Based in Le Pouldu, Clohars-Carnoët (Brittany), Cécile Ollier a.k.a. La Doëlanaise produces prints and stationery drawn from the Breton coast. A former graphic designer, she launched her imprint in 2023, translating linocuts into postcards, notebooks, and other paper goods.

Her stark black-and-white compositions – Mamm-gozh, seagulls, coastal views – stem from a slow, hands-on engraving process, later refined digitally without losing their raw edge.

Type is central to the system. Ollier uses faces from the Breton foundry Skritur, especially Kornog, whose angular, decorative forms reference the Art Deco vocabulary of the Seiz Breur. The small type is also available from Skritur: it’s Brito.

Designed, printed, and largely produced in Brittany, the work ties together image, type, and place.

Created to promote the Rives paper range by B&F Papers, Touchy Feely is a printed publication designed to be touched, pulled apart, kept and returned to.

The project was developed to highlight Rives Laid, the newest stock in the Rives collection, while also presenting the wider range as a premium choice for luxury print work. Rather than creating a conventional paper promotion, Touchy Feely turns the paper itself into the subject. Across 20 original artworks, the stock specifications become the content, allowing each page to demonstrate the material’s texture, tactility and print performance.

The publication’s soft-glued spine allows the pages to be removed and enjoyed as individual artworks, or kept together as a complete set. This simple production detail gives the piece a life beyond a standard sample book, positioning it as both a visual object and a practical reference for printers, designers and creative studios.

Throughout the book, the Rives range is explored through a combination of paper textures and innovative print techniques, showing how the stock can shift between subtle, intricate and expressive applications. By inviting the viewer to touch, feel, read and keep the publication, Touchy Feely creates an emotional and sensory connection to the material.

More than a promotional piece, the project acts as a lasting resource. It demonstrates the versatility of the Rives range while giving B&F Papers a printed object with longevity, one that continues to be used, shared and referenced long after its first encounter.

For a deeper dive go to It’s Nice That and Studio Fuman.

12 Modi di fare all’Amore (“twelve ways of making love”) is a series of strange love positions with a juicy italian text to describe it, designed and published in four color variants by BOLO Paper.

This publication reproduces the original texts from a supplement of the erotic magazine SELEN from June 1995, which in turn was inspired by a book by an anonymous author printed in France in 1790, titled Les quarante manières de foutre dédiées au clergé de France (“The Forty Ways of Fucking Dedicated to the Clergy of France”).

The illustrations are graphic reworkings of some engravings by Gilles Néret, taken from Erotica Universalis, published by Taschen.

Les Perséides / Le Papier du Mois is a collaboration between Fedrigoni, Spaciofino and L’imprimeur Simon. Every month, Fedrigoni organises a collaboration between a design studio and a printer to showcase their range of papers. Responsible for the August 2025 edition, Spaciofino took inspiration from the Perseids, a meteor shower that occurs every summer. The result is a leporello – measuring 560×205 mm and printed on Cocktail Blue Moon 120 g/m² paper, contained in a pocket revealing a poem by Pierre Reverdy, “Étoile filante” (“shooting star”). On the back, the studio has drawn a star collection reminiscent of a naturalist’s board.

The typography uses Neue Haas Unica by Monotype. Fedrigoni’s branding on the other hand (as seen on the envelope) is set in Forma DJR by David Jonathan Ross.

In 1881, brothers Hermann, Gustav, and Wilhelm Schurath opened a paper shop with a bag-making workshop in Leipzig. They added a paper mill in their home town of Brandis, Saxony, in 1883. Fifty-five years later, in 1938, Wilhelm Schurath G.m.b.H. issued this invoice for 2,260 glassine window envelopes with gummed flaps, plus another fifty of second quality.

The design of the invoice features four different styles from a large sans-serif family that went under various names. The company name and location are shown in the bold extended Edel-Grotesk fett a.k.a. Aurora V. All other preprinted text (disregarding the typewritten additions) is set in three weights from the regular-wide Neue moderne Grotesk a.k.a. Aurora I–IV.

