The title translates to something like Vitamine V – A reference book on vegetarian and vegan cuisine. It’s a comprehensive text book on vegetarian and vegan cooking that is used as course material in culinary schools. The first edition was self-published in 2019 by the author, Matthias Biehler. The book, set entirely in Profile, counts just under 800 pages and has a format of roughly 21.5×28.5 cm.

In an email exchange, the author said this about the design by Buch&Media GmbH: “[…] the typeface is brilliant; the V in particular is so lovely! I think the book is beautifully designed, and the typeface plays a big part in that.”

Mochi (by Typeverything) is used on the packaging for Plant Based Planet as part of the brand identity by Studio Spoke. The typeface’s soft, rounded forms support an approachable tone aligned with the brand’s focus on small, everyday shifts toward plant-based living. The sans used for secondary information is Neue Haas Grotesk or similar. On the website, it’s substituted by Work Sans.

Casa Bien developed a new strategy, identity and digital ecosystem for Novameat, the first brand offering plant-based whole-cut meat specially created for food makers.

The visual identity brings together the two core elements of the project: its innovative technology and a strong commitment to traceability and natural ingredients. This constant balance between nature and technology culminates in the key visual, a recognisable mark inspired by the unique fibres of their cuts, and a tool to expand the brand’s graphic universe.

We created a brand with a distinct voice, ready to shift the conversation towards a future in which plant-based protein also means healthy and tasty, without compromise. The brand uses editorial platform The Journal as its main narrative tool; a carefully curated archive documenting the journey towards a new culinary tradition.

Real Mushrooms packages its mushroom supplements in a calm, earthy system of bottles and pouches, using warm neutrals, product-specific illustrations and a clear distinction between powders, capsules, blends and pet products. Across the range, the design accommodates long product names, certification marks, beta-glucan claims and serving information without losing a quiet overall feel.

Typefaces in use are Store Norske Leif and Store Norske Skandia from Skriftkompani.

GenV (Generation Vegan) is a bold advocacy brand championing a plant-based future. F37 Incise is used in the logo, its sharp, chiselled forms echoing the energy of the lightning-bolt V.

[Be]Life is a young brand dedicated to developing healthy hair products. The products are vegan, cruelty-free, sulfate-free, paraben-free, and petroleum-free. The brand asked us to create its identity, packaging, and web design. The premise was to create something that would capture attention and stand out in the current market within its industry.

For the identity, we worked with the concept of duality between the scientific and the organic, the structured and the gestural. Both the brand and the texts make reference to laboratory formulas. The typeface used is Dazzed with an editorial and minimalist approach. On the other hand, the illustrations representing the natural ingredients are gestural, organic, and feature vibrant colors.

The duality is reflected in both the formal and chromatic aspects, creating a logic that allows us to develop the different visual elements of the brand's system.

Bad Hombres is a vegan Mexican restaurant in Sydney, Australia.

Graphik is used throughout, with Alias Harbour providing contrast for headline type.

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

Niul is the first cosmetics brand in Brazil to adopt aluminum cans as packaging. This decision stems from a simple yet impactful fact: while almost 100% of aluminum is recycled in the country, only 1.3% of plastic meets the same fate. The proposition is straightforward – clean, vegan, and cruelty-free formulas in infinitely recyclable packaging that can be transformed back into containers, closing the loop.

The visual identity puts the planet at its core. Shapes echo world maps, doubling as flexible graphic elements and becoming a visual asset recognizable across brand applications. These shapes are also the starting point for the mascot, with a plant sprouting from its head symbolizing a healthy, thriving planet. Curious, attentive, and friendly, it embodies Niul’s spirit.

The cycle of melting and reconfiguring aluminum inspires the custom-drawn logo and the brand's animated behavior, reinforcing the idea of continuous transformation. This concept is also reflected in the typography, with the solid impact of Greed as primary typeface, always used all capitalized to ensure the urgency of the recycling conversation and the boldness of the product proposal. Also contrasting with the fluid strokes and connected serifs of DaVinci, to balance the branded impact from Greed with light and organic feeling for a variety of communication.

Deeply rooted in nature and environmental commitment, Niul offers an innovative approach to conscious consumption and planetary responsibility.

Las is a new vegan restaurant in Łódź, Poland, a place where plant-based plates reign. It's seasonal, local and natural.

The brand identity for Las was designed by PALL studio (Anc Ciechanowicz and Piotr Lipowicz) with a heavy emphasis on playful typography, illustration and color. Together the illustrations and type form the logo; a combination of the letter L and an illustration of a fox. This continues with the forest animal themed illustrations combined with typography on the menus, advertisements and other branding like the stickers for the take-away bags.

