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.

Visual identity design for Maison Guinguet, a chocolate maker based in Duras, in the Lot-et-Garonne region of southwest France. Known for its orchards, vineyards, and culinary heritage, the region is central to the brand’s story, from its origins in prune production to its evolution into artisanal chocolate. The identity reflects this local savoir-faire and the gourmet culture of the area.

The branding was designed by Plus Mûrs. The logo and the branding are set in Romie Regular (designed by Margot Lévêque).

Nunito Sans is used on PickandMix.com, an online D2C confectionery store established in 2020.

Elmwood London collaborated with Mars Wrigley to revitalize the iconic Skittles brand, aiming for a consistent, upbeat, and globally adaptable presence across 180 countries. The refresh focused on amplifying Skittles inherent ‘nonsensical’ spirit, allowing for more dynamic storytelling and shareable content while retaining its nostalgic appeal for long-time fans and resonating with a new generation.

A key element of this refresh was the updated typography, which features a ‘fresh typographic spin’ and a distinctive slight kick on the K in the logo, enhancing its visual presence. Intro by Fontfabric plays the typographic part in this vibrant and playful rebrand, contributing to the overall energetic and fun aesthetic. The design ensures the beloved rainbow element remains flexible and iconic, extending seamlessly from physical packaging to engaging digital experiences. This project exemplifies how a strategic typographic choice can invigorate a global brand, blending heritage with a modern, absurdist sensibility.

Julianna Bach used Salvaje Display for the packaging designs of Date Better.

From Rudy Sanchez’ article for The Dieline:

Medjool dates are a variety of palm fruit that, unlike most other dates, are large, soft, and chewy with a caramel-like taste. They’re also sweeter than their smaller counterparts. This variety of dates, originating in Morocco but now grown globally, is a natural snack that is tasty on its own, but folks can also combine them with nut butter for a delicious, healthier candy.

The other fonts are Akzidenz-Grotesk Bold and Arial Black, used in all caps. “Date Better” probably is custom drawn. Some boxes additionally feature Cooper Black Italic (“Superfood”) and Typo Slab Serif (“Ground Up”).

Teaser visual for the TV anime adaptation of Shōshimin Series

Written by Honobu Yonezawa, Shōshimin Series (小市民シリーズ) is a Japanese mystery novel series that began in 2004, with six volumes released as of April 2024. A TV anime adaptation of the first and second novel, produced by Lapin Track, was aired from July to September 2024, while the third and fifth novel started airing in April 2025.

The logo for the anime series was designed by the Japanese graphic design firm atd inc. The typefaces used in the title uses a mix of Morisawa's A1 Gothic (M) for the top half and Ryumin (Bold KL) for the bottom half, while the kana below uses DNP’s Shuei Antique. The English text in the middle is Amstajul Bafett by Abas Creative, a type foundry based in Indonesia.

Deconstruction on how the logo design was made

Logo design for the TV anime adaptation of Shōshimin Series

Fruit Riot, a sour candy brand under Beyond Better Foods, sports a punchy wordmark set in Ohno Softie by OH no Type Co. – a fitting choice for a name that practically demands a squishy, and energetic treatment. With its bulbous forms, exaggerated curves, and lively rhythm, Ohno Softie captures the sensory overload of a sour candy experience.

The packaging and website include Alyc from Ultra Kuhl for supportive squishiness, and FontPanda’s Think Thick for bringing the irreverent and informal vibe even further.

This was an April Fool’s joke, there is no sour broccoli candy available!

Merch!

Octopuss Shaded was released in Letraset’s Letragraphica range of typefaces for dry transfer lettering in 1974. It came with a basic Latin character set covering English and, thanks to the inclusion of a handful of diacritics and the German eszett, a few more Western European orthographies.

This didn’t stop an anonymous designer in the Soviet Union to use it for the packaging of драже «цветной горошек» (drazhe «tsvetnoy goroshek»), a brand of sweet dragéees with a name that translates to “colored peas”. Colin Brignall’s chubby design with its rounded terminals apparently was too good a fit for the candies to let its meager language support get in the way.

