From Roundhouse Studio:

Coulter Wines approached us to expand on their core range with a group of experimental offerings. The large 'C4' batch marker continues to be consistent from the core range, this time more subtly using print effects such as blind embossing and high builds. The text details are spread over the label and join together through hairlines that suggest an experiment and a mapped out process.

The main typeface used for information is Miso (Mårten Nettelbladt), set in loosely spaced capitals and paired with all lowercase Px Grotesk (Optimo). The initials indicating the wine range (C1, C2, etc) and the winery’s logo are set in Avia Bold (Font Bureau).

A Japanese cuisine based in Kuwait City, inspired by a dark kitchen concept, Koto is created as a bold and playful restaurant where customers are served a delivery-only experience. For the brand to be appealing, the visual identity had to be developed with an engaging timeless narrative.

Typography is the key foundation for Koto’s identity. The logo – set in GT Maru Mega – is rooted and grounded in urban Japanese aesthetics, and recalls the Japanese pop culture concept kawaii. The secondary Information is typeset in the narrow, rounded Miso; the Japanese texts use PingFang.

Likewise, following the brand’s personality, the logo required an uplifting logomark as well. Ms. Koto is designed after two iconic Japanese pop culture characters in the early 80s. Mariya Takeuchi’s emblematic smiling-album cover encourages a sudden familiar warmth while the happy pink cheeks give a nudge to the anime character Heidi; these attributes tighten the logomark’s brand construction.

One of the biggest challenges nowadays in packaging design is to reduce the waste that it generates. Care packaging is part of the brand’s values; we created a modular system layout for labeling the biodegradable containers and bags to produce a flexible and eco-friendly brand.

Koto is a love letter dedicated to Japan.
ありがと

Pitok Motor Museum is an independent small motor museum with many stories and vintage motorcycles restored with passion.

It was created to tell stories. 
Old motorbikes, abandoned, recovered, stripped down and re-dressed with passion and hard work.
 These are stories that come back to life after being abandoned, because caring, instead of throwing away, requires much more effort but teaches us to love more sincerely. We took care of the design and implementation of the brand and digital communication.

We used Canela in the regular and italic variants for all of the design of the site. Miso was used for the museum logo.

The Good Fortune Market is part of this year’s 2016 Ozasia festival. Ozasia is Australia’s premier international arts festival with an emphasis on all things Asian. — Good Fortune Market

In Arabic, the letter kaf (ك) is the only difference between here (huna) and there (hunak). The Arabic Culture Festival huna/k defines itself — quite literally — as a bridge between the Arab “there” and the “here” of the Western world. This transgression is visualized in the editorial design: the flyers, programs and posters are interlinked, once you put them side by side. The principle of merging “here” and “there” is also reflected in the mirror symmetry of the design, which always provides bilingual information: When turned upside down, the program can be read in the other language, and the pages browsed in the usual direction; from right to left in Arabic, or from left to right in German. Printed with silver spot color. Made in cooperation with Fadi Abdelnour.

The multidisciplinary festival Multiple Memories focuses on the cultural issues of migration. The editorial design and visual identity by JAC design studio uses Arek by Khajag Apelian.

Photos by Hannes Woidich.