Amundsen Sports’ Gommo & Goffa sweaters are presented as a tribute to Norwegian knit heritage, drawing on the traditional bunad and its regional embroidery motifs. The campaign introduces the patterns through simple, chart-like graphics labelled Hallingdal, Telemark, and Gudbrandsdalen, and then places the motifs back onto the garments in sunlit, documentary-style photography.

The storytelling frames the pieces as heirloom knitwear made to be worn and passed down, with copy that emphasises 100% free-range Norwegian wool and a Nordic winter use case. The visual system balances large, confident headlines with small informational lines and longer descriptive text blocks, keeping the tone refined and heritage-led.

Typography uses Store Norske Leif Mono, Store Norske Magi Mono and Store Norske Magi from Skriftkompani.

Orfeus Publishing has published Historien om den norske løve, a richly illustrated book by historian Knut Johannessen. Designed by Halvor Bodin, the book follows Norway’s coat of arms from its beginnings as a royal emblem in the 13th century through centuries of unions and key political moments such as 1814 and 1905, and into present-day use.

The visual material spans everything from coins, banknotes and stamps to folk art, uniforms, banners, bookbindings, sheet music and the royal standard.

The book uses typefaces from Store Norske Skriftkompani, and is primarily set in Store Norske Leif Regular at 9/13 pt., supported by Store Norske Gangster and Store Norske Skandia Condensed. The mix gives the book a confident editorial voice, with clear hierarchy across long-form text, captions, and display elements.

The Norwegian Olympic and Paralympic Committee and Confederation of Sports (NIF) launched Grønt Lag (“Green Team”) to promote environmental consciousness in sports at all levels. Molberger comissioned an enhanced version of STK Miso Italic, pushing its dynamic characteristics to new extremes. The modified typeface, with its increased speed and attitude, effectively communicates the initiative's forward-thinking, environmentally conscious mission.

Byraa Bodø has designed the exhibition identity for Mot Nord / Fra Nord for art museum Bodøgaard.

Bodø used the book weight of Store Norske Maleri from Skriftkompani. It’s paired with LL Akkurat and, on the museum website, with Neue Helvetica.

The exhibition consists of two parts. Mot Nord (“Towards the North”) shows works by Peder Balke (1804–1887), the first Norwegian artist to depict the northern parts of the country. Fra Nord (“From the North”) provides a rare insight into the earliest known printed documentation from the High North, through Terje Øiesvold’s collection of books and prints on the pictorial history of the Cap of the North from 1550 to 1850.

Located at Skeiddalen 2 in Bodø, Norway, the show is open until September 22, 2024.

Exhibition poster

The exhibition catalog comes in newspaper format.

Animation for social media

In the exhibition

Norges Verdensarv (Norwegian World Heritage Centre) is an organisation that aims to safeguard and promote the common interests of the Norwegian World Heritage sites and contribute to their conservation and development in accordance with the UNESCO World Heritage Convention and best practice.

Oslo based Opening Hours studio has redesigned their identity and website using Store Norske Ja from Skriftkompani together with Displaay’s Fenul.

Oslo based digital design agency Feed Oslo made a new website and identity system for the Norwegian Civil Affairs Authority (Sivilrettsforvaltningen). A client working to protect the legal rights of all Norwegian citizens. The website is set in Store Norske Ja Regular, and Store Norske Ja Mono Regular.

Photography: Simen Øvergaard

Schotis Text in use in an art book by Elina Brotherus, designed by Dog Design in Helsinki, Finland. From design studio Dog Design:

The AKO Foundation invited artist Elina Brotherus to photograph a series of works on the southern coast of Norway. Brotherus visited the locality of Kristiansand in Sørlandet several times during 2018-2019. Seabound: a Logbook was born from these works.

The book stands alongside the photographic series as an independent work in which Brotherus’s stunning pictures, multi-faceted visual narration and typographical elements are joined together like entries in a catalogue-like logbook. The book is published by the well-known German art book publisher Kehrer Verlag.

Times of Norway / 노르웨이의 시간 offers an in-depth introduction to Norway’s nature, design, unique food culture and the joyful, slow paced Norwegian lifestye. Published by Commin Books.

