In a world where anyone can create content, Sound & Colour stands out by prioritising storytelling and collaboration to produce powerful, perfectly captured work that connects brands and audiences. Their striking visual identity features bold gradients, versatile design elements, and nods to traditional craftsmanship – reflecting their creative flair, commitment to shared ideas, and the value of creative expression.

Beni and Inter are used throughout the identity. The other listed fonts are exclusively used for their ampersands.

On the official theatrical release poster, Periódico Display UltraBlack is used in all caps for the title. The blurbs are set in Baskerville Original 120, with credits in Akzidenz-Grotesk Condensed.

Illustrator and designer Akiko Stehrenberger was commissioned to create two distinct posters for Joe Talbot’s 2019 film The Last Black Man in San Francisco.

The posters – while having similar aesthetic styles – use different typefaces. The first poster features Periódico, and the second Caslon Graphique. Both use tight and blocky styling to give the film a 1970s feel.

[More info on IMDb]

This alternative poster features a centered and tight Caslon Graphique.

Le Boucanier was founded in 1969 by Arlette and Léon Chalaux, and it quickly became a go-to pub because of its theme nights and other great shows. Located on the Aspirant Herber wharf, next to the canal, this place experienced several lives, from being a club, a cabaret or piano bar to finally becoming a pub known for its good food.

In 2017, Nicolas Jean and François Domingues acquired this magnificent and history charged place. They redesigned the pub's menu, aiming to highlight local craft products, they created a new wine list, loaded with beautiful local references, and thus logically wanted to rework the visual identity of the place to restore its reputation and acclaim.

We developed a custom typeface for the restaurant’s identity. Braciola is an all-caps Art Deco typeface in the Italian tradition, drawn in three weights, with many alternates. It’s used for the logo and menu headers. The menu items are set in a mix of Univers, Univers Ultra Condensed and Caslon Graphique.

“Bistro in Séte since ’69”. The print uses two of Braciola’s three options for the letter S – the third one is a ligature of two stacked S’s.

CANALS is four part editorial journey, telling the story of the history, development and expansion of the iconic Amsterdam canals. It explores the early beginnings of the city, through the 17th-century until today.

The website, an initiative of designers Marcus Brown (Amsterdam) and Aristide Benoist (Malaga), uses the history of Amsterdam's channels for an exercise in web-based storytelling. All elements of magazine design come along: a storyline that is followed while browsing (like in a magazine, scrolling horizontally); punctuated with visually impressive section openings, drop caps text columns, an alternation and repetition of image, headings and text. The color palette follows the Amsterdam coat of arms (red, white and black), with additional color provided by archive images.

The star of the design is Kris Sowersby's Maelstrom Sans: a design with extreme contrast as its main ingredient, juxtaposing anything it is paired with, legible only in short words – and used just so, to great effect. To aid legibility, words set in Maelstrom are tracked. At the other end of the typographic spectrum is Commercial Type’s Graphik which, set in small size for columns of body text, ensures calmness and regularity.

In between these two, the designers use three condensed fonts for headlines, streamers, drop caps: Coign (Colophon) is a collection of condensed sans serifs. The website uses 37B (one of the less narrow styles), always in capitals. Grifinito, the compressed sibling to R-Typography’s Griffo and Griffito is used mainly for streamers. From chapter two, Caslon Graphique Compress D appears once per section. The Compress style is included with the URW version of Caslon Graphique (Red Rooster Collection has a similar but lighter style as Caslon Extra Condensed).

Jim Lahey, James Beard Award winner and creator of the No-Knead Bread recipe popularized by The New York Times, founded his Sullivan Street Bakery in 1994. Since then it’s expanded to multiple locations and a thriving wholesale business. Like the bakery itself, its new visual identity is unpretentious but elevated, pulling inspiration from industrial signage and ironwork.

We used an unexpected combination of typefaces from different time periods to feel like “Everyday New York.” The workman typefaces News Gothic and Helvetica evoke undesigned signs while Caslon Graphique references a 1970s version of fancy.

Weathered Art Deco building signs, out of date subway posters, manhole covers, acrylic signs for red sauce joints. That’s the New York we love and want to be a part of it.

Typographie: Schrift und Graphik mit Letraset was an exhibition that ran in Darmstadt, München, and Zürich in 1978–79. This 8×8-inch 72-page catalog was designed by Christof Gassner and features his own work along with dozens of other designers who used Letraset.

Design: Christof Gassner

Design: Helmut Langer

Design: Christof Gassner. Promotional material for Deutsche Letraset. The last image was used for the cover of LetraTime.

Design: Friedrich Friedl

Design: Christof Gassner. German translation of a quote by Henri Michaux: “Qui s’est abaissé devant une fourmi, n’a plus à s’abaisser devant un lion.” – “Those who have bowed to an ant do not have to bow down before a lion.”

Design: Christof Gassner. German titles of various plays by Shakespeare: A Midsummer Night’s Dream, Much Ado About _, King Lear, Richard III. For more, see Schauspiel im ZDF.

Design: Christof Gassner. Various film titles: Le Quai des brumes (Port of Shadows), The Third Man, Daddy Long Legs, Scarface

Two headline faces with a similar feel and weight in use. Domaine Display (narrow) is used for the masthead (and for headlines on the Gippslandia website), Caslon Graphique for headlines inside the publication. Both are paired with a workhorse companion for all other text: Calibre (designed and marketed by Klim, as is Domaine) and Caslon (URW++?).

Gippslandia is a quarterly magazine in newspaper format, for, and about, the Latrobe Valley & Gippsland. It’s an ever-optimistic take on regional, national and global issues, in a local context. Oh, and it’s free.