Norekk was designed by Gabriel Klančar out of a desire for something fresh and playful. The letterforms are dynamic, monospaced, and expressive, all designed within a rigid grid. The typeface explores notches, light transitions, and asymmetry throughout the design.

Photography by Studio KUSZ.

Omnes is one of the brand typefaces for Oatsome. The German food startup offers smoothie bowls, crunchy toppings, nut spreads and other products for a healthy diet, all with 100% natural ingredients and no additives or added sugar.

Darden Studio’s selectively rounded sans is available in four widths: Narrow, Condensed, Semicondensed, and Standard. The Oatsome designers work with several of them, in various styles including the italic. Omnes Condensed and Narrow are being used for the product descriptions. These space-saving fonts also come in handy for placing all relevant consumer info like nutrition facts on the packaging designs.

Omnes is combined with Stick-A-Round by PintassilgoPrints. The unicase sans is used with some of its playful ligatures and nested letter pairs for the product names. The Oatsome logo features Shinntype’s Aptly in lowercase letters.

When Darden Studio introduced Omnes Widths, we designed promotional graphics with condiment packs. These demonstrated how dry information like lists of ingredients can still be presented in ways that are readable and appealing alike. We’re thrilled to see such an application in the wild!

Banners from the Oatsome website, featuring Omnes Narrow Bold and Bold Italic for the large lines

Intro for the hazelnut-and-tonka smoothie bowl. Text in the speech bubble is in Omnes’s standard width.

Trial packs with teasers in Omnes Narrow

Stick-A-Round in combination with Omnes Narrow

Ingredient lists can have nice typography, too!

Jar labels for a hazelnut-cocoa spread

Logo as used on social media, with the Gaia Tree encircled by Halyard Micro

Darden Studio’s Halyard is the typeface for Gaia Tree, a brand of organic vegan treats.

In 2023, the Sydney-based business asked designer Renan Vizzotto to bring the visual identity to a new level. Vizzotto found inspiration in the tropical nature of Fiji, the founder’s homeland. For the typography, he combined two of Halyard’s subfamilies: Halyard Micro is specified for headlines and all larger applications, taking advantage of its eye-catching notches and tapering strokes. Smaller text is served in the pleasantly readable Halyard Text. Styles from both families work together throughout the identity, from the packaging designs to the website.

Why pick one? The website combines two of Halyard’s optical sizes; the Micro – here in all caps for the headline and in mixed case for the button label – with Halyard Text.

The boxes and pouches show the custom wordmark and the tree symbol, alongside text in Halyard.

The list of reasons for choosing Gaia Tree pairs Halyard Micro Medium with Halyard Text Regular.

The design takes inspiration from the nature of Fiji, with photographs and illustrations of the islands’ vegetation.

Gaia Tree’s range of products inlude hampers, cookies, chocolate flakes, and more.

The website complete with shop was designed and built by GemWeb.

Sant’Or is the first certified biodynamic winery in Greece. As this is an important advantage of the winery, Kommigraphics were assigned the redesign of the winery’s labels, with the aim of enhancing the biodynamic and vegan nature of the different wines it produces.

The design of the labels refers to the fauna of the area Santameri in Achaea, which is where the Sant’Or winery is located. Through an abstract and at the same time archaic-ish design of the illustrated animals and insects, they aimed at the emotional and direct connection of the consumer with the product and consequently with the winery.

The logotype is set in Cako. The accompanying sans appears to be GT America Expanded.

Gordita is used for the design studio’s presentation, but is not part of the winery’s identity.

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

Launched as a clean, vegan, and cruelty-free makeup brand, Sugarplum is made for the bold and expressive Gen Z. It’s more than just makeup; it’s a statement of self-expression. Sugarplum empowers you to feel confidently beautiful and uniquely yourself.

Founded by Chang Makeup, a pioneering Vietnamese beauty influencer, Sugarplum thrives on creativity and care. It’s not only designed for you but also for making an impression—whether it’s to make your ex regret, catch your crush’s eye, or earn admiration from your followers.

The brand’s distinctive strategy includes a bold logotype that stretches across the lipstick body, making it stand out on a makeup table or in your purse. The logo, inspired by various lipstick shapes, features a cute, organic heart symbol that resonates with Gen Z.

In collaboration with Dinamo, we developed a custom typeface—Sugar Ginto Nord Black—infused with details that mirror the lipstick’s iconic shape.

