Designed by Graham Bradley of A+ with Mallory by Frere-Jones Type, The Newlywed Table: A Cookbook to Start Your Life Together encourages newlyweds to cook at home, cook as a team, and set up a home kitchen they'll want to cook in day after day; with recipes for classic and modern dishes to build the couple’s culinary arsenal.

Recipe headings and intro texts use Domaine Display and Domaine Text by Klim Type Foundry. According to A+, the designers “created hand lettering for the cover and chapter openers, drawing on the world of wedding scripts for inspiration while keeping the letters streamlined and without excessive flourishes.”

The book was authored by Maria Zizka, a cookbook author and recipe developer, and published by Artisan Books.

August issue 02, “New York”, was designed by Brendan McAuliffe and Douglas Riccardi of Memo NY using Conductor by Frere-Jones Type, alongside Klim’s Domaine Text and Sweet Sans by MVB Fonts.

A travel magazine, each issue focuses on a singular location, immersing the reader in its art, architecture, and design scene, and sharing encounters with locals, their habits, and their unique culture.

Founded by Angela Lee, JaneClare is unwaveringly committed to clean beauty at the highest safety standards. It is dedicated to creating formulations free from harmful chemicals while maintaining exceptional efficacy.

For our rebranding project, we chose Domaine Display Medium from Klim Type Foundry for the logotype and a combination of Domaine Text and Display for the visual identity. The chosen typography communicates heritage and innovation, reflecting the brand’s unique positioning at the intersection of modern Chinese medicine and contemporary science.

Motion campaign developed for National Arts Centre English Theatre’s Season 2024–2025. While using their already existing visuals, I was asked to develop a visual language encompassing typography, layout design and animation style that would span across six animated vignettes. The horizontal vignettes would be featured in the promotional campaign video, while the vertical vignettes would be shown on social media. I wanted the campaign to be bold, with each production being presented in a memorable and impactful way; the layout of each animated vignette resembling a movie poster.

Creative direction by no hands

Bottle and packaging design for Colwith Farm Distillery. The craft distillery is the first to work plough to bottle in Cornwall; growing the potatoes which they craft into award winning spirits on the farm using water from the aquifer under the distillery.

Aval Dor (Cornish for apple of the earth, or potato), the distillery's signature range of gins and vodkas, is set in History 02 with the AD initials rendered in a custom monogram featuring a subtle inline that suggests the Cornish flag. Generic bottle blurbs are set in Domaine Text, with flavour specific labels applied to each bottle type are set in the complementary Domaine Sans Light. The distillery's pre-existing logo is set in Filmotype York and History 02.

Inspired by the hand-painted process and sun-kissed results of their eco-friendly hair coloring technique, we created a brand identity for Sweep Balayage Bar that captures the salon’s chic yet playful attitude.

Balayage is a hair coloring technique invented in France and popularized in the 1970s. Balayage’s unique hand-painted process results in randomly placed swipes of color that have a more natural, “sun-kissed” appearance. This inherent quality gave way to the brand’s signature 70s-inspired sunrise motif which is integrated throughout the brand in the form of borders, badges, and illustrations.

The painting motif was extended to the brand illustrations and building signage. Instead of using conventional vinyl window graphics, we commissioned a local sign painter to hand paint the designs, resulting in a perfectly imperfect handmade aesthetic that mirrors the balayage process.

The brand’s primary typeface, Columbia Sans Display, has distinctive italics that harken back to 1970s-era heavy-bottom fonts (like Charade and Benguiat Charisma) and blend seamlessly with the brand’s retro-modern aesthetic. Body copy is set in Domaine Text, and Vulf Mono is used to round out the typographic hierarchy and add a touch of playfulness.

WAKA WAKA — The full collection of Shin Okuda’s wood furniture & functional objects.

Built on a uniquely structured grid system, this site lends itself to a sense of wonder through both deliberate and random moments of user interaction, pushing the boundary of a traditional online shopping experience.

Additional areas of focus, including the fundamental relationship between content and form, graphic solutions inspired by print media, and conscious typography choice, positions the site as a functional yet dynamic digital landmark.

Untitled Sans and Domaine Text have been selected to lay a traditional foundation to play off of Shin's unconventional forms.