Another invoice in SLUB’s Saxonia collection shows that the same basic design was used already in 1936. On that version, parts of the header are set in two weights of Futura, though, resulting in a less harmonious pairing.

According to Frank Schimpke, the company continued to operate as Wilhelm Schurath KG until 1970, when it was nationalized and renamed VEB Verpackungsmittelwerk Brandis.

Fedrigoni is a world leading Italian paper manufacturing company which has built and established a strong bond with the creative industry since 1888.

The paper brand saw a revolutionary turning point with the design of its Paper Box swatch book in 2020. Graphic Thought Facility reimagined Fedrigoni’s logo (previously set in Peignot) with a redrawn version of Aldo Noverese’s Forma.

“For our specific headline setting, we needed something ‘between weights, and wanted to enhance the roundness of the font.” — Paul Neale, Principal and Creative Director of Graphic Thought Facility, interviewed by The Brand Identity

The supporting texts in all other areas uses David Jonathan Ross’s 2016 revival based on this very same typeface: Forma DJR. The Paper Box books are beautiful, functional tools designed with an adaptable graphic and typographic system. Transitioning from artistic to sleek, unwavering, and established, the visual impact of the 3-in-1 swatch book box left a mark on Fedrigoni.

Subsequently, Pentagram partner Harry Pearce and his team were commissioned to create a global brand identity for Fedrigoni and its sub-brands. The team honoured Graphic Thought Facility’s custom drawn logo as they identified:

“This perfectly signifies Fedrigoni’s new global identity: strong, bold and confident and celebrating its strong Italian heritage.” — Pentagram

Fedrigoni's new wordmark was made suitable for various applications from small business cards to large signage on their buildings and delivery trucks. This wordmark is joined with an upgraded version of the crest symbol holding a ladder icon symbolizing Verona and its year of origin 1888.

The branding project introduced a custom version of Forma DJR as the main typeface to complement the “Fedrigoni” wordmark offering clarity, function and legibility. Forma DJR is used in Text Regular and Text Bold styles.

The same brand treatment was rolled out to the main Fedrigoni Group brand and its sub-brands Paper, Distribution, and Fedrigoni Self-Adhesive Units including the recently acquired group companies Arconvert, Ritrama, and Industrial Papelera Venus. With the exception of some longstanding and cherished brands such as Fabriano that maintained their original image, the overall Fedrigoni brand architecture was unified with the help of strategist Federico Gaggio.

Pentagram’s rebrand was launched on 29 March 2021.

Old Fedrigoni branding

New Fedrigoni brand identity by Pentagram

This set of goodies with samples of IGEPA’s ICON Papers was distributed in a little box to students attending the CXI Conference in Bielefeld, Germany.

Naked Paper is a UK-based paper company specializing in unbleached paper products. The company was originally named Naked Sprout but recently unveiled a complete rebrand designed by Otherway.

Though the press release describes the logo as a “flowing wordmark, inspired by the gentle curve of paper, speaks to softness and simplicity”, it's actually a slightly customized version of Central Type's Piegraf. The open counter shapes have been rounded to further emphasize the visual metaphor of rolls of paper. All in all, it's well-executed though if you look closely at the interior shapes of the K, the customization of the curves is a bit clumsy.

The body copy throughout uses Extraset’s ES Build, whose circular curves nicely complement the wordmark.

TEMPLO collaborated with GF Smith to redesign their visual identity, eight years after their last rebrand. This new identity reflects the company's evolution, its international expansion, and its commitment to community, creativity, and sustainability. TEMPLO's collaborative process resulted in a brand image that connects with the next generation of creatives, while highlighting the GF Smith Charitable Trust, dedicated to supporting young talents in Hull.

The identity stands out with an omnidirectional logo and a vibrant color palette inspired by GF Smith's paper collection. The Homie typeface by Blaze Type, a humanist and geometric sans serif, adds a touch of originality and readability. It is used together with ABC Social by Dinamo This typographic choice reinforces the versatile and bold nature of the rebrand, breaking conventions in the paper industry.

