.

Design applied to an advent calendar

Julie Bassinot is a graphic designer specialising in editorial practices and working as a teacher. In 2024, she led creative workshops with children from the Claude Nougaro school in the commune of Damiatte in France as part of the Création en Cours programme run by the Atelier Médicis. Here is how she describes what they did together (translated from French):

For four months, a cooperative of child researchers was organised. It met to observe the natural elements that transport seeds, grow wheat, power mills and print images. We practised and experimented with our hands, gathering stories in the fields and bakeries, as we met people and let our imaginations run wild. We worked with what already exists, close to us, in cooperation with natural forces and local people. We met Claire, a farmer-baker, and Pascal, a farmer. We tried to preserve the best of what we have, to connect agriculture and writing: the cultivation of the land and that of the mind.

Wheat, bread, mill: three figures as a way of introducing children to abstract concepts such as cultures, diversity, resources, commons, etc.

Llibre Verd València is the commemorative publication of Valencia European Green Capital 2024, a reference for citizens, professionals, and public authorities that sets out the city’s urban strategy for the coming decades in terms of sustainability and climate action.

This book needed to be functional and embody sustainability, while also serving as a limited-edition gift. The aim was to create a singular object that connects with both the theme and the territory through an organic material made from orange peels that embraces the publication. A unique material that reflects the creative potential of biomaterials and the transformation of waste. Resource efficiency defines the design of the content as well as the choice of format, paper, and inks.

Typography is one of the defining elements of the publication. Since this is a trilingual book and the goal was to minimize the total number of pages, a different typeface was chosen for each language: Guyot (serif) for Catalan/Valencian; Acumin (sans) for Spanish; and Ionic Modern (which, although not strictly a slab serif, is close enough) for English. In addition to providing the necessary differentiation without having to specify the language of each text, this approach also helped balance the overall text lengths. To complete this typographic set, Forma DJR Mono (monospaced) was selected for navigation and other common elements.

Para from Ultra Kuhl is used for the branding of Villa Inkognito –

a truly private hideaway, offering guests that rare experience of luxury and subtle escapism. With its own private entrance, Villa Inkognito is dynamic and vibrant. An eclectic journey comprising a series of distinctly themed rooms in wildly different color schemes that make up the public areas- much like Dorothy’s experience after landing in technicolor Oz.

Para captures the refined spirit of Villa Inkognito, blending classic elegance with quiet modernity. Its balanced serif forms echo the villa’s architecture and interior. The logo, designed by Bielke&Yang based on Para, express this understated luxury with clarity and character. The accompanying sans used on the website is Sommerro Sans, a custom design by Bobby Tannam for the parent company, Sommerro.

Exhibition graphics for the residency of designer Andreu Carulla in Chistén, a little village in Pyrenees Mountains, Spain. With fewer than 100 inhabitants, its aging population keeps traditional crafts, forestry, and livestock farming alive, while a small rural school survives with just three students. For ten days in January, Carulla moved his studio to Chistén to experience this reality firsthand. The result was a collection of wooden and leather pieces, designed and produced in the village using materials sourced from its surroundings.

Life in a mountain village is measured by the fires lit in winter, so we proposed that the charcoal from those fires be the medium to draw (and write) the story. The illustrations and typography were created entirely using a system that blends craftsmanship and technology: a cutting plotter in which the blade was replaced with charcoal tips.

Geometrical Edition, a single-line typeface by Elias Hanzer, was used in its Open Path version, designed for the use with CNC tools. The accompanying typeface is ITC Avant Garde Gothic Condensed.

The project was made for Madrid Design Festival / Amazon. Graphic design and illustration is by Run Design, with creative direction, curating, and authorship of the pieces by Andreu Carulla Studio. Pau Carulla did the filming and video editing. Exhibition design by Queralt Suau Arquitectes. Photography of illustration details by Marc Castellet.

See more from this project in the case study.

A collaboration between Dum Dum Studio and art gallery Arde Arte for FAMA (Festival de Arte Moderno), Serial Stone was part of the exhibition titled The Future Is Extinct. This project delves into the idea of a new world emerging without prior prejudices or references, where the tools at our disposal are those we find in nature and debris.

Serial Stone explores a passion for modern typography expressed through raw, elemental means – in this case, stone. Through engraving, the alphabet takes shape, bringing a new visual language to life. The project reflects on the efficiency and global reach of the alphabet, which proves useful for almost any language that uses the Latin script. This exploration merges the sophistication of type design with the rugged essence of ancient tools, highlighting how the alphabet has become a universal system of communication. It’s a bridge between the primal and the modern, an ode to letters carved into a future yet to be written.

Omnes Black is the logo font of SoFluffy, a patisserie offering handcrafted Japanese cheesecake to a Swiss audience. The pastry shop in central Geneva opened its doors in June 2024 and also sells other treats like mochi and matcha tiramisu.