For most of the Cyrillic letters, the designer could repurpose the existing Latin ones. The eszett (ß) stands in as ve (в), u was combined with a period for the short i (й), and s was mirrored for ghe (г) – this letter takes on such a curvier form in italic as well as in casual styles like this. Furthermore, m was turned upside down to obtain a passable sha (ш). The only glyphs that required a little more effort were tse (ц) and en (н).

The fourteen letterforms were arranged on a bouncing baseline, overlapping each other, filled in alternating colors and made even more appetizing by adding highlight effects. “ДРАЖЕ” is added in black sans-serif caps that are likewise drawn by hand, and may or may not be patterned after Futura Extra Bold.

Via @vintage_retro_story, a collection of designs from the USSR, curated by Natalia Kirichenko.

See more such makeshift typography in the “DIY language extensions” set.

Letragraphica sheet LG1808 with Octopuss Shaded in 72pt

NN Nouvelle Grotesk is the brand typeface of Heybee, a startup from the University of Zurich. Their visual identity was designed by MetaDesign Zürich:

Four innovative minds, one startup, one idea: to create a health and lifestyle product brand powered by bees. The ambition is to become the market leader for natural products based on propolis in the fields of wellness, health, and nutrition, in Europe and worldwide. (...)

The new name is the result of a broad creative exploration in parallel with intensive trademark checks. heybee stands for the friendliness and convenience of the product as a supportive natural remedy in everyday life. The word mark and the super symbol reflect the light and lively spirit of the bee dance.

The logo for Love Cocoa’s packaging is set in Eros by VJ-Type. The accompanying sans is CoType’s Ambit. The brand describes its mission as follows:

Inspired by his great-great-great grandfather, James Cadbury founded Love Cocoa with the purpose of producing delicious, high-quality chocolate in an ethical and sustainable way. They are on a mission to drive positive change within the chocolate industry, creating chocolate that is loved by people and planet alike.

Konrad and Jokker are the brand typefaces for candy brand Wild Thingz, in a visual identity designed by How&Wow. From Poppy Thaxter’s article for The Brand Identity:

Through its devised name – Wild Thingz – and identity, London and Los Angeles-based branding agency How&How has created a look and feel for the plant-based, artificial-free, and low-sugar sweet brand (formerly known as Just Wholefoods) that holds its own against the big-name sugary behemoths. Wild Thingz is slaying sugar cravings in a more natural way and, according to Associate Creative Director Priyjah Paramasivam, proving that “organic can be wild, overgrown, raw and rebellious, and have a voice to call out the big brands.” […]

How&How continue the counter-culture energy with a logo “inspired by the attitude of tattoos,” made of overgrown, thorny vines and leaves. “We are super lucky to have a senior creative with a background in animation, so this logo alongside Vee was created painstakingly by hand.”

As for the accompanying typefaces, How&How have opted for a duo that is both iconic and slightly subversive. Konrad, chosen for headlines, brings a punk rock attitude that perfectly aligns with the brand’s tone of voice. Its edgy character adds a dash of defiance when calling out big names. Meanwhile, Jokker steps in for body copy, offering a simple yet affable presence that effortlessly handles the everyday details. […]

Konrad and Jokker on the soon-to-be-launched website

Chilli Bomba is a new type of candy, equal parts sweet, spicy, and savoury, perfect for munching on, and on, and on. The LA-based brand breaks the monotony of the overtly sweet candy-land introducing gourmet, small-batch chilli candies targeted mainly at adults.

Taking inspiration from the candy flavours, we envisioned a punchy, loud and vibrant identity, perfect for insatiable taste buds. We introduced a dangerously playful mascot, Mr. Bomba, representing the explosive mix of sweet & spice, as well as the entire collection of candy flavours, known as the ‘Scovillains’. The illustrations are comical, sassy and full of attitude.

We reinvented the packaging experience for Chilli Bomba, featuring flavour-specific colour combos, illustrations and an unmissable type system including Brice, Roc Grotesk, Ill Hand, and the quirky workhorse Lil Grotesk. Packed in a matte 8oz pouch bag with a wide opening, the new packaging makes for mess-free sharing with your friends.

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.

Today is the sweetest day.

Paperwhite-Studio designed the visual identity of Sweet Lady Jane, setting the logo in Right Sans and using Sprig for the rest of the brand's typography.