Gippslandia, the publication, draws from a variety of different media. The title pays homage (with our tongue firmly in cheek) to the US offbeat comedy, Portlandia, which so cleverly satires the unique nuances of their population. Gippslandians frequently enjoy a self-deprecating chuckle amongst themselves. Inspired current affair and analysis focused titles such as Monocle or Assemble Papers and the Melbourne street press paper Broadsheet have also influenced Gippslandia. In fact, we believe Gippslandia will likely find a home in a magazine stack alongside the aforementioned titles – as Gippslandians love to stay informed.

Founded by the creatives, designers and travelers that form, and collaborate with, Traralgon-based design studio The View From Here, Gippslandia will seek to identify trends, movements, points of potential change, improvement or growth and rather than get emotionally negative, we wish to present you with ideas that could assist in transitioning Gippsland into a more attractive destination for local, interstate and international business and tourism. –– The View From Here website

Abaco is a savings and credit cooperative, leader in the Peruvian market. It was founded in 1981, initially for a Nikkei community settled in Peru. That’s why Abaco’s roots stretch back to the Japanese immigration to Peru in 1899. The company strengthened an old Japanese tradition called “Tanomoshi”, a kind of association that promotes savings and generates credits on a rotating and communal basis. Abaco conceived a new final concept based on cooperativism, community values and trust. In order to make the firm more attractive,

Brandlab organized and revitalized each graphic element of the brand. A new logotype, simpler and more functional, capable of being reproduced on different formats where the brand lives, was generated. Their corporative colors were modified and some others took the main place: ‘green pine’, the worldwide cooperative’s iconic color and cyan to create a contrast of contemporaneous fresh color.

Belem is a three-masted barque from France.

Lesli Ink is a design studio located in Toronto and New York. On the studio’s portfolio website Caslon Graphique is used for headlines in large sizes, Harriet Display for subheadings and short, prominent text passages, Visby CF in all-caps for subheads, image annotations and short notes as well as Georgia for continuous text.

This is a book about the celebration in the various festivals that take place in Malaysia throughout the year. These festivals preserve, celebrate, challenge and frame community identity and, for the most part, they are public celebrations that anyone in Malaysia might encounter.

Antagónica is a biannual publication that intends to reflect on the information that is given to us and establish a tool that allows us to know all points of view so we can get a proper conclusion. Its main feature is that it is a reversible book and it can be read in both directions. The first volume is about the Nobel Peace Prize of the new Millennium.

Sight Unseen OFFSITE …

is produced and curated annually by Monica Khemsurov and Jill Singer of Sight Unseen to coincide with the International Contemporary Furniture Fair (ICFF) and NYCxDESIGN.

Sight Unseen OFFSITE combines works by the best and brightest independent design studios with those from established, forward-thinking brands.

The branding and environmental graphics were designed by the design studio Kokoro & Moi, with offices in Helsinki, New York City, and Amsterdam. By the way, Kokoro & Moi have a very cool custom typeface, Kokoro League, which they use for their own identity and website.

A poster depicting the distortion of our perception of beauty designed for the Graphic Design Festival Breda.

“Book design for an introspective collection of short essays on life, friendship and family. The pages of the book are completely white, hiding in the inside, all this short quotes, the reader can reveal without any pre-established order.” — Solo

“Prana Health Food and Organics has been doing its healthy thing in the Subiaco Markets since back in February 2011, selling organic food and nutritional supplements and disseminating top notch naturopathic advice. We helped launch the venture with a wholesome logotype and promotional materials that captured Prana’s welcoming, knowledgeable, environmentally aware approach.” — Tonne Gramme

“Rococo is a production company based in Antwerp. They represent film directors and produce commercials, music videos, viral and short films.” — Modern Practice

The logo is Caslon Graphique with a nicely customized ‘r’ and beefed up hairlines which help it stand up in small sizes and reversed treatments such as the images below.

Great care was taken with the letterpressed and die-cut material, which was produced by Studio On Fire.

Debossed merchandise cards, info cards, and leather details in harmony.

A 3D-logo with the same felted feel as the mobile case, along with a pair of AIAIAI’s TMA-1 headphones.

The type follows suit: Ole Schäfer’s FF Zine Serif Display is employed in the wordmark, grafted at the serifs to form bespoke ligatures. Playing counterpart to this masculine, square-jawed logo is our whimsical friend FF Mister K from Julia Sysmäläinen. Of a less European pedigree, Hoefler & Frere Jones’ Sentinel appears in print splash images, with New Century Schoolbook as the webfont stand-in. Futura plays the neutral (yet still European) tone on headlines in the site. And, as these two founders have their fingers on the pulse of the Hypebeast, the recently fashionable Orator is used for splash metainfo. (The Futura used as a webfont is a questionable digitization called Function. It does not hold up to the task nor does it fit with the otherwise impeccable attention to detail.)

Hand-drawn details playing well with FF Mister K.

Broad assortment, narrow aesthetic. See a full-size view of Hard Graft’s product line.

Hard Graft could be criticized for using too many typefaces (or praised for their typographic eclecticism?), but much like their product line, the texture of the typography gives a richness that grey and brown can’t shoulder on their own. Personally, I would axe either Orator or Futura, and would be quick to upgrade Schoolbook to Sentinel once H&FJ webfonts are available.

Patch Hofweber is a young multidisciplinary designer living in southern Sweden. His latest work is the typeface Trim Poster in collaboration with Göran Söderström and Letters from Sweden.