TEMPLO, founded by Pali Palavathanan and Anoushka Rodda, is an agency committed to socially impactful design. By working with GF Smith, they captured the essence of the company while emphasizing its values of community and sustainability. This rebrand reflects their shared mission: to stand out while championing important causes.

Le Papier du Mois (“Paper of the Month”) was created in collaboration with the Lyon-based printer Bouquet Crozat and Fedrigoni, the Italian manufacturer of high-end paper.

The year is already well underway… Will the dice be loaded? A meeting point between minimalism and opulence, this finishing technique plays with contrasts: on one side, the sobriety of the paper; on the other, the dazzling, almost surreal shine of full-tuning Las Vegas-style gilding. Undoubtedly, the brilliant reflection of truth.

The featured printing techniques include black letterpress, matte silver and diffraction hot stamping, silver embossing on Tintoretto Ceylon Cumino 350g/m² paper.

August Bagel’s printing firm offered book production, artistic printing, lithography, but also publishing and distribution. In addition, it had an in-house bookbindery as well as a paper mill.

This ad from 1909 makes early use of Ehmcke-Antiqua. Designed by Fritz Helmuth Ehmcke, the typeface was first cast by Flinsch around 1908. Caslon in England had the design as Carlton and Neufville in Spain as Antigua Cervantes. In the 1970s, Letraset made a revival using Caslon’s name, see Carlton. Here it’s used exclusively in capitals, stacked and justified, with compact umlauts, (some) tightly spaced CH pairs, and the non-ligning numerals.

August Bagel (1838–1916) took over the company from his father, Peter August Bagel (1809–1881), who had established it in Eggerscheidt and moved it to Düsseldorf in 1878. Bagel’s publishing range included school books, maps and illustrated books. Bagel is still in business today, now focusing on official gazettes for the State of North Rhine-Westphalia. They also produce postage stamps.

In 2008 Finch Paper unveiled a new brand identity as simple and friendly as the company’s business practices. The brand identity was developed by Bart Crosby of Crosby Associates in Chicago. They created a straightforward identity and design program including a proprietary type, a rendering of the Finch name, and a unique F symbol. The result is a fresh, cohesive look across all of their corporate product and promotional materials. The identity revolves around a new, more contemporary and less industrialized Finch Paper logo, presented in an all-lowercase typestyle customized with a special fi ligature for Finch by Swiss designer André Baldinger from his BVH Baldinger typeface.

The Munken Creator is a web-based application for creating font animations in an experimental way.

With ‘Raising Questions’ and the Munken Sans font, the Swedish paper manufacturer Arctic Paper invites creators to playfully develop and experiment with typographic design in the Munken Creator. The typographic artworks created aim to inspire people to think beyond the boundaries of how we communicate.

Questions are the answers of our time. When asked correctly, they open the senses to new challenges. Because good questions are messages of change.

‘Raising Questions’ is an invitation to create visual messages using the newly developed Munken Creator Web-based animation application. Creators can then share them with a wide audience under the hashtag #munkencreator.

In 2020, Munken developed the font Munken Sans and shared it with the design community. Now new in 2022, Munken launches the Munken Creator, which is giving creators unimagined possibilities to develop and experiment with the font to create visually animated messages. These visuals can then be used for classic print or Web projects, with the animations directed or remixed in real time. Images and backgrounds can be combined with type editing in a nearly unlimited number of ways.

The creations from Munken Creator can be saved not only as images, but even as videos in WebM and MP4 formats and used in a variety of ways – from book projects to projections on house walls, there are almost no limits. The possibility to combine it with augmented reality allows the digital world to accentuate the tactile analogue experience.

For the launch of the Munken Creator, a large-format magazine will be published featuring artworks created using the Web-based application. With the augmented reality app Artivive, the digital level is combined with the magazine design to create new dimensions of perception.

The Munken Creator is developed by Creative Technologist Patrik Hübner in collaboration with JUNO.

The Munken Creator is a Web-based application for creating font animations in an experimental way.

