Packaging and campaign visuals for Kinder Coffee Lab’s Lemonade Coffee Shandy release, designed by Switchboard in collaboration with Fable Roasters in Minnesota. The identity uses Allsorts across cans, social graphics and promotional materials, pairing bold condensed display typography with bright citrus-inspired color palettes and playful vertical composition. Allsorts was designed by Becca Dore and is available from BTYPE.

Neat is a new soda brand that launched with three classic flavors – Lemon Lime, Dr. Neat, and Neat Cola – and in one sparkling typeface: Kit by Darden Studio.

Kit Rounded features mostly in all caps from the Medium and Extrabold styles, congenially complementing the custom drawn wordmark with its swashy script letters complete with an integrated thumbs-up. The font can be seen on the can designs, boxes, as well as in online advertsing.

Packaging design for Xochi Prebiotic Agave Soda made with 100% natural ingredients, respecting the traditions surrounding aguamiel.

The concept aims to capture the essence of Mexican cultural elements and create a brand identity that pays homage to its vibrant heritage from a contemporary point of view. We drew inspiration from the streets, using a wide range of references such as local signage, festive traditional costumes, decorations, flowers, and everyday graphic expressions.

We wanted the cans to feel like a celebration of Mexican culture from a pop perspective, where colors are vibrant and typography is bold, oversized, and playful.

Designer Hayley Lim taps into the expressive tension of Faust (designed by Bouk Ra and released by Type Department) to craft the visual identity for StillBitter Lemonade Co., a brand that leans into contrast – tart yet elegant, bold yet refined. Faust’s razor-sharp serifs and exaggerated curves lend the brand a sense of cultivated drama, perfectly echoing the product’s name and attitude.

Used across packaging and brand assets, Faust brings high contrast and an air of irreverent sophistication. The typeface balances between ornamental and functional, delivering standout shelf presence while maintaining readability – ideal for a modern beverage brand that wants to feel both niche and premium.

In the hands of Lim, Faust becomes more than a type choice – it’s a statement of flavor, edge, and aesthetic bite. The accompanying sans is Kilotype’s Oldschool Grotesk Compact.

Health-Ade, known for its kombucha beverages, has entered a new market with SunSip, a line of healthier sodas. Seventies script font by Sproviero Type was tapped for the project by Flock, who handled the fun and fresh brand and design work for the gut-healthy drink company. They used Balgin Bold from Studio Sun as the perfect sans serif companion.

Seventies had minor customization work done by Maximiliano Sproviero with some help from The Type Founders. This included lowering the dot on the i, widening the bowl of the p and swashing its tail, along with a few subtle tweaks for a more streamlined look.

Additional fonts used on the can labels include Kostic’s Roc Grotesk, Klim Type Foundry’s Söhne Schmal, and Helvetica with Condensed.

LaFabrikaDrink is a brand of artisanal lemonade made in France by an enterprise of the same name. Their visual identity was designed by Christophe Lombard a.k.a Buckwild.

Flexible is used as the main typeface (for logo and flavor), paired with Archia.

Caravelle is a restaurant located in Barcelona’s Raval neighbourhood that serves brunch, dinner and smokehouse dishes as well as speciality coffee, and their own range of beers.

In 2017, Caravelle commissioned Hey Studio to create the label for their first range of craft beers. In 2020 Caravelle moved the brewery to a larger site to keep up with ever growing demand. At the same time Hey Studio also expanded the original design system with a range of four new craft beers. All of the labels are very colorful and displaying some abstract shapes reminiscing of Op Art. The logotype and beer labels are always set in Suisse Int’l, bringing consistency to the collection.

Along its craft beers, Caravelle is always experimenting with new drinks recipes. During the 2020 lockdown, they’ve offered cocktails in cans to be delivered. Hey Studio designed a simple, and flexible label system to ease the supply in these difficult times. The recipe of the beverage (set in an unidentified version of Times) should be manually circled to reveal its content.

Recently they’ve also added a soda ginger beer to their range, being their first non-alcoholic beverage. This allowed Hey Studio to introduce a bubbly custom “Soda” lettering based on Benguiat Charisma Script.

Suisse Int’l is part of the Suisse family, available from Swiss Typefaces.

Caravelle’s current range of beers (excluding Summer releases).

Caravelle’s first batch of beers from 2017.

Some new beers from 2021 alongside the existing ones.

Big Liquor benefits from one of the happiest relationships in sales: the more we drink, the higher our alcohol tolerance. It is, therefore, their prerogative to get drinkers drinking, early and often—anywhere left of equilibrium alcohol-tolerance/insulin-sensitivity is, laws permitting, their target market. Understanding this, Big Liquor moved aggressively into Big Soda territory. Rivers ran candy coloured with alcopop.

But you already know that. What you may not know is that in an effort to reach a new generation of drinkers, Diageo launched Smirnoff Pink in spring 2021. “It’s the pink you’ve been waiting for”, they say. And how. Their ads feature the classic Missy Elliot track, “Get Your Freak On”, modified so that “Freak” becomes “Pink”. Whatever the word, Mme. Misdemeanour is implying the same thing: this is a beverage you can screw your tongue into like a light socket.

That’s why Smirnoff chose BLKBK’s font High Voltage for use in the Pink logo and elsewhere in advertisements. Written with a round-tip marker, with a fine finish and easy curves, this neon sign font flows, electric and smooth. It packs the flavour to make up for taste, stamina for years, and an easy appeal—perfect for the Smirnoff Pink logo font.

The brand typography of StrangeLove combines the serif Wulkan with GT America and its fixed-width sibling GT America Mono. The latter is used for ASCII art and little puzzle games.

From Marx Design:

Melbourne-based StrangeLove is a dynamic and unconventional drinks company. Building on the success of their Tonic & Soda ranges, They saw an opportunity to disrupt the sparkling water category. Introducing “Another drink by StrangeLove” StrangeLove sparkling waters. Zero sugar, zero calories & all natural flavours. After looking at many periodic tables, analysing mineral content and PH levels we saw a parallel in computer generated ascii code. Using the strategy of “borrowing from the past and modernising for the future” we had used for their other ranges. We created the variant graphics from individual text characters, a graphic technique that was used to create computer graphics in the 1980s. Embracing the idea that the water is made from many individual properties put together. The result is ownable unexpected design execution, that make the products stand out on shelf, as well as connecting with its core audience.

Jones Knowles Ritchie recently led a rebrand of the UK based Ugly Drinks. The "Ugly" wordmark is custom lettering drawn by Rob Clarke, but the main brand typeface used on all packaging and advertising is Rodger— specifically the Black weight. Rodger Black’s plump curves and retro vibe perfectly compliment the colorful and playful new branding.

Found in Hot Rod Magazine, October 1969.

Most of Coke’s iconic “It’s the real thing” ads of the 1970s were set entire in Helvetica, but this one — perhaps the ad that debuted the campaign — has a tagline set in Times New Roman Bold, which was the brand’s advertising typeface during the previous few years.