Darden Studio’s deliciously rounded sans features in its boldest weight, sporting its alternate schoolbook-style y. In the wordmark, the negative space of the letter S was modified to form a pair of hugging arms.

According to designer Felipe Holman, this subtle intervention symbolizes “the brand’s welcoming and caring nature.” After all, the “So” part of the name stands for “Solidarity” and “Social”: SoFluffy offers internships to women who became victims of domestic violence, aiming to reintegrate them professionally.

Shop front of SoFluffy at Rue de Lausanne 27, not far from Geneva’s main station

Hard to miss: the purple sign on the shop window with the big wordmark in Omnes. The line below uses Myriad.

The door has a logo variant with just the letter S, which is also used on the social media channels. The secondary font used for the encircling text is Lorimer No 2.

The illuminated sign behind the counter presents an outlined variant of the wordmark.

When finished, the fluffy cakes get branded with a burn mark.

Atelier Saint-Lazare did the rebranding for French chocolatier Debauve & Gallais. The logotype is set in Tartuffo (from Lift Type). It’s paired with Chromatic (from Colophon) and Lazarus Upright Italic (from Capitalics).

History of the brand from Saint-Lazare’s Instagram:

Founded in 1800 by the pharmacist of King Louis XVI, the traditional French chocolatier Debauve & Gallais became the official supplier to the French court in 1819, following its success as a supplier to Napoleon. The house later supplied Kings Louis XVIII, Charles X (a chocolate in the shape of a fleur-de-Lis was created for his coronation) and Louis-Philippe.

BC Mikser is the typeface used for the identity of Czech confectionery Cukrář Skála:

The confectionary plant for production of desserts according to the recipes of Lukáš Skála was opened in Šporkovský Palace in December 2017 with the aim to present this sweetest craft in the world, show the production process of the plant, and offer high-quality desserts of both traditional and completely innovative taste.

Design by Petr Štěpán of superlative.works. Architecture by Ph5, photo by Kubo Krížo, marketing and production by Yezede, and web development Jan Borecký.

Zürcher Ziegeleien, the Swiss market leader of brickworks, resumes its original name and takes on a fresh visual identity. Creative agency Scholtysik decided on RT Rondelle for all of the company’s communication matter. From the white logo on red background to printed brochures and the redesigned website, RT Rondelle made it even onto the bricks themselves!

The book The Engineering of “Away” shows a collection of technologies (patents) used in the creation or maintenance of the land body. Screenprinted with waste ashes, the residues of waste incineration technology, the book questions the focus placed on patenting ever more technology that upholds the status quo rather, its site-specific problems rather than zooming out.

Part of a second Master in Geo—Design at Design Academy Eindhoven, thus gratitude to bb-bureau for the student licensing option for BallPill.

From Centre to Periphery is a long-term design & research project that investigates discarding and the role of landfills, as an antiquated disposal method and their entrenchment within contemporary waste management. Constructed ever further on the periphery, landfills have become a “geospatial other” – a sacrificed zone – destined to receive the residues of hazardous waste streams, waste incineration and recycling streams, which to this day enables the centre to flourish and thus necessitates the landfills’ existence. The project consists of several chapters and includes field research, interviews, visual journalism and documentation of various sites across the Netherlands, Switzerland, Belgium and Scotland.

Suite is a cultural program created by the Cnap (National Centre for Visual Arts) together with the ADAGP (Society of Authors from the Graphic and Visual Arts) in order to exhibit and promote debuting artists who were funded by one of their grants. Along the year, each of the selected artists is benefiting from having an exhibition organized in partnership with one of the selected venues scattered across the country… and sometimes abroad!

To present the year's program in a printed form, each year since 2015, the Cnap is commissioning Nantes-based studio Super Terrain to produce a compendium leaflet. But instead of printing a traditional booklet, the studio partnered with printing plant Média Graphic in Rennes to experiment with inks and water directly on the offset printers (see some pictures of the process below). The result are pages colored with organic gradients, colors blending together, dripping and fading away by hydrophilic reaction.

The only typeface used to design the booklet is the geometrical Euclid Flex, sometimes with some stylistic alternates activated. Euclid Flex is available from Swiss Typefaces.

The basketball hoop represents the pivot around which this romantic research revolves. Like an atlas, the book presents a collection of photographs from places around the world, taken directly on-site by the artist or his friends, and with the help of Google Earth Pro.

The difference between the two typefaces creates a great tension in the book. On one hand, Zakład is very bold, massive, and almost brutalist, and it is the main link to the playground basketball world. On the other hand, Editorial New is a classic, condensed serif font. This combination establishes an unusual relationship and an interesting balance.

Basketball Hoops – Ball don’t lie was self-published in a first edition of 150 copies.