Flogaus, the expert in beverage production and bottling, works with both small start-ups and major brand manufacturers. Branding agency arndtteunissen developed a distinctive branding that focuses on precision and creativity and emphasizes the uniqueness of the company as a specialist supplier.

The illustrative brand world reflects the bottling process in a modern and playful way. Drops, beverage crates and crown corks – symbols that represent the stages of bottling – are depicted in clear, minimalist forms. This graphic world combines lightness with precision and shows how ideas become high-quality products.

The color scheme combines shades of blue for professionalism with fresh, fruit-inspired pastel tones. This harmonious blend creates a modern, lively identity that is used in a variety of ways: on stationary, packaging, delivery vans, merchandise and a mobile trade fair stand.

The website picks up on the corporate design and uses the illustrations in animated form to visualize production processes. Images and videos, colored in the corporate colors in duplex style, underline the dynamic of the machines. The result is a clear, consistent visual language that combines professionalism and recognizability.

Flogaus combines precision and passion for beverages with a creative vision – with branding that is just as exceptional as the products. Cheers!

Intro sequence and end credits for the Netflix stop-motion anthology The House. The intro sequence was directed by Nicolas Ménard and Manshen Lo. The typeface in use is Fermín Guerrero’s Brick Display (credits) and Brick Text (title), a type family based on “old Brick Lane pub signage”, that felt fitting to introduce a world inspired by England.

For more info, read an in-depth article by It’s Nice That.

The acclaimed Los Angeles-based musician and producer Terrace Martin returns with his new album, Village Days, released in December 2020 on The Sounds Of Crenshaw.

The title in Voyage Bold is paired with Brick Display. “Sounds Of Crenshaw” uses Academy Engraved. All three typefaces are used with tightened spacing.

This new book presents new conclusions about Leonardo da Vinci’s early life as an artist and amplifies his role in Andrea del Verrocchio’s studio. The book features three essays finely set in Thesaurus, presenting recent scientific analysis about the attributions of paintings to Leonardo. The dust jacket and the cloth binding underneath are set with Thesaurus Display Medium.

Magazine title set in SangBleu Empire, number in SangBleu Courtesan, subtitle in TheW Clan ODB and fine print in Suisse Int’l.

In the third issue of Type Life, Swiss Typefaces take a look beyond their own work and celebrate contemporary type made by others. The Swiss design studio compiled a selection of their favorite typefaces, licensed the fonts and used them to design a magazine. The resulting specimen of “Non-Swiss Typefaces We Like 1569–2018” comes with a text by Florian Hardwig (Fonts In Use) and is visually enriched with works by lettering artist Julien Priez (boogypaper).

Type Life 3 showcases 19 fonts from 19 international foundries: 29Letters, Adobe Type, Commercial Type, CSTM Fonts, Dinamo Typefaces, DSType, Extrabrut.Shop, Future Fonts, Hoefler & Co., Letters From Sweden, Linotype, Milieu Grotesque, Or Type, Production Type, Sharp Type, Sportsfonts.com, The Enschedé Font Foundry, Typotheque, and Velvetyne Typefoundry. The selection is a representative sample for the diversity in type design and gives an illuminating overview of the current scene. While the majority of the fonts was released in the past few years, many draw inspiration from all kinds of sources from previous eras. There is blackletter, script, slab serif, sans serif, and more. This – a stress on newness, historical references, and a vast stylistic plurality – reflects three major trends in today’s typography, as Florian Hardwig points out in his introduction. Other recurring themes that he identifies as being symptomatic for 2018 include highly conceptual projects and a quest for extreme aesthetics. At the same time there are functional fonts designed to solve specific problems. Just like the fonts, the type designers who created them have diverse backgrounds, in terms of geography, or how they entered the field. The represented distribution models range from traditional licensing to subscriptions, free and open-sourced fonts, as well as experimental or even unfinished releases.

