Next Generation Coffee by Swedish coffee roasters Löfbergs contributes to solving the greatest challenges of coffee businesses, coffee lovers and coffee farmers: creating a positive future in coffee farming.

As a part of the corporate packaging design, charismatic Cera Brush brings approachability to the project and endearing highlights to the packaging.

From Sadie Trombetta’s list of 10 Books About Race To Read Instead Of Asking A Person Of Color To Explain Things To You, compiled for those “trying to unlearn the American biases designed to keep people of color down”:

If you really want to understand the Black Lives Matter movement and the people who put their lives on the line fighting for its behalf, When They Call You a Terrorist is a must-read. Written by artist, activist, and Black Lives Matter co-founder Patrisse Khan-Cullors and journalist and author Asha Bandele, this powerful and breathtaking memoir reveals what it is like to be black in today's violently racially charged America.

For her cover design, Olga Grlic chose Cera Brush, evoking a feeling of instancy. The all-lowercase type is set against blazing red brush strokes, taken from a painting by Anton Evmeshkin. Cera Brush includes numerous alternate glyphs that were drawn by hand and are inserted automatically via an OpenType feature.

Cera Brush loves talking about cheese in Transgourmet’s Käse Magazin, a catalog by one of Germany’s leading food companies.

Jürgen Schwarz from M.I.L.K, an agency with strong focus on communication in food and beverage, chose to pair Cera Brush with Transgourmet, their rounded corporate typeface.

A display typeface with high-res details, Cera Brush lives up to its name. From the embossed cover to headlines and initials, its OpenType alternates and handmade look and feel enhance Transgourmet’s corporate typography. In addition, its often overlooked light weight can be seen in short, multi-line text.

54° Nord is a quarterly magazine that focuses on the most northern German state, Schleswig-Holstein. With a fine editorial design by Holger Stöhrmann, Cornelia Fränz and Florian Riedel, the social interest journal shares stories, reports and interviews truly made and located in the north. The publisher and most authors, photographers, illustrators as well as the printer come from the region.

For North German soul Nils Thomsen, it was a pleasure to have his serif typeface Meret Pro put to use in 54° Nord’s text and headlines. Meret, a robust and economical newspaper typeface, was originally published by OurType, but has recently migrated to the TypeMates library.

Complementing Meret for short and large display uses, Jakob Runge’s Urby brings its sharp edge and striking character to evoke the gruff, direct and hardy image of North Germans. When it comes to type in combination with illustration — in the current issue by talented Eva Hartman — or quite large figures, Cera Brush Black joins the typographic kit of 54° Nord. Hand-crafted by Hamburg-based Max Kostopoulos, Cera Brush gets the chance to show its high-res details and intermixing alternate characters.

The German city of Bielefeld — or to be precise the Bielefeld Marketing GmbH — got a new logo and identity. Cera Pro is part of the new brand and can be seen hard at work everywhere: from the big red sculpture of the city’s logo, to the headlines and small text on posters and promotional leaflets.

The visual identity was created by deteringdesign. Founder Marc Detering made it clear that, where many other public identities end up falling back on system fonts when they leave the hands of the design agency, Bielefeld’s identity was going to be different.
The city’s marketing uses Cera Pro in a wide variety of media, including print, web and app uses. This was made possible by a special deal negotiated between deteringdesign and TypeMates — a deal that gave Bielefeld’s identity the custom font license it needed.

There were several key considerations. For example, although pageviews might be the standard measuring unit for webfonts, they don’t always reflect a client’s commercial power. Bielefeld’s 300,000 citizens will visit the city’s website to find out where to vote and where their utilities are, but this is a public service, open to all. Not a shop.
And how to ensure the identity was used as consistently as Detering envisioned? Well, if the licensed number of users won’t be exceeded, why not create a multi-user license that allows the fonts to be used by third parties when they’re working with the city’s identity system?
Finally, although there is no question that the value of fonts has to be respected — designers have to make a living — so too do the needs and the nature of the project. Civic, charitable and small organisations may not be able to use money for wallpaper, but we can collaborate with them to create the font licenses they need.

Harry Keller of diesdas.digital uses Cera Brush and the Apple’s Color Emoji to prepare the diesdas.digital team for a Tough Mudder running race.