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Kit’s gone glamping! The modern rounded sans by Darden Studio helps Park Lane Holiday Parks to advertise their family-friendly getaways. Kit Rounded features in a range of its eight weights for sale announcements and other social media posts.

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Iterra Designs is a product design company focused on creating precision outdoor accessories for overlanding and off-grid travel. The brand describes its approach as driven by iterative improvement and engineering. Their catalog includes carbon-fiber mounts, sink and fridge-system components, heater kits, Starlink mounts, and other equipment built for durability and dependable performance in outdoor and vehicle-based setups. Under the motto “The Outdoors, Engineered,” Iterra Designs develops products intended for people traveling the road less traveled.

Their visual identity makes use of Scope in different styles. On their website, Scope is used for headlines and buttons, while Hiragino Kaku Gothic and Geist Sans are used for body copy.

Monolith is a line of ultra-thin outdoor LCD totems designed and manufactured in Austria. The product and its website emphasize engineering precision through clean lines, modular form, and a focus on real-world advantages such as weather resistance, vandal protection, and energy efficiency.

The typography is calm and contemporary, supporting a clear hierarchy across specifications, benefits, and pricing. Large headlines and structured text reinforce the product’s technical character, giving the presentation a premium yet understated feel that aligns with the minimalist visual language.

Albra Book from Ultra Kuhl is used together with Messapia Bold and Coconat Bold Extended by Collletttivo in They That Do’s identity for Seedfolk, inspired by vintage botanicals and vegetable wood carvings. With an earthy look for the home startup, the studio set out to connect people with the colourful joys of growing their own. The website additionally uses Grilli Type’s GT Walsheim.

From Ellis Tree’s article for It’s Nice That:

Inspired by the shift in a desire to be outdoors and connecting with nature in the tough and isolating times of national lockdowns, Seedfolk was born out of a moment when many had time to slow down and reflect on the smaller things – in Gemma’s case this was growing veggies in her own back garden. The seed subscription and grow club started from Gemma’s own family’s journey with gardening and her desire to share this joy with others. “I thought this was a wonderful story and ultimately it's where the name came from – folk coming together to grow from the humble seed”, shares Vincent.

Picture Adventure Club is a series of hiking events organized by Picture Organic Clothing which does not only focus on enjoying the outdoor world but also on recharging batteries. These events are made to be unique adventures: refreshing hikes in stunning locations followed by a brunch.

Maroni by Arthur Calame is used as the main typeface. The accompanying sans is Neue Haas Unica. The “Grasse Mat’” logo appears to be custom drawn [edit: it’s based on Salsa BT Redonda Redonda]. Designs by/via Kiblind (Kiblind is an agency, an atelier and a publisher).

The exhibition project Spacing (formerly Erlkönig) in Bremen is shifting its focus to the outdoor exhibitions that have taken place since 2020 with the publication Standort Freigabe (“Location Release”). It addresses exhibitions such as Kartierung, Sichten, Grasslands for Insects, Please hold the Line, and Ohh Please. Additionally, the publication features photographic works by students from the Bauhaus-Universität Weimar. With texts by Mira Annelie Naß, Tobias Heine, Maxwell Stephens, and Arie Hartog, Standort Freigabe provides a deeper insight into the projects that have emerged in recent years.

Editorial design by Marcel Saidov using KMR Apparat Medium. Standort Freigabe was published by Verlag Marian Arnd in an edition of 200 copies. The booklet measures 30×24 cm and has 76 pages housed in a transparent jacket. ISBN 978-3-948927-53-0.

From Outdoor Retailer:

After three decades in business and in the mountains, Mountain Hardwear, leader in performance equipment and apparel for climbers, mountaineers and outdoor athletes, introduces a brand evolution centered around its purpose: Seek Wilder Paths. Kicking off the rebrand is a campaign of the same namesake, defining Mountain Hardwear’s wild and wise identity, rooted in the brand it has always been with updates to the logo, brand colors, and brand expression that speak to their progression and innovation in the ever evolving industry.

Montain Hardwear’s new identity was developed at Gretel. Together with Andrea Trabucco-Campos and Fabiola Mejía of Supercontinente, they developed a custom typeface series named Hardwear that “combines the rugged precision of technical engineering with the comforting confidence one feels when geared up in Mountain Hardwear.” It comes in four flavors: Display, Round, Round+Sharp, and Sharp, each in five weights. One source of inspiration was a wood typeface shown in a French specimen by H.W. Caslon & Cie as Nº 205, which is a version of Ancient Gothic.

According to Gretel, “the supporting Quadrant Text and Mono are subtle references to maps and topographic notations, adding an important typographic texture that contrasts the boldness of Hardwear.”

The logo combines the word “Mountain” typeset in the new custom typeface, paired with “Hardwear” in custom script caps based on Roger Excoffon’s Mistral, which were made simpler and more consistent in weight and proportion.

