From Éditions Pyramyd (translated from the French):

In this optimistic and inspiring essay, Valérie Belmokhtar invites the reader to think about art in today's world. How can we respond to the multiple challenges of the climate crisis? How can we include all creators in the art world?

By tracing the history of art, the author shows that the preservation of resources and the transmission of know-how have been present in the work of many artists for centuries. She draws up an enthusiastic panorama of contemporary creation, presenting the work of men and women whose art can be defined as ecological. Land art, materials recovery, collaborative work: the avenues for reflection are numerous and stimulating.

Titles are set in Sud and body copy in GT Alpina.

From Studio Barnhus:

Veteran producer Blende debuts on Studio Barnhus: the Athens-based Swede delivering three cuts full of force and rich in detail, perfectly straddling that line between weirdo pop and freaky dance that the Stockholm label loves to explore. Vocal contributions from Belgian rock experimentalist Mickael Karkousse and Los Angeles-based singer-DJ sensation Smiles Davis complete the package, along with a trippy and menacing cover by graphic wizard Stefan Fält. An essential Studio Barnhus dance record!

Johan Blende is a Swedish music producer, song writer and DJ. For the biggest part of this side of the millennium he’s been weaving together modern dance music elements with retro sounds of the 1970s and 80s. Limited edition of 500 copies on purple vinyl with silver sticker on sleeve front and extra sticker inlay.

[More info on Discogs]

“RODEO” is in modified IFC Wild Rodeo.

Titled Fangor. Poza Braz / Beyond the Painting, the Muzeum Narodowe w Gdańsku held a retrospective exhibition about the works of painter, sculptor and graphic artist Wojciech Fangor (1922–2015) in the Abbots’ Palace in Oliwa, Gdanśk. The graphic design of the exhibition was handled by Biuro Kreacja, who write:

It is not often that we have the opportunity to work on such an event; however, the initial design dream gradually evolved more into a design challenge. And it's not easy to work with the oeuvre of an artist so important to us, as well as to world painting.

After a careful analysis of the architecture and the works on display, we decided to exploit the potential that lies in the shallow arched niches that appear in the numerous rooms of the Abbot’s Palace. These curves harmonized wonderfully with Fangor’s works. We proposed that the niches, hitherto overlooked or obscured in the exhibitions, be used as a vehicle for archival photographs and quotations that will guide the viewer through the exhibition. Their shape was further emphasized by colored lights, giving a wonderful gradient effect, more intense at the edges of the niches and lighter in the center.

Also, the title typeface chosen to identify the exhibition and quotes – Sud – is a typeface whose letter O is based on a circle, while the other glyphs have very dynamic differences in width.

Arrangement design: Biuro Kreacja (Dorota Terlecka, Krzysztof Wieruszewski)
Graphic design: Anita Wasik
Photography: Daria Szczygieł

The titles in the issue of Financial Times Weekend Magazine from July 1/2, 2023, are set in Sud.

The cover story is about two North Korean defectors. After she fled to South Korea, Kim Joo Kyung couldn’t stop thinking about her first love. She decided to try to find him. The magazine cover shows the word love in large type against a peach pink background.

From design studio Werklig:

The Pirkkalan-range stands for cooperation with local producers and a hand-picked range of high-quality products. Owner of K-Citymarket Pirkkala, Petri Putila, constructed the product line to distinguish it from the hypermarket’s other products and to always bring new delightful things for customers to try and taste. Preparing the products and having a coffee roastery and an ice cream factory on the premises, was a must. Werklig created a private label brand and packaging to stand out from the wide range of other brands on offer. To inject some artisan food culture into the aisles of a hypermarket.

The logotype is set in Sud. Text on the packages uses Garton Italic.

The visual identity of Pastis 12/12 de Saint-Tropez uses Sud, including for the logo.

The name of the pastis comes from an old bouliste expression: with each game being played up to 13 points, “12/12” means “match ball” for both teams.

Saint-Tropez was one of the very first towns to launch its own Pastis in the early 50s. 70 years later, led by a group of Tropezian friends, Pastis 12/12 is determined to revive this local tradition while respecting the specific characteristics. Pastis 12/12 aims to combine tradition and modernity. It defines itself as a popular but chic pastis, aimed at a festive public, fond of terraces, pétanque and aperitifs with friends.

Design by Dune Lunel Studio, with illustrations by Quentin Monge.

Kaffein is a coffee brand specialized in small batch roasted coffee beans from Indonesia. Branding and identity by Darling Visual Communications in Singapore.

From their case study:

We felt that the relationship between art and coffee could be built upon as a distinct difference at the heart of the brand. From this notion, we developed the brand idea ‘The Art of Coffee’. To strengthen this positioning we created a visual identity based on a gallery concept. Each Kaffein product features a specially commissioned original artwork, displayed like installations, in a ‘white cube’ setting. Bold display fonts become gallery captions bringing the brand identity to life.

The Kaffein logo is set in Sud, paired with Graphik and an unidentified Japanese font for text [it’s Kozuka Gothic, see comments].

The design of this cover art takes inspiration from the lyrics of “Dimples” which are in both Korean and English. An layered Easter egg for fans who are called “Woolfpack” is the use of Vulf Mono, a typeface which draws its delacte serifs from music annotations. Seol Sans Thin offered a great counterpart to Vulf Mono. The two work together to resemble sheet music but also dimples. Woosung’s logotype and video title type are set in a slightly modified and ink trapped Sud as a nod to the lyrics of getting trapped in the deep wells of someone’s dimples.

The graphics of the music video of the song “Amerigo Bestpussy” by La Becaria include a title created in 3D with Victor Moscoso (K-Type) complemented with other texts in Sud (VJ-Type) and in Windsor (Elisha Pechey, William Kirkwood).