Procop is a French paper manufacturer and merchant with a 200 years history. The family-run business is located outside the city of Limoges, in the southwest of France. They distribute all sorts of high-quality papers, with a special stronghold in the fields of classic graphic design and packaging.

Le Cube is Procop’s flagship marketing tool for papers meant for the creative industries, a series of paper samples in quadratic format.

In the pictures you will see two different typefaces. The sober sans-serif is Aktiv Grotesk, published in 2010 by Dalton Maag. It is paired with Kessler, designed by Alaric Garnier and developed with a team at Production Type. Kessler’s central qualities lie in its overall elegance and certain idiosyncratic solutions that provide the typeface with a touch of early twentieth century.

Arctic Paper presents Surface N° 2:

an edition that features the work of internationally well-known artists and collectives who achieve fascinating multilayered effect in a wide variety of picture narratives.

All typography on the website, as well as in the paper producer’s promotion material, uses Munken Sans, the custom typeface of Munken, which, like Arctic Volume, is produced by Arctic Paper.

Papier is a British brand that sells notebooks, cards and a lot of different paper goods. Their new identity, designed by Ragged Edge, features illustrations by Chiara Perano, a custom drawn logotype, a mix of Self Modern Regular and Italic for the headings, and Quarion for longer texts.

The Fold is a customer magazine by Papier.

The recent re-brand of the prestigious Crane paper and stationery company by Collins (2020) features a custom logotype designed in collaboration with Jacob Wise, based on WT Monarch Nova. Monarch Nova was released in 2020 by WiseType as a full update to the previous WT Monarch. ABC Whyte (Dinamo) is used throughout for all typography.

Crane has been making paper for over 250 years. Stephen Crane established the Crane paper business in 1770 and purchased the Liberty Paper Mill in Dalton, Massachusetts. Paul Revere was one of Crane’s first customers when he used the paper to print the first paper money for the American colonies, thus establishing the inaugural thread of Crane’s presence in American life. By 1801, Crane was the primary producer of banknote paper for local and regional banks and, eventually, for the U.S. government.

Between 2019 and 2020, Collins agency worked closely with Crane’s teams to revitalise their brand, reboot their digital presence, developing a more relevant brand voice as well as enabling new products, artist collaborations, and customisation capabilities. Crane is exploring new ways of expressing the depth and design of timeless, premium-quality 100% cotton products. The legendary 200-year-old company moves into the 21st century, new and intact.

Maximilian-Antiqua is paired with Monotype Baskerville on the cover.

A fine little item of ephemera this. A small brochure comprising a folded sheet of Reliance Bond paper 18×23″, 18 lbs., printed and sewn, describing the manufacturing and uses of Reliance Bond, a sulphite bond paper, made by the famous papermakers John Dickinson’s at their Croxley Mills in Watford. John Dickinson & Co Ltd were one of the best known names in Briitsh paper making and the company dated from the purchase in 1809 of their first paper mill by John Dickinson, their founder. The company prospered as Dickinson was a highly innovative engineer and was responsible for the introduction of many of the mechanised methods of paper amking that helped bring prices down and improve quality.

The company merged with Robinson’s in 1966 to form DRG but in 1989 was bought by asset strippers and split up. All the mills in Hertfordshire were closed and demolished. The famous Dickinson name and the “Lion Brand” logo seen here, have since been withdrawn although some of their retail brands, such as the famous Basildon Bond that Dickinson’s had acquired in 1918, linger on.

This pamphlet is not dated but feels mid-1950s and no printer is given. However, the cover page uses a fine border and the titling is in Maximilian type and it could be that the Curwen Press are responsible. The inner pages are also decorated by vignettes designed by the well-known artist and illustrator Nicholas Bentley (1907–1978) so it’s a thoughtful little production!

The interior is set in Imprint.

A very contemporary look for the Swinging Sixties here with a mighty colourful advert for the papermakers and suppliers, Spicers. It uses a bold typeface – Futura Black – and credits a designer, Lou Klein. Klein, quite recently arrived in the UK from his native America, went on to become an influential designer in the British graphic design world.

I came across this while browsing a fantastic book of paper samples.