See the full case study on Gretel’s website.

Packaging

Out Here product catalog

Label ft. Quadrant Text

Caption ft. Quadrant Text Mono

The Mountain Guides product brochure

Homepage detail with Hardwear Display Extra Bold for the headline and Hardwear Round+Sharp Bold for the menu

Text on the website is rendered in Roboto Serif.

Product page

Campaign landing page with all-caps Quadrant Text Mono at the very top

Visual identity and website for Jardin C, an outdoor place in Nantes dedicated to experimental culture. As the garden is an outside venue, every event organized there is very sensitive to the weather. The website has indicators for the current time, temperature and humidity.

For the 2023 poster series, Elastik is the sole typeface used. It focuses on the concept of growth, utilizing the dots of the letter i as illustrative elements.

The Mazury Cup is a three-day orienteering competition set within the woodlands of the Masurian forests. Maria has been consistently employed throughout the event to craft its distinct identity. This event is an iteration of Sudety Cup, details of which are available in our prior post.

in the bulletin Maria is paired with Barlow.

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Acier Noir + Acier Outline

Paris Paradis is the name of an annual open-air festival held since 2018 in the Parc de la Villette in the northeast of Paris. It was initiated by Le Parisien, the leading daily newspaper of the French capital when it comes to paid journalism. The festival spans over a weekend from Friday to Sunday and unfolds between two stages dedicated to music performances and the “Cabaret Sauvage” reserved for French humorists. The program and the many activities between the stages are deliberately eclectic: paradise has to offer a space for everyone.

Since its beginnings Paris Paradis uses the combination of a script for “Paris” and modernist all-caps for “Paradis”. This combination is actually reminiscent of French letter painting after 1950. While the script is probably an individual lettering piece based on House Script, the word “Paradis” uses a bichromatic setting of Acier.

Commissioned by Charles Peignot of the famous Deberny & Peignot foundry in Paris, Acier was originally designed by A.M. Cassandre in the 1930s. Yes, that Cassandre. The metal type family had two members, Acier Noir (black) and Acier Gris (gray, filled with thin strokes) that were meant to be printed in two colors on top of each other – If you will, a modular system allowing for many different effects in print.

Being the first to revive Acier for the digital era, Jean-Baptiste Levée not only studied closely the printed specimens but also decided to pick up on the inherent modularity and carry it further. He broke the whole design down into its elemental parts (solid, outlines, strokes) and made them into single fonts that you can recombine at will. This way he extended on Cassandre’s typeface. The digital Acier is available in two optical sizes from Production Type.

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Acier Solid for the festival map

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The 2023 comedy lineup. For this year’s edition, Acier is supported by ITC Avant Garde Gothic – which is quite similar, but offers a range of weights and more conventional numerals.

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The 2023 musical lineup. The word “présentent” is set in House Script.

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Kalika will present her debut album at Paris Paradis 2023.

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Franglish will perform live at Paris Paradis 2023.

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Acier Gris for signs on the venue, here for the kids’ space

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Pauline Croze live on stage

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Acier Gris in use for the 2018 edition

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Acier Noir in use for a visual review of the 2021 edition

Birder’s Journal and Forager’s Log notebooks by West Virginia design studio Big Fog. This pair of complementary notebooks was made to help document your findings on outdoor adventures. Each notebook is Riso printed and spiral bound with a glow in the dark coil.

The Birder’s Journal cover is set in Big Fog’s own Discotack (available from Blaze Type), while the Forager’s Log makes use of the bolder side of Undercase Type’s Fraunces. Both notebooks feature Spoof Light for the smaller typesetting on the cover and interior pages.

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Tempel Softland is the latest release by Production Type. Drawn by Leipzig-based type designer Reymund Schröder as a variation of his Tempel Grotesk with soft corners and more condensed proportions, it was added to Production Type’s LAB in three tight styles: Condensed, Ultra Condensed and Compressed.

Superscript² from Lyon used a beta version for the visual identity of Sirk Festival. Since 2016, this annual celebration of electronic music takes place in Dijon, the center of the Bourgogne-Franche-Comté region in eastern France. The seventh edition was divided into three series of events, in spring, summer, and fall of 2022, featuring a roster of around forty artists. Venues ranged from a cosy houseboat (the Péniche Cancale) and a roofed sports ground (the Boulodrome Municipal Couvert) to a former military base at Aéroport Dijon-Bourgogne: once the home to Mirage fighter jets, the hangars now serve as peaceful dancefloors, with the walls shaking from the techno and house beats.

Tempel Softland is used in caps from its least narrow style, the Condensed. It’s paired with the number 7, shown in various custom drawn styles. Supporting text is set in Eurostile Bold Extended, likewise in all caps.

