Bella and Ridge is a fashion brand dedicated to creating clothing that enhances individuality while promoting sustainable practices. Their collections seamlessly blend contemporary style with classic elegance, offering versatile and comfortable pieces for the modern individual.

The visual identity was created by the agency Warsaw/Creatives. It uses the serif Ninna Regular (designed by Margot Lévêque) for both the monogram and the wordmark; with a modified Fino Sans for “AND” and Bergen Sans for the slogan and “Est. 2024”. The sans serif used on the website is Neue Helvetica.

Celebrator Creative created a new visual identity for Pizza Jeans. Words from their portfolio post:

Refining the customer experience for the iconic Atlanta institution, Pizza Jeans. This study took us on a voyage through the calm nostalgia of ’90s community dinners, the pre-fab exoticism of mid-century red sauce joints, and into the heart of ’80s camp – including the development of an ersatz Italian fashion label.

The main branding typeface is F37 Drago by F37 Foundry. For the menu, it’s paired with New Spirit by Newlyn. The “Spaghetti Dinner” poster series combines JAF Herb (Just Another Foundry) with Fino Sans (TypeTogether).

Graphéine. License: All Rights Reserved.

This article presents two editorial projects designed by Graphéine for the Théâtre Musical de Paris Châtelet: the Tchât newspaper and a brochure published on the occasion of the theater’s reopening in 2019.

A popular newspaper that twists and Tchâts

The Châtelet theater’s ambition is to give access culture to everyone, and to express this goal, it was decided to create a newspaper to replace the traditional and boring programme leaflet. It needed to express all the life, audacity and curiosity of the new season designed by Ruth Mackenzie & Thomas Lauriot dit Prévost, and keeping it popular. In collaboration with the editorial team at Châtelet, we set up a trimonthly newsletter which we have named Tchât, a diminutive of the theater’s name and a nod to the desire for dialogue with cultural audiences. This newsletter communicates the schedule and the line-up of events, in addition to the regular brochure, but in a quirkier manner.

Graphéine. License: All Rights Reserved.

We thought the dancing expressivity of a variable font could be smart to embody this mindset. Obviously by James Edmondson (OH no Type Co., 2018) was a perfect fit for this editorial project: It allows to designed catchy big headlines with all the versality require for cultural content. It’s paired wih Americana (ATF, 1966) for headlines. Text is set in LL Akkurat (Lineto, 2004), the theater’s identity typeface, and Untitled Serif (Klim Type Foundry, 2017).

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

A unique brochure to announce the Châtelet’s reopening

In 2019, the Théâtre Musical de Paris Châtelet reopened its doors after two years of renovation and outdoor events. For announcing the reopening and the theater’s message of accessibility, we created a short-run publication that showcases the management’s vision of inclusion and sharing. The typefaces chosen for this publication are Nantes (Luzi Type) and Fino Sans (TypeTogether), both released in 2016.

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

Graphéine. License: All Rights Reserved.

See also the article about the visual identity system for the Théâtre Musical de Paris Châtelet.

Origens Grechi is an artisanal producer committed to keeping Italian family recipes of antipasti and preserves alive. Their packaging should reflect this heritage, highlight the variety of the product, and, above all, distance itself from the visual commonplaces that refer to Italy, so overused in this niche.

The main element of the label is the Fino typographic family. With its high contrast in thickness and very condensed proportions, Fino and Fino Sans ensure good visibility of all varieties even in the longest names. Fino is paired with A2 Antwerp Italic.

In spring 2019, the Salzburg Museum presented an exhibition dedicated to the Austrian artist and illustrator Alfred Kubin (1877–1959) who spent much of his childhood and youth in Salzburg.

MOOI designed the exhibition graphics. They decided to contrast the often gloomy, always imaginative works of Kubin with light scenography including bright, vernal colors. For the typography, Mooi opted for a contemporary display sans serif. It is Ermin Međedović’s Fino Sans. This choice was partly inspired by the cover of the first edition of Kubin’s novel Die andere Seite from 1909. The lettering uses capitals of narrow proportions (interspersed with some wider ones), distinguished by a pronounced stroke contrast. Fino Sans shares several of these characteristics without being retro, and can be regarded as a modern, more straightforward equivalent. The pattern of thick and thin strokes also is a good fit for the pen-written and drawn elements in Kubin’s work. The text face that goes with Fino Sans is TheSans, which is the font used in the museum’s identity.

Children are guided through the exhibition by a “Unicorn Lion” which is derived from Kubin’s Chinese Lions. The script typeface used for this aspect of the exhibition is Pastiche Brush.