“Born to be ‘BAU’DOL” is the first original song by twin VTubers Fuwawa and Mococo Abyssgard, a.k.a. FUWAMOCO. The song was produced and written by Japanese composer PandaBoY. The graphics for the single art are by SAWTOWNE, while the logo was designed by saku39.

The logo uses a variety of fonts from the Adobe library. Funkydori Bold is used for “Born to be”, with pawprints added to the O’s. “BAU” is set in Manteiga, while “DOL” uses Olivita with a pon-de-ring replacing the O. Finally, FUWAMOCO is set in AB J Gu, a largely kanji-based font from the Font1000 collection.

Shown above is the first page of a research carousel about onomastics, the study of the history and origin of proper names, by BlaBlaLab. The title translates to “When names cease to be names”. Plau’s Spalla is used for the title, while the secondary font is Area by Blaze Type.

Matria, Klub 11 and Klub 08 make the typographic palette of this rebrand for Graeter’s, a fifth-generation family-owned, regional ice cream chain based in Cincinnati, Ohio, and one of the few (if not the only remaining) small-batch ice cream maker using the French Pot method.

I was happy to see Matria in use for this project that’s rooted in tradition/history.

Quick story about Matria: I found a sample of a typeface in my birth certificate and went on a journey to find its origins and design a typeface around it. It turns out it was based on Reform-Grotesk, a typeface from the turn of the 20th century (dated 1908) that’s led to so many well-known fonts.

My spin on it was to make it into a high-waist contemporary palette that goes from very thin condensed to black extended. I was just scrolling through this beautiful case study (lured by the amazing logo) only to have my day made by seeing this use.

The logo of Cosco Kids uses Omnes by Darden Studio.

Cosco is a brand for strollers, car seats, high chairs and other gear for babies and toddlers. Founded in 1935 as the Columbus Specialty Company in Indiana, it was acquired by Dorel Juvenile in 1988. In 2023, the manufacturer decided it was time for a rebrand:

One of the first elements to get a refresh was our logo. The old logo was dated, and lacked the motion that’s inherent to our redefined Brand DNA. As we thought about the brand’s visual language, we realized we needed something more substantial to command attention and step forward, away from any background graphic noise. And just like that, Cosco became Cosco Kids™.

The logo is at the center of the new identity. The wordmark is based on Omnes’s Bold weight, with various small adjustments, like a narrowed o. Letters are twisting and turning, to visualize the desired motion. “Kids” is added on a curved baseline below, dropping the i dot. The two words are held together by a thick outline in a shade that is dubbed “pirouette purple” by the designers.

The brand typeface that accompanies the logo in Omnes is Plau’s Vinila.

The introduction video for the new identity features an animated logo evolution, leading up to the new one in Omnes. The slogan “Together, we’re the village” is shown in Vinila.

The Cosco Kids product range

Video ad

Weißer Sport und zweite Heimat. Eine Spurensuche nach der jüdischen Tennisspielerin Nelly Neppach (“Tennis and a second home. Searching for traces of the Jewish tennis player Nelly Neppach”) is the title of my bachelor project made at the University of Arts Bremen.

From the editorial:

A multi-perspective research on the complex topic of antisemitism with the aim of raising awareness of exclusion(s) and their effects in our society. The starting point of this project is Nelly Neppach (1891−1933), one of the first successful German female tennis players, whose biography is widely unknown. She played for Tennis Borussia Berlin until April 1933, then resigned (under political pressure) and committed suicide in May of the same year. How can forgotten traces be made visible again? How can we deal with history in an empathetic way?

The text is set in Vinila by Plau and Velos Mono by Scifipoetry.

The Queen’s Picturehouse & Eatery combines fine dining with a boutique cinema experience in the heart of Gibraltar’s Grand Casemates Square.

‍Kenshō Agency’s visual identity utilises Angle (Sensatype Studio) for the logotype, alongside FF Meta Serif (FontFont) for display type and Motiva Sans (Plau) for both body copy and accent type within the logo lockup.

Icons for ZOO: a bakery, café, bookshop, and illustration gallery in Bologna. They asked for a bold but cute logo that would incorporate all of the functions of their space.

Olivita’s texture matches the illustration lines quite nicely, and its quirkiness goes hand in hand with the hilarious baker characters.