Studio Gomin chose Cosi Times by Nikolas Type for the Headlines and RixGo from Rix Font for all Hangul text.

The Serbian writer and critic Isidora Sekulić – “the first woman academic in the history of Serbia” – published the travelogue Pisma iz Norveške in 1914, having spent a year in Norway. Tatjana Petzer’s translation, Briefe aus Norwegen (“Letters from Norway”, Friedenauer Presse, 2019), bears the same title in German, but includes additional texts spanning from 1913 through 1951.

Briefe aus Norwegen is designed by Pauline Altmann employing Sindre Bremnes’ seminal sibling romans, Satyr (body text) and Faunus (headlines).

Perhaps the most important reference for Bremnes’ type family is Nordisk Antikva, a German-Swedish collaboration between the type designer Friedrich Bauer and the printer Waldemar Zachrisson from 1906. Outside Sweden, this typeface was available as Genzsch-Antiqua. This typographic choice anchors the book visually in a time and a location that matches the subject matter.

The illustration (by Christian Thanhäuser) merges a portrait of Sekulić in green with a mountainous Nordic landscape in black.

In November 2019, Norway released the last note in their acclaimed new series of banknotes. After 18 years, the entire banknotes series feature one common theme – the ocean – instead of the traditional portraits of prominent countrymen and -women.

The original design and main concept for each banknote was conceived by the Norwegian design agency Metric Design and illustrator and artist Terje Tønnesen in 2014. The reverse sides are based on design proposals from fellow designers at Snøhetta.

Frutiger was predetermined for the primary type by The Central Bank of Norway and advisor and calligrapher Julia Vance. Sizes and font weights were up to the designers. Metric chose Frutiger Roman on the numerals for best readability and also to maintain a Nordic lightness in the overall designs. The designs were later adapted, modified and translated into banknote idiom by the in-house design team at the Central Bank of Norway, adding security elements such as micro text. The micro text is set in Helvetica.

The notes are printed on cotton paper with a number of different number of print techniques; offset, screenprint, foil, UV and intaglio for the primary motif and main typography. The slightly raised intaglio print can be felt by running a finger across the numerals, helping the visually impaired differentiate the notes.

See an extensive case study on Metric’s website. Snøhetta has a post about the reverse sides. Additional information about both front and back is available from the website of Norges Bank.

A bilingual website with alternating background colours to celebrate and communicate everything related to Norway being the Guest of Honour at the Frankfurter Buchmesse 2019. The typography uses Everett throughout in two weights plus a faux italic. Visual identity by NODE Berlin Oslo.

Norway is Guest of Honour at Frankfurter Buchmesse 2019. Experience Norwegian literature and arts at events throughout 2019 and at the book fair in October. NORLA (Norwegian Literature Abroad) organises the project on behalf of the Norwegian government.

Norsk kunstårbok is the only annual book release on Norwegian art. Through specially ordered articles, interviews and presentations by selected artists and exhibitions, the book gives a broad picture of Norwegian contemporary art. Theme for the Norwegian Art Yearbook 2017 is plastic and art. Through several articles we chart the plastic culture history from the first plastic materials developed in the late 1800s and up to today. To a large extent, this is a story about the development from utopia to dystopia, and the book's articles look at how the role of plastic in society is reflected and expressed in art. Designed by Neue.

Suisse Int’l is part of the Suisse collection, and SangBleu Republic is part of the SangBleu collection. Both are available from Swiss Typefaces.

Catalogue for the exhibition 100% Norway, organized by The Norwegian Design Council, the Norwegian Ministry of Foreign Affairs and the Royal Norwegian Embassy in London together with the Bergen Academy of Art and Design (KHiB), and shown during London Design Festival. Designed by Ann Kristin Stølan and Suniva Helland.

BEIT —

an optimistic conference on technology and agriculture for you who have discovered that we are in front of a green and interesting revolution.