Oxford Properties came to Vanderbrand with a project that would set a record for the most significant mixed-use development in Canadian history, spanning 130 acres. Square One District will repurpose and transform downtown Mississauga with 37 new towers comprising over 18,000 new residences and class A office buildings, anchored by Square One Shopping Centre. The future Hurontario LRT stop at Mississauga City Centre will provide connections to thousands of commuters travelling back and forth from downtown Toronto.

As a response to a project of this scale, Vanderbrand designed a place brand and launch campaign for Square One District that would communicate Oxford’s vision and commitment to stimulate economic development in downtown Mississauga.

The new identity and graphic program are an important part of the strategy for Square One District. It allows for flexibility across spatial and digital communications, while still feeling inclusive to all arms of the mixed-use development spanning offices, condominiums, retail, and public spaces.

The brand mark for Square One District is set in the clean and modern Neue Haas Grotesk. This typeface was selected not only for longevity, but for the cohesion it brings to a brand designed for the future. The versatility of the primary typeface complements the atypical typographic system where the sans serif typeface is used in combination with the serif Domaine Text to bring vibrancy and optimism to the messaging used for promotional communications.

Website.

Brochure.

Clay: Themes and Variations from Ancient Mesopotamia imaginatively reworks sixty ancient texts in a multiplicity of styles, reflecting the marvelous variety of the source materials and their inextinguishable relevance in the modern world. The first part of Clay includes tales that have become familiar from other sources: two creation narratives, the Mesopotamian flood story and Gilgamesh. The second part explores themes of sexual love, marriage, birth, death and atonement.

The book was written by Paul Williamson and includes 129 original images by artist Debbie Loftus. The design was provided by Simon Esterson and Leo Field at Esterson Associates. Domaine Text Regular is used across the whole publication. Grey board cover, five stocks across two sections, digitally printed at Pureprint, 340×260mm, 210 pages. Published by Festival O/Modernt.

<h1> is a digital magazine made as a student project by Alessandro Nobile, Nicolò Accoto, and Gianmarco Caforio at the Istituto Europeo di Design (IED) in Milan, Italy.

The theme of h1 is Uomo e Macchina (“Man and Machine”). It analyzes the relationship between man and machine by taking into account the most common technological devices (for example: cell phones, tablets and computers). These topics are treated from a real point of view, without considering science fiction ideas, with the aim of making the reader feel a little anguish. The covered topics include Elon Musk, machine learning, Google Home, and artifical intelligence.

The font in use are Space Mono (Colophon Foundry), Mhitrogla (Brando Corradini), Avenir Next (Adrian Frutiger), and Domaine Text (Klim).

Brought together by their fascination for the wondrous flower and plant world, artist Denise Collignon and landscape historian and floriculturist Mariette Kamphuis founded Veld & Vaas (“Field & Vase”). Together, they design and create the floral decorations of special occasions and locations, characterized by vegetable materials, folklore, and historical and contemporary (floral) art.

Veld & Vaas presents itself as a symbiosis of two worlds, which formed the starting point for the design of their floral soapboxes (“bloemenzeep”). The packaging is adorned with both serif and sans-serif typefaces; the typefaces Domaine Text & Domaine Display (Klim Type Foundry, 2013), a subtly modified Domaine Sans Display (Klim Type Foundry, 2014), and Campton (René Bieder, 2014).

The colors of the packaging are derived from the content of the soaps/ingredients (marigold and activated carbon), which also come together in a dual-colored version with both types of soap. The result is contemporary and timeless package design, with the inventors’ story printed on the interior.

☞ The Veld & Vaas bloemenzeep won silver at the European Design Awards 2018.

The Boudin SF Plastic Free Food Packaging project is born from ArtCenter College of Design’s first 100% plastic free packaging course. Students were challenged to rebrand a fast or fast casual food brand, and redesign their packaging system to be fully sustainable, using no plastic or bioplastic. Students were also challenged to use new and old materials including biomaterials such as wood pulp, plant cellulose, food waste, grass, algae, and mushrooms that are sustainably sourced, and at the end of their lives, can be composted into bio-mass to regenerate depleted farming soils.