“Lessons in lifesaving from Brazil” is an article by the Bill Gates Foundation, published on their Gates Notes website. A short version of the story is presented in this video, set in Vinila.

Description of the project by Estúdio Mira:

Furever Bath & Care was born out of a deep love for our furry friends, driven by the belief that they deserve the best treatment. Natural and vegan products are used to ensure that our companions receive unique care, just like the unconditional love we get from them every day.

The visual identity we've crafted for Furever brings an elegant yet friendly aesthetic, with simple and playful illustrations. The logo and typography complement each other by bringing the sophistication of a cosmetics brand while still keeping the comfort that a pet brand should embody.

The line quality in the illustrations is an interesting match with Tenez. The creamy texture of Tenez's drop terminals, the sticky structure going from straight to round elevates the communication of a cosmetic brand. Even for dogs! The logo is set in Tenez, with a modified letter v.

Libertad, a delicate humanist sans from TipoType, complements the packaging and information nicely with legible and clear shapes.

Nuances is a playful yet serious compendium of answers to big climate questions regarding the protection of forests, indigenous people, technology and food and other related matter. The book, written by Nurit Bensusan and illustrated by Cairo Ayres and Francisco Bronze from É Grande Circular was published by Editor Mil Folhas.

The illustration style is well matched with the smoothness of Manteiga. Body copy uses Swear Text, a typeface that carries the same witty spirit of both the headline face and illustration styles.

The infographic look makes it easy for the readers to make their own path throughout the pages.

From Florian Cornut, designer and founder of Habillage Graphique:

In recent months, I have had the opportunity to work with Shapes & Forms, a multidisciplinary motion design and creative company based in Los Angeles, New York & Medellín. The objective was to introduce the DNA of Shapes & Forms working with other different big companies (NFL / SuperBowl, Netflix, Stiiizy...) while collaborating with designers/motion designers all over the world. The visual identity had to be integrated into a simple and impactful design, based on the use of typographic and modular grids in order to highlight the different types of content while keeping a strong and identifiable graphic universe. The case study focused on the creative direction and design of different communication media such as: brandbook, stationery, signage, website, clothing and objects, environmental design, social network posts (Instagram, Behance, LinkedIn...)

The case study was made between March and June 2023, under the creative direction of Florian Cornut / Habillage Graphique. The fonts in use are Vinila by Plau and GT Alpina by Grilli Type.

Poster design and graphic appearance for this year’s exhibition / graduation show Rundgang at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne).

Vinila is used in the op-art visual style for the event.

Vinila is the brand typeface for GoldKo, an upbeat low-sugar chocolate from Brazil. Designed by Colletivo Design, the visual identity is based on abstract illustrations and pop color palettes all of it supported by Vinila. The multiple widths and weights of Vinila allow a plethora of layers of information to work under the same identity.

Some interesting shapes as the ones in the ampersand and the inktrap rich figures give the identity its rich, creamy texture, both in type and flavor. The wordmark is custom drawn.

From the website of illustrator/designer Ing Lee (with added links):

Official poster for Korean-American band Japanese Breakfast featuring Built to Spill, for their shows in Portland and Seattle.

They left me very free with the work, so I was inspired by one of their songs that left an impression on me in their performance of “Paprika” at Primavera Sound São Paulo. I went to research more about her inspirations for the song and she mentioned one of my favorite animations, also called Paprika (2006) by Satoshi Kon. This and her photo shoot with Korean masks 탈 were my main references, as I wanted to bring an interpretation with Korean elements of Kon’s parade scene. The illustration was made to be printed in risography in the colors paprika (yes!!), hunter green, bisque, sunflower and mint.

Olivita with its soft curves and quirky italics was used for the headlines and New Zen for dates and location.

IVAÍ Gin is the first product from Água da Glória Destilaria that is “concerned with sustainability”. They are located in São João do Ivaí, a small municipality in Paraná, Brazil, and decided to honor the river of the same name that runs through the state.

How to represent the majestic Ivaí river, one of the great rivers of Paraná, in a new line of premium Brazilian gins? With the expansion of the gin market in the country and the increase in competitiveness, it was necessary to create a differentiated label, attentive to details, capable of attracting the consumer's attention at points of sale and also positioning the brand as a high-end product.

The logo is an ambigram and was developed from customizations of the Highgate typeface. We chose it for its inspiration in the traditional British stone sculpture. The reason for this is that the distillery is located above an important aquifer in the region and the master distiller, who is English, had to “sculpt” a source to use the purest water possible in the gin distillations.