Each issue of Type Life features a guest contributor. This time it’s the up-and-coming French lettering artist Julien Priez. A graduate of École Estienne, Paris, he’s a member of the international collective High on Type, best known for organizing the annual festival All Eyes on Type. Priez gives workshops at various schools and is an instructor at the prestigious TypeParis program. His work oscillates between the analog and the digital. Alphabets are first calligraphed, then cut in wood, and eventually digitized. Priez is just as comfortable painting meter-high letters with a triple brush on a wood fence as he is animating ornate pixel letters with kaleidoscopic patterns. Type Life #3 shows a range of his repertoire, starting with a still from his animated Nightmare Alphabet and two of his in-progress fonts Boogyroma and Boogylink on the cover. Mandinor Gothic is used to render the word “KING” on top of a kinetic gesture. The next page answers with “KONG”, in letterforms that pay homage to Jean Midolle’s Alphabet Lapidaire Monstre from 1835. With such historical references and the stunning stylistic versatility, Priez’ work is a perfect fit for the content of this issue.

At a whopping 40 pages, Type Life 3 is the most substantial issue so far. It’s printed in three Pantone spot colors plus silver and black, on two different paper stocks including transparent paper.

“Dream” set in Boogyroma and “Chasers” set in Boogylink, two in-progress typefaces by Julien Priez. Foundry names set in TheW Clan GZA by Swiss Typefaces. The caption that mentions the typefaces is set in Suisse Int’l Condensed.

Essay, set in SangBleu Republic (body text) and Suisse Int’l Mono (streamers, side notes). The green type on the left and at the very top of the right page is KOPYME As Uzual.

Galapagos (Felix Salut, Dinamo) and Xprmntal 01 (CSTM Fonts) visiting each other’s page. Typeface names (top) are in KRSNA. In the margins left and right, the foundry names are set in stacked letters from KOPYME (Swiss Typefaces).

Winner (Sportsfonts.com) × Quarto (Hoefler & Co.)

A pattern of Patron (Milieu Grotesque) with a guest appearance by Vincent (Letraset) is juxtaposed with a collage featuring elements from a Caslon Old Face specimen by H.W. Caslon & Co. from 1924.

On the left, a page from the book Il perfetto Scrittore Di M. Gio. Francesco Cresci, Italy, 16th century. On the right, (raster) pattern tiles are mixed with Frank Adebiaye’s Montchauve (Velvetyne).

Perfil (DSType) and Cardinal (Production Type). Cameo: Magnificat.

Julien Priez’ Mandinor Gothic in combination with his lettering.

Pattern by Julien Priez, printed in fluorescent and metallic ink.

Separat (Gunmad, OR Type) on the left, and Azal (Pascal Zoghbi, 29 Letters) as well as a tag lettering on the right hand.

Times Europa (Linotype) vs. Line (Letters from Sweden), with interventions by Good Vibrations and Block Up (Letraset).

Type that looks like it cannot be moved, and type that looks like it couldn’t sit still for a second: Berton Hasebe’s Styrene (Commercial Type) and Jérémy Landes’ Digestive (Triple Studio).

Thesaurus Display (Typotheque) × Respira Black (Sharp Type)

Feature page with Benoît Brun’s Shakotan (work in progress), printed in neon spot color.

On the left, a selection of A monograms (mostly dating back to the 15th and 16th century) shine through their overlying page with a big silver A set in Bram de Does’ Lexicon No. 2 (The Enschedé Font Foundry).

Pull quote in SangBleu Sunrise, printed in silver metallic ink.

Back cover with a sneak preview of the upcoming KOPYME and SuisseU.

Northernness, a book designed by Cedric Verhelst accompanying the exhibition of the Belgian artist Johan Tahon, at the National Museum of Ceramics in Leeuwarden, Netherlands, made on the occasion of Leeuwarden Cultural Capital of Europe 2018. The book uses Thesaurus on the cover and for all inside text for the book, including introduction and captions.

Trans-missions is the program of the Musée des Arts Décoratifs in Paris, published three times a year. In order to promote French typeface design, each issue of Trans-missions is composed in a different typeface, which is chosen “for the specificity of its design and personality”. The current issue features Thesaurus, designed by Fermín Guerrero at the Haute École d’Art et Design in Geneva, and released earlier this year with Typotheque. Thesaurus is based on types used by the Estienne family in Paris and Geneva in the 16th century.

The booklet utilizes all four weights plus the accompanying italics. Instead of adding the designated Display cuts to her palette, Anette Lenz draws on the Black Italic style for headings and the cover typography, further embellishing it by discretionary ligatures and a few carefully inserted swash caps.

Text detail: Thesaurus Regular, with the Bold Italic for headings. The bold red page numbers appear vertically centered on the left of each page.