Boasting several beautifully designed dessert shops sprinkled throughout Los Angeles, Sweet Lady Jane offers confections that can be enjoyed on the spot or whisked away as the centerpiece of a celebration. For over 35 years, it has remained the premiere dessert destination for every special occasion across LA.

With the goal of elevating the brand identity to match the excellence of its sensational sweets, Paperwhite Studio engaged in a top-to-bottom visual refresh of the logo, packaging, signage, and more. Their rebrand resonates with a new generation of cake lovers, and has laid a strong foundation for continued expansion across the city.

Sweet and sentimental, the new branding savors the classic cakery we know and love with a fresh face.

DO Drops sells “FUNctional gummies and chocolates that are low sugar and low dose, with just enough THC to lift you up or chill you out while you DO what you need to DO.” From logo to packaging and website, the visual identity of this manufacturer of slightly mind-bending candies uses Steradian by Emtype Foundry for all typography.

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Stepping into the Spoiled Parrot is like entering a candy-colored dream, where retro nostalgia meets gilded elegance. We named this confectionery and ice cream spot inside the Tin Building by Jean-Georges after a stanza from a Rumi poem which goes “I am a spoiled parrot who eats only candy. I have no interest in bitter food.”

We designed the identity and packaging to be independent of the Tin Building brand, while nesting comfortably under the same roof. Custom-stamped chocolate bars and luxurious details befit the elegance of the space, while multi-hued geometric shapes represent flavor profiles (and the feathers of a certain parrot who has escaped his golden cage to indulge his sweet tooth).

The feathers subtly mimic the archways of the space’s Deco interior, while IvyMode leans into this era in time, but in a contemporary light. We stretched it to 75% width and in our opinion, it works surprisingly well. Uomo Piccolo has a playful warmth yet utilitarian quality that anchors the typographic system and labeling convention as a whole.

Source: vimeo.com License: All Rights Reserved.

Still from the “Dictator” commercial.

Omnes is the branding and advertising typeface for Trolli.

Trolli is a German company selling gummy candies and soft licorice gums in over eighty countries. Berlin-based agency Heimat created a striking identity for the brand. They introduced a new slogan, “Let the fun win”, and a new typeface to go with it: Omnes Black is the heaviest weight of Darden Studio’s rounded sans. With its chubby yet distinctive shapes, it’s the perfect equivalent for the yummy titbits. Omnes Black is combined with photography that focuses on Trolli’s multicolored products themselves.

The new identity was launched via a couple of TV commercials that set the bonkers tone. It was soon followed by a large-scale poster campaign that borrowed the slang and syntax of internet memes, complete with double entendres and other puns. For the Trolli website, Heimat specified the slightly lighter Omnes Bold for headlines, and paired it with Arial Rounded for text.

Darden Studio. License: All Rights Reserved.

“Bit cute how sour [mad] everyone is here.”

Darden Studio. License: All Rights Reserved.

“Me: No sweets this week.
Trolli: LOL”

Darden Studio. License: All Rights Reserved.

“Everyone else: Boohoohoo.
You: Nom nom nom.”

Darden Studio. License: All Rights Reserved.

“What your stomach sees just before it's happy.”

Source: vimeo.com License: All Rights Reserved.

Still from the “Guru” commercial.

Source: www.instagram.com License: All Rights Reserved.

“How do 40 dinosaurs survive in a bag? They’re all vegan.”

Source: trolli.de License: All Rights Reserved.

Homepage detail featuring Omnes Bold with Arial Rounded.

Source: trolli.de License: All Rights Reserved.

Source: trolli.de License: All Rights Reserved.

Chronic by PintassilgoPrints in extensive use all over global websites for Ferrero’s Kinder brand.

The Regular style is employed as webfont, rendering texts in menus, buttons, titles, and more. It is also used in graphics, which occasionally also display other family styles, such as Chronic Inline and Chronic Dotted.

The complete family has seven styles and draws inspiration from a piece by HAP Grieshaber as well as elements from Willem Sandberg works.

Henderson Sans lends a classic note to the packaging for the handcrafted artisanal caramel by Laura Raes.

ComicsCarToon in use for a sweepstakes advertisement, with “free” utilizing two uppercase E’s where they shouldn’t be. Oops!

“The Pagemaster” appears to be loosely based on Bradley.