Albra from Ultra Kuhl is used for the rebrand of Spacegoods. Their champion product, Rainbow Dust, “combines the coffee you love with functional mushrooms and adaptogens to promote focus, energy, calm, immunity and gut health”.

Albra with its contemporary edge makes an ideal match for Spacegoods bold, future-forward aesthetic. Its sculptural forms and sharp terminals echo the brand’s mix of psychedelia and precision, striking a balance between expressive and refined. The typeface adds personality without sacrificing clarity, anchoring the brand in a world that feels both elevated and experimental. On the packaging designs, it’s used together with Mark Simonson’s Anonymous.

NN Knit Grotesk is used together with Anonymous for the website of NKWO. The logo appears to based on Greyhound, with some modifications.

From the About page:

NKWO is an artisanal brand at the forefront of the sustainable fashion movement in Nigeria with the conservation of natural resources and the environment as the label's core values. Guided by THE PHILOSOPHY OF LESS, low impact limited edition and one-off pieces are created from post-consumer textile waste, locally sourced natural fibres and upcycled denim.

The brand is creating meaningful change on the continent by supporting socio-economic development through the NKWO TRANSFORM PROJECT, a social innovation initiative focused on upskilling vulnerable women and working closely with artisans and local makers to introduce more mindful ways of modern garment production.

While on a recent trip to Greece, Frank Grießhammer sent me this photo of a poster for a Giannis Haroulis concert that uses my font Megazoid. My first thought was “This is cool!” and then it dawned on me – Megazoid doesn’t contain Greek characters!

I did start drawing a Greek version a while back, but I didn’t remember getting it critiqued by a native speaker of the language and I definitely didn’t remember including it in the release. I had to check the type tester on the Type Network and Adobe Fonts websites to be sure ... no Greek!

Unfortunately I wasn’t able to identify the resourceful designer who constructed this Greek themselves …. please speak up if it was you! But I had fun trying to reverse-engineer their process.

Starting with the musician’s name, “Γιάννης Χαρούλης”, I figured out the closest approximation I could using the characters in the font “Lıávvns Xapoúyns”, using the alternate single-story a.

Because of Megazoid’s reliance on simple, geometric shapes, most of the letters required no modification at all to work in Greek:

• The Turkish dotless i becomes iota (ι)
• The alternate single-story a becomes alpha (α)
• v becomes nu (ν)
• s becomes final sigma (ς)
• p becomes rho (ρ)
• o becomes omicron (ο)
• u becomes upsilon (υ)

Meanwhile, a handful of letters required some simple transformations:

• Flip the L to make Gamma (Γ)
• Add a descender to n to make eta (η)
• Flip the top half of X to arrive at a vertically-symmetrical Chi (Χ)
• Flip the y to make lambda (λ)

There are a few additional details that changed in the poster … the square counterform in the Χ, the letterspacing of the λ, etc. But that is the gist of it!

I am impressed by this designer’s DIY spirit, and I like some of their solutions better than what I had in my Greek sketch of Megazoid. This was the kick in the pants I needed to finally finish that Greek version of the font and get it out into the world!

This guidebook was created for the Memorial Centre in Lipa, a Croatian village that got completely burnt down with all its 269 inhabitants in World War II.

This museum guidebook could be called a picture book for adults, because we wanted to present the tragic story of Lipa in the format that people will not put down before they have learned their lesson about humanity. The book is cut in the form of a house, and the content progresses from light to dark, ending with a bright future again. Typography also changes and follows the light/dark pages.

Finally, the book is wrapped in a white cloth, to resemble a bundle of valuable personal belongings that people of Lipa had to leave in front of the house they were later burnt in. The cloth is printed with “commandments for a more humane future”, based on the terrifying Nazi original that promotes ruthlessness and killings.

From the Yor Atelier website:

YOR ATELIER is an all in one fashion incubator that occupies the space between process and conceptual ideation. We aim to aid emerging designers with resources to present their story. We utilize our extensive resources and network to offer a full package for ready-to-wear designers. As a vertically integrated design atelier and factory, our team of garment engineers are uniquely tailored to help build the infrastructure for your fashion brand.

The website – which was designed and developed by Private Yard – combines Scope with Anonymous.

Metáfora is a high-end brand of olive oil produced in Avantos, a hamlet in Trás-os-Montes, located in the northeastern corner of Portugal. Design studio Pacifica was tasked to develop a label concept and identity elements that convey the essence of the famous Transmontano olive oil to the international market.

The chosen typeface is Eksell Display. Originally drawn by Swedish designer Olle Eksell in 1962, the high-contrast roman with sharp serifs was digitized and expanded by Göran Söderström, and released by Letters from Sweden in 2015. The wordmark is concluded with a drop-shaped period printed in metallic bronze color. Eksell Display also serves for the debossed text on the label. According to Pacifica, this is “a metaphor for the cold and manual method of pressing the brand’s olive oil.” Translated to English, the text on the label reads: “Behind these mountains, we still hide the time the world forgot. We preserve the genetic heritage of the trees and proudly hold, within this bottle, an olive oil originated from past legends and millennia.”

The informational text on the labels is set in Mark Simonson’s monospaced Anonymous. Bottle number, batch, and harvest date are added by hand.

Photography by Numo / Nuno Moreira. Video by Artur Serra Aráujo.

This packaging design won Silver in the European Design Awards 2020.

CMS Technology is a food technology company founded by scientists, chemists, and engineers determined to create precise food protection. They needed a brand reboot to bring out the predictive and preventive aspect of what they do and how they solve problems (not to mention SEO issues).

Nothing about the chemistry, equipment, ownership or service model changed. Just the name, logo, visual identity, messaging, collateral and website. Our team developed a full brand program to reintroduce CMS Technology as Prevenio, the new standard in pathogen protection.

The brand wordmark uses Neue Haas Grotesk for its strong structure and because the distiguished, squared tittle of the i pairs well with geometry of the logo symbol, The Fresh Shield.

Proxima Nova is used as the brand font to represent the clear, objective voice of Prevenio’s scientific expertise. The clarity and direct qualities of the font are an integral part of the visual identity and messaging, presenting the the brand as scientific, industry leaders.

Anonymous Pro was chosen as a secondary font for its legibility and is used for descriptive information and eyebrows, much like you would see in the footnotes and margins of a technical manual.

A very minimalist website for the chef Robbie Spencer Ashworth designed by Arthur Carey from Polytechnic using Columbia Sans for titles and highlights and Anonymous Pro for the main content and menus.

Detail

Contemporary 8bit poster for Errors LAN.
Full project on reklamekollektivet.no.