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The Sirk logo in jumbled letters from Tempel Softland, projected onto the floor of Dijon’s Boulodrome

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The Sirk logo in wooden letters welcome the visitors of the Péniche Cancale, a moored barge in Dijon’s Port du Canal

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Each of the three event series was presented in a different color: green for spring, yellow for summer, and a mix of pink and turquoise for fall.

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Announcement graphics on Instagram

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Festival posters at the entrance of the Boulodrome

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Le Sirk with sound, dance, joy, good mood, laughter, friends, consent, differences, good memories, …

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Le Sirk without violence, racism, sexism, aggression, homophobia, biphobia, transphobia, discrimination, ableism, …

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Print your own T-shirt at the workshop area of the summer edition

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Open air event at the summer edition of Le Sirk #7

When in winter the second wave of the pandemic hit Lithuania, the squares of Vilnius hosted an open-air exhibition titled Homo Absentia (“The person is missing / absent”), organized by the Lewben Art Foundation together with partners – the Lithuanian Photographers Association and the Vilnius City Municipality.

The exhibition Homo absentia presents artwork by young Lithuanian photographers, Visvaldas Morkevičius, Geistė Kinčinaitytė, Indrė Urbonaitė, Paulius Petraitis and Imantas Selenis, and creates a unique opportunity for the residents of the Old Town of Vilnius to change their routes and to visit the open-air exhibition.

Sudety Cup is a four-day orienteering competition. It creates an ocassion for runners to explore virgin forests, located in the Bystrzyckie Mountains range. For the Sudety Cup identity system, the design team implemented Sudety (the typeface) to achieve a “modern” character which position the brand as a fun and welcoming event with local atmosphere. The typography is also used to create a specific navigation system for this outdoor sport venue. The fact that the event and the typeface share the name is a coincidence.

On the website, Sudety is paired with Barlow.

Back in 2013, Toan Vu-Huu, with Wanja Ledowski, jointly with architects Frenak + Jullien, realized the signage of the Pavillon Vendôme, a contemporary art center in Clichy, France.

They chose to work both with BVH BLine and BVH BDot, creating pictograms with dots, creating a connexion and respiration in the signage. For the front sign, the typefaces are both in relief and engraved in the stone.

As we approach the shortest day of the year, the hours of sunlight reduce and the sun is lower in the sky. Shadows extend further and further from their source, into the landscape.

Set across 1,962 sq m in North Wales, we designed an interactive installation to encourage visitors to explore light and shadow during winter. Visitors can walk through the markers to measure the distance shadows fall on different days and times, highlighting how light changes throughout the year.

The installation comes to life visually through a grid-like framework of wood-stained markers signifying the distance the shadow is falling from the visitor. There are 16 markers set out in 10 m intervals, from 0 m to 50 m.

Referencing the movement of the sun, the type rises across each face of the post. The type connects from one face to the other, allowing it to be read from all sides.

The Snow Show Survival Kit was designed by Kevin Spahn for Element Three as a special giveaway for some of their friends at the Outdoor Retailer Show in Denver. Tofino is used in some of its bolder italic styles, together with all-caps marker handwriting.

F37 Ginger by F37 Foundry is in use by clothing retailer Barbour for their brand identity. Words from Barbour’s website:

The Barbour story began in 1894 in the Market Place in South Shields. Today the 5th generation family owned business remains in the North East, with Barbour's headquarters located in Simonside, South Shields.

Barbour now has retail stores presence in over 40 countries worldwide including the United Kingdom, United States, Germany, Holland, Austria, France, Italy, Spain, Argentina, New Zealand and Japan.

Collections cater for men, women, children and now even dogs! Broadening out from Barbour’s countrywear roots, today our heritage and lifestyle clothing brand produces clothing that is designed for a full lifestyle wardrobe. As well as jackets and coats, the Barbour wardrobe includes shirts, dresses, knitwear, footwear, accessories and more.

Barbour remains true to its core values as a family business which espouses the unique values of the British Countryside and brings the qualities of wit, grit and glamour to its beautifully functional clothing.

We Are Outsiders is about local experiences, close by, but yet far away from everyday life. Its core mission is to get people walking and exploring one of the most beautiful hiking scenes in Belgium; the High Fens. What better way to do this than with like-minded people, sharing tasty food, drinks, music and vibes around the crackling campfire?

The typeface families used throughout the whole branding are Vulf Sans and Vulf Mono, both offering a quirky character with a great deal of warmth and personality that encourages a designer to play and have fun while typesetting. Vulf Mono feels softer, friendlier and certainly less serious than typical monospaced fonts. The logo and the brandmark are created using Miniature Display, which lends them a great deal of personality.

Photography by LucidLucid, Ruimtevaarders, and Mr. Henry.

Visual identity, posters, brochure and signage for the Kandinsky exhibition at Château des Baux-de-Provence. The font in use is ABC Oracle, a yet unpublished typeface designed by Dinamo.