Alias Granite in use for this answer track to “I Don't Wanna Know”, by American R&B artist Mario Winans and featuring P. Diddy and Enya.

[More info on Discogs]

Carlos Bermudez —

Naming, identity and art direction for a Mexican take away in Sant Cugat. Being the first of its kind in the area, the project demanded a solid and direct communication in order to position and get to know the place in the city.

Under Consideration —

... the identity revolves around a font that is unusable in most cases as it has plenty of personality: Granite by Alias. Used mostly in red, the typeface takes on an anarchic feel that complements the name of the establishment but being typeset in minimal and stark layouts it also takes on a fun air of sophistication.

The unlikely combination of Klute and Granite typefaces used together - I think for the only time - for this Batman / Judge Dredd mash-up written by the renowned Alan Grant.

Card slip case

JH Engström:

I was ten years old in 1979 when I moved with my parents from the countryside of Värmland County, Sweden, to Paris. It was my first time in a major international city.

We returned to Värmland two years later. But ever since then Paris has been a second home, and I have visited and lived there off and on. 

These photographs were made between 1991 and 2012.

Egelnick and Webb:

We completed the marketing of 36 Queen Street in the city of London. The deep history of the area gave us a unique marketing angle and the name of the street lent itself to focusing on famous queens. We commissioned 36 illustrations of famous Queens — from the Queen of Hearts to Queens Park Rangers and Freddy Mercury. These illustrations became the 6 story high face of the buildings hoarding, the first of its kind in the City.

The Cake Café is run in a very environmentally aware manner using bio degradable cleaning products, no plastic, recycled napkins and we also recycling every thing we possibly can. We have won most innovative restaurant in The Food and Wine Magazine Awards.

Granite Regular was used for the logo in a design that has recently been rebranded.

Granite started life as custom lettering for volumes 1 and 2 of Superfunk, part of the series of the … album in the world, ever! compilations. Being a funk album, it had an (Black) American focus, which we wanted to show in its packaging. To reflect funk music’s sense of edgy cool the cover photography implied 70s Black Power protest imagery. The custom drawn lettering similarly implied the Lou Dorfsman and Herb Lubalin-derived advertising typography of the era — bold, impactful, headline-graphic and tightly set. Chunky slab serifs felt appropriately newsy-retro, the thin hairlines gave the type a use-big headline emphasis, the geometry and grid structure of its drawing gave it a 90s zeitgeisty modular modernity.

Between the first and second albums the typeface was redrawn and its shape rounded for the version to be released. Note differences in particular in the ‘a’ and ‘g’ characters.

This show invitation for Japanese designer Koji Katsuno was the first use of Granite’s Semi Stencil weight.