Sugarplum’s brand voice is fresh, trendy, and always in tune with the latest social media culture. Every piece of content is crafted with playful, relatable wordplay, ensuring it connects authentically with its audience. Our art direction centers on realness, featuring genuine images from customers, reinforcing trust and loyalty to the brand.

Pascal Liénard created the brand Identity for Myum!, a vegan produce maker with a mission to create unusual flavors as long as it use locally grow produces.

From his website (translated from the French):

Local produce in a jar, a pep in your plate. It all starts with local vegetables, unsold or out-of-calibre but just as delicious! With an eco-friendly, anti-waste approach, [the vegetables] are transformed using simple, gastronomically interesting processes – such as pickling and lacto-fermentation – that complement their natural flavors.

I designed the visual identity to accompany the taste promise, with a touch of dissonance that underlines the not-so-common lavor combinations, and that gives prominence to the commitment to local and seasonal products.

The slogan reads: “Artisanal product made from seasonal vegetables grown by local farmers.”

Climbing instructor and sports masseur Benno Hinrichsmeyer searched for a long time for a natural care product for his hard-working hands. One without chemicals, palm oil, mineral oil and allergens. In the fall of 2019, he mixed beeswax, olive oil, St. John’s wort and aloe vera in his shared kitchen in Cologne. And so Daumenschmaus (German for “thumb feast”) was born – the first solid, vegan hand cream made from organic raw materials.

A few months later, he founded the cosmetics brand 4 People Who Care with his brother and two friends. 4 People Who Care is a name that holds both the founders and its customers accountable. Its mission is to develop sustainable products using only the most necessary and useful ingredients while protecting biological diversity on our doorstep. With every product sold, 4 People Who Care reinvests in the nature from which it sources its raw materials, through flowering meadow sponsorships, collaborations with organic farmers and by supporting biodiversity projects.

The Hamburg-based cosmetics company is currently preparing for internationalization – beginning with the renaming of its products so that they are understood globally. For example “Lip Balm” instead of “Lippenpflege Aufs Mäulchen”, “Solid Sunscreen” instead of “Feste Sonnencreme Naseweiß,” or “Face Oil” instead of “Gesichtsöl Goldgrübchen”. The packaging design of the product portfolio was also completely redeveloped in a harmonious and authentic way under the direction of Hamburg-based designer Kathrin Burschyk. The brand’s distinctive typeface is now Nice Headline from Fontwerk. On the website 4peoplewhocare.com, which has also been revamped, the product range can already be admired in the new design.

“We chose Nice because the typeface commands a great presence both at the POS and in the webstore … just the right warmth and emotionality.” Burschyk explains the choice of the typeface. “It also has beautiful numerals that are used prominently on the packs of the ranges.” For the small print, Sofia from Mostardesign is used. Marc Seipel, Key Account Manager and Product Developer at 4 People Who Care, adds: “We deliberately chose Nice Headline for the global design to showcase our brand message in a visible and modern way.” Co-founder Fritz Hinrichsmeyer admits on LinkedIn: “We worked on it for a really long time and turned a few loops. Now we’re done.” and asks: “Opinions on the Design?” Answer: 100 percent agreement in the comments.

Nice Headline numerals play an important role in the packaging design of 4 People Who Care product lines

Naturezas is a company that has been producing vegan foods for more than two decades. Our studio had the opportunity to carry out this project in an ideal context. It began with creative exploration and diagnosis of the brand, which allowed us to carry out a deeper analysis. We worked closely with the client to understand the real needs of the brand. The data obtained showed the strengths, weaknesses and opportunities of the brand. An obvious weakness was the obsolescence of its brand, which did not reflect the quality of its products. This led to a redesign of both the brand and the packaging of the products, which were already present on the market. The challenge was to ensure that, despite the new image, certain references were maintained so that the public could identify with the product with which they were already familiar. However, we conceived this redesign with the intention that the entire line would stand out from the competition, both due to its new image, color palette, as well as the size and shape of the new containers.

Branding and packaging for food producer So Leckri from Switzerland by Wrocław-based Flov Creative, using Robu Bold by Typeverything.

The product names on the jar labels are in caps from a bold italic style of Avenir Next Condensed.

Carmel by Kapara offers “good things in pita“ – vegan street food from Tel Aviv delivered straight to the heart of St. Pauli, Hamburg, Germany.

The identity uses Räder in all caps, featuring several of its alternates (like the round-top A and the big-bellied R) and ligatures. It is paired with Frank Ruhl Libre for the Hebrew text on the menu as well as for the ingredients on the jar labels.