Norway is a digital country. Agriculture is changing. Food production must be smart and sustainable. The farmer 2.0 will deliver value in new ways. We must do something different. We welcome curious farmers, entrepreneurs, researchers and bureaucrats to explore opportunities around three questions

Richard Baird, BP&O:

Structure is an exhibition of Norwegian contemporary crafts and design that began its European journey at Milan Design Week in April 2017 and is currently being held at Norwegische Botschaft in Berlin until April 2017. The exhibition features the work of 26 designers and studios, and covers a variety of products and prototypes; from furniture to lighting, to ceramics, textiles and home accessories. Structure intends to bring to the light the designer and manufacturing partnerships, and the intersection of craft and design, artistry and innovation that characterises the Norwegian creative scene. This intersection is expressed by the exhibition’s brand identity, created by Oslo-based graphic design studio Bielke & Yang, through type and typesetting, illustrative texture and art direction, proportionality, layering and materiality. […]

The meeting of craft and design, material detail and reductive form continues in the pairing of the sharp stone carved serifs of GZA alongside the geometric shapes of plinths and placement and proximity of objects within photography, as well as a mix of structured layouts and more free-form layering and arrangement. […]

Norwegian Making Waves offers a comprehensive service in digital design and development. On the agency’s website Aften Screen is used exclusively and complements in all its variations the structured overall appearance.

“The cover includes an update of the current red passport, plus a blue version for diplomats and a white version for immigrants.” — Slate

Neue’s winning design for the new Norway passport uses a native Norwegian typeface: Telefon. These images represent the design proposal. The final design is expected to change before it becomes official.

“When the passport is held under a UV light, a scene of the Norwegian landscape turns from day to night, revealing swirls meant to evoke the spectacular northern lights, and hidden text appears.” — Slate

Netlife Research’s new website for the Norwegian Skiing Association, skiforbundet.no, couples striking full-bleed images with a modest and clear typographic palette, The choice of Telefon – an amalgamation of Norwegian typographic culture from the Interbellum years through-out the 20th century – as the leading voice for the visual profile ties the traditional and the contemporary nicely together.

Be it cross-country through endless woods and over frozen lakes, downhill Telemark style, or daredevil ski jumping contests as first held in Trysil back in 1862 – skiing is quintessentially Norwegian. Strapping on a pair of skies on a clear winter’s day in the Nordmarka slopes surrounding Oslo, you are just as likely to meet king Harald V, as your nextdoor neighbour.

Matthew Carter’s screen-optimized serif Georgia carries the main bulk of text, while Sindre Bremnes’ Telefon is used for navigation, headers and tables, both hand-hinted for clear rendering when few pixels are available to draw the letterforms.

The website scales comfortably to small screens. For handheld devices, the navigation is hidden beneath the now commonplace hamburger menu symbol, and on desktop computers it snaps to the left edge, leaving plenty of room for the imagery to shine.

You might know Telemark county for its traditional Telemark ski, its rich cultural history, its stave churches, the canal – carrying boats 105 kilometers inland, all the way from Skien to Dalen – or the pictoresque coast line area surrounding Kragerø – “The Pearl of the Coastal Towns” as the painter Edvard Munch once named it. Tourism is important for the region, and by enlisting the help of the multi-displinary agency Snøhetta, Telemark is set to expand its brand.

Telemark's visual identity is designed to help the many tourism operators and businesses in the county to appear unified and coherent. The purpose is to communicate the experience of Telemark as a modern and exciting destination, drawing to more visitors to spend valuable time in the county.

Snøhetta has developed a bold new identity, utilizing the regular weight of Sindre Bremnes’ Telefon as the main brand face, paired with Adobe Caslon for extended text. The identity is rolled out slowly over the coming years, aided by a web-based profile manual complete with downloadable templates, colour swatches, logotype variations and a continously growing database of photography (shot by photographers Marcus Nyberg and Steve Warburton).

Snøhetta’s own presentation of the project has even more details, and a video introducing the web-based design manual.

The identity is packed with templates and example-usage, including billboards, ads, business cards and editorial design – both digital and in print.

The logotype features a custom drawn wordmark and a symbol than can be filled with various textures and images. Snøhetta writes about the identity:

The overall idea of Telemark's visual identity is contrasts that complement and reinforce each other. The wet appears wetter in juxtaposition with the dry. The icy cold feels harsher in the face of the heat. The modern assumes a new perspective when paired with the traditional.