Foam magazine is an international photography magazine published three times a year by Foam Fotografiemuseum Amsterdam. It’s designed by Hamid Sallali.

The titles in Foam magazine #59, “Histories – The Archival Issue” are set in Sud by VJ-Type, with text in their standard Haarlem by Adrien Menard. The sans is Phil Baber’s Maria. From Foam’s press release:

The new issue of Foam Magazine focuses on the archive as subject and looks at contemporary ways of engaging with archival images, and their remediation as a form of activation and critical analysis. The relationship between photography and the archive is a symbiotic one, but also an inherently problematic one, which is why the questions addressed in this magazine relate to its construction, and place decolonial approaches at the centre of the conversation.

Ritual Made helps creatives and purpose-driven brands thrive by crafting thoughtful, grounded, and unique brand identities and websites. Based in Salt Lake City, Utah, their holistic approach gives small business owners the tools to nurture body, mind, and bank account. The website makes use of three beautiful fonts to create a style that is substantial, distinctive, and earthy.

Buddy Buddy is a Belgian nut butter brand. Design studio Futura from Mexico City developed the identity. The logotype is based on Sud, with modified rounded corners and an interlinear BB ligature.

For this identity we were looking to transmit a youthful vibe, while being a bit playful.

The concept behind the identity and range of packaging is a nod to the idea that the best company you can keep is being with yourself. This is reflected in the repetition of the Buddy Buddy character ... not a set of twins but a man and his reflection.

For the brand's identity we chose an eye-catching and friendly color palette with the use of neutral tones contrasting with pops of color, which are used throughout the graphic system to differentiate the different types of products. This was complemented with ocher tones and golden finishes to give a premium essence.

Buddy Buddy, the best company you can have is being with yourself.

On the labels, the business cards and elsewhere, Sud is paired with unidentified typefaces including a sans serif and a monospaced style [it’s Monument Grotesk Semi-Mono, see comments].

Musrara Graduates 2019 presents the works of students graduating from the different departments of Musrara, the Naggar School of Art and Society in Jerusalem, Israel.

On display are works created on the intersection of art and technology, photographs, various visual pieces, books, site-specific photo and video installations, performance, and sound. Towards the appointed hour, the school in its different classes is transformed into a diverse display complex.

The exhibition title is set in Jérémy Schneider’s Sud (Latin); #37 by Michal Sahar (Hebrew); the SemiCondensed style of 29Letters’ 29LT Bukra is used for Arabic. The date in a circle uses Hoefler Text by Jonathan Hoefler.

Hoefler Text is also used on the prints material and website, alongside Hadassah Friedlaender by Yanek Iontef. Arabic texts are rendered in Greta Text Arabic by Krystian Sarkis.

The long-established decorative lighting company Studio Italia Design has announced its rebrand to Lodes, by Studio Italia Design:

The rebrand signals an important new phase in the evolution of the Venetian company, which was founded in the heart of Italy’s glassmaking region by Angelo Tosetto in 1950. Today, as part of a strategic vision led by General Manager Massimiliano Tosetto, and as the company celebrates its 70th anniversary, the rebrand to Lodes heralds a new era of contemporary design celebrating the company’s manufacturing know-how and high-quality Made in Italy essence.

The Lodes logo is set in Sud, available from VJ-Type. Most copy uses Practice (Optimo). The website uses LL Unica 77 from Lineto for navigational elements.

LL Unica77 was used already previously in the brand identity.

The Wayward is an American brasserie at the historic Stephen Girard Building at 1170 Ludlow Street in Philadelphia, PA. The brand identity and the naming is by Cohere.

Sud is used for the logotype and as the main branding typeface. It’s paired with Altero, another all-caps sans serif. The text typeface is NewPanam.

Brand elements featuring an illustration of the building, the sign with the vertical logo variant, and the brand character named Mr. Wayward, “a dapper man with a penchant for hard work and craftsmanship”. It was drawn by illustrator Kelly Gillin-Schwartz.

Logotype on the window. “Wayward” is in Sud, the rest in Altero.

Detail from the menu on the website, with Sud and the outlined caps from Altero’s lowercase for headings. Text is rendered in two weights from NewPanam.

The Office of Historical Corrections: A Novella and Stories is a book by Danielle Evans, published in 2020 by Riverhead Books, an imprint of Penguin Random House. The cover typeface is Sud. The all-caps typeface by VJ-Type is paired with pencil handwriting. Cover design by Lauren Peters-Collaer, with art direction by Helen Yentus.

The Parisian institution Le Théâtre des Bouffes du Nord commissioned us for the identity of their 2015–16 season. We worked on posters and programs, and type: Nord and Sud were designed for the theater’s 2015 season, to make the identity of the season stronger, and more personal. It was subsequently added to VJ-Type’s retail catalogue. Nord and Sud were paired with the serif Louize (205TF) and bits of A2 Regular (A2-TYPE), applied where a sans serif with lowercase was needed.

The concept of color was the general theme for this year. The studio used different media to create a chromatic scale, incl. pigments, ink, watercolor. Founded in 1876, the theater had an erratic existence and it seemed it would never get off the ground. In 1974 Peter Brook took over and decided to rehabilitate the old building. It is now a fascinating place famous for the accessibility of its stage to the public.

Illustration made for my girlfriend. She's a huge Yves Saint Laurent fan.

The idea behind was to show a French woman, à la “femme fatale”, with iconic YSL earrings. For the quote I’ve used Ayer Regular designed by Miguel Reyes. For the name, I chose VJ Sud designed by Jérémy Schneider.