The original Boudin itself is a bakery and restaurant chain originally from San Francisco, California, known for its sourdough bread. It was established in 1849 by Isidore Boudin, son of a family of master bakers from Burgundy, France, by blending the sourdough prevalent among miners in the Gold Rush with French techniques and longevity. Today, it is famous for its ‘Bowl of Soup’, which is a sourdough boule with clam chowder inside of it. This rebranding and packaging design is recognizing sustainability as longevity and delivering Boudin SF’s same spirit but with a 21st century vibe.

The final outcomes include physical food packaging appearance models that indicate the size, dimension, and functionality for real paper pulp containers. Results also include reusable cotton carrier bags, environmental-friendly wrap papers, container tags, to-go menus, and business cards.

The brand identity is based on The Pyte Foundry’s Houdini. This unique slab typeface has a characteristic of being historic and contemporary at the same time. The basic slab serif skeleton would bring out the 19th century visual aspect while its extremely wide letter width carries the freshness. Its uppercase O is replaced by a loaf of bread, supporting the brand recognition.

The main branding typography is composed with Domaine Display and Domaine Text, and Founders Grotesk. In general, Domaine’s overall contemporary and curvaceous Latin details match the food category and its related feeling. Founders Grotesk not only visually matches with Domaine on the letterform proportion, but also shares the similarity on that curvaceous core. Both typefaces are from New Zealand-based Klim Type Foundry.

Editorial material made as part of San Diego Cemetery’s visual identity program. San Diego is the oldest cemetery of Quito, Ecuador. We were looking to engage tourist and people from the neighbourhood with antique cemetery legends and its stories.

In order to create an elegant solution, we decided to make a bimonthly publication in a newspaper format. To compose the publication, we used a classic graphical language distilled from the sheer variety of architecture styles from the cemetery. With the use of typography and patterns alongside a limited use of color, the result was an attractive editorial design.

In Search of the Present is a new series of exhibitions on a 3–4 year cycle held at Helsinki’s Espoo Museum of Modern Art (EMMA). These intend to tackle many of the existential questions that we face in an ever changing world. The first exhibition, inspired by Olavi Paavolainen’s essay collection from 1929, took place between October ’16 and January ’17 and was a study in the representations and expressions of human identity in the digitalized world.

Drawing on the themes of change and the passage of time, Finnish graphic design studio Werklig developed a brand identity connected by a sense of movement, implied in the cropping of text across posters, books, and supergraphics, physically in the motion of outdoor campaign posters and digitally in the scrolling of social media content.

Read more about this project on BP&O.

Jeni’s Splendid Ice Creams, a Columbus, Ohio-based company, produced its first-ever holiday catalog in 2014. Designed by the Jeni’s in-house creative team, the publication pairs Kris Sowersby’s Domaine with Futura, Jeni’s usual brand typeface.

The Nov 17–23 2014 issue of New York magazine is a classic example of how that publication manages to employ a wide variety of typefaces and employ very large/bold type but maintain a close attention to detail in the body type. Throughout the entire issue, the type palette varies hugely from serious workhorse types like Miller to fun retro types like Windsor and New York’s signature Egyptienne — all handled with care and consideration.

The extremes of the type spectrum represented within the issue include a giant full-page single glyph on one hand, but also well-spaced and well-printed body type on the other hand — some of it even knocked out of rich 4-color black backgrounds with surprisingly clear and readable results.

This issue is of note for those interested in typography because the cover story about emoji is composed with emoji symbols inline with the normal body type. Those who missed the original newstand offering can order back issues directly from New York magazine.

“Franchi’s findings in Designing News are based on his own work for Il Sole 24 Ore as well as case studies by the top media insiders Richard Turley of Bloomberg Businessweek, Daniele Codega of Thomson Reuters, Steve Duenes of The New York Times, Mark Porter formerly of The Guardian, Matt Curtis of The Times, Oliver Reichenstein of Information Architects, Adrien Bosc of Feuilleton and Desports, and type designers Paul Barnes and Christian Schwartz.

Designing News explores how today’s media outlets can become credible, cross-platform news brands. Franchi advocates redefining reporting as telling a continuous narrative across a broad range of traditional and digital media. To this end, he proposes a new, integrated role for editorial designers in advancing the evolution of media for the future.” — francescofranchi.com