We completed the identity with FM Bolyar Sans for its extended feature and display, creating a contrast with the logo. Bickham Script is used for some highlighted “handwritten” texts such as the signature of a representative of the distillery. We chose Bickham because it is based on the works of English calligrapher George Bickham.

For institutional and legal texts on the packaging, we opted for Motiva Sans, a Brazilian typeface developed by Plau, due to its good performance in print and digital media, which gives us good flexibility for applications from labels to the website and social media

We developed a bespoke bottle design with an elegant shape, embossed with the distillery’s logo, the brand’s aspirational phrase Siga o Fluxo do Rio (“Follow the flow of the river”), in addition to a graphic representation of the movement of the waters around the bottle . The label stands out on the smooth part of the glass, personifying the river, with a special wide and wavy cut that surrounds the bottle in a spiral. The choice of predominance of white over textured paper, with fluid elements in relief, stands out on the shelf and communicates the sophistication and craftsmanship of the product.

In addition, hot stamping details were applied, adding elegance and an interesting light game to be appreciated when handling the packages, with six color variations that distinguish the flavors of the gins. Furthermore, inspired by the fluidity of water, the topographic and hydrographic composition of the area where the gin is produced, a series of unique textures were developed through the artisanal art of paper marbling (liquid surface design method, which can produce patterns similar to smooth marble or other types of stone). These patterns were applied on the back, on the adhesive part of the self-adhesive labels, allowing the graphics to be seen through the space between the strips of paper.

The packaging invites the consumer to explore the bottle by looking around through the label like the flow of a river and explore the touch through the tactile set of nobility and high reliefs in glass and paper. The result is a premium packaging that fulfills the objective of representing the concept behind the brand and still respecting the strategic needs of a business in the launch phase.

These graphic design templates were made for the use on TikTok, to advertise the broadcast of the rugby tournament Six Nations 2022 on the replay platform France Télévisions (French national TV).

The main idea was to create a template that could be adapted for all games. The highlighting of known and recognized players is part of the graphic identity and allows an easier identification from the users. A total of 40 visuals/key arts were created for this event.

Salsero is used together with Bookmania on this fancy T-Shirt print. It is part of Madhappy, a foundation for mental health Awareness. It doesn’t hurt that it was designed in tandem with Saint Ambrœus Gelato, one of the best gelatos in NYC for sure :)

Just hand me a bottle of that fine wine with my typeface on it will ya? I have a hard time choosing wine, so having one with Tenez on it makes it easier to choose :)

Tűzkő Birtok Bátaapáti is a Hungarian winery, in operation since 1799, located south of Budapest near the village of Bátaapáti. The serif used for the name of the winery and the type on a circle is yet to be identified.

An exhibition that reflects on the possibilities of living in Rio de Janeiro. The main yearly art exhibition from the Museo de Arte de Rio (MAR), Casa Carioca discusses different ways to live in Rio de Janeiro, such as: popular architecture, sociability, housing rights and women’s roles in the domestic space.

For the typograophy we used Vinila, designed by Flora de Carvalho, and available at Plau. Vinila aligns the expressive and rhythmic energy from Rio de Janeiro with the typography.

This project has the curatorship of Joice Berth and Marcelo Campos, and presents the work of artists such as Alan Fontes, Ana Hortides, Bruno Portella, Érica Magalhães, Concreto Rosa, Gilson Plano, Maria Fernanda Lucena, Mariana Paraizo, Mauricio Lima and Fábio Menino.

Los Prósperos is a conscious gastronomic consultancy founded by Iván Frutos. Based in Madrid, he helps manage emotions to teams and hotel leaders through coaching.

We worked on the creation of the logo and business cards for his brand. We wanted to convey Iván's creativity and uniqueness, while maintaining an elegant look. We achieved this with Tenez, the typeface we chose for the logo, combining its Regular and Italic styles. For the business cards, we decided to add the word “Bendiciones” (“Blessings” in English) in Ivan's handwriting. He told us that it is something he says a lot, both personally and for his business, so we thought it was a resource that added to the brand’s character.

Los Prósperos’ color palette pivots between black and white neutrals and an electric blue accent, which goes hand in hand with Ivan's outgoing personality, as well as creating a focal point of attention in the branding.