Fabrica is a creative studio with a collaborative approach based in Yverdon-les-Bains, Switzerland. Its members are active in branding, illustration, web and print design. Their own website shows a sparkling combination of fine illustrations and typography.

Enzzo Fashion is a Greek-based clothing brand, for high quality womenswear, launched in 2000. All their clothes are manufactured in Greece. Their current website combines two typefaces; IvyPresto and PF Din Text – both used for English and Greek.

Jubilat is the display typeface of DirecTV Stream’s launch campaign.

Jubilat is specified for the slogan, “Get your TV together”, as well as for headlines on the website. It also appears in two commercials featuring tennis champion Serena Williams mashed up with Wonder Woman and other movie characters.

The slab serif by Darden Studio works hand in hand with the brand typeface PF Din Text, a technical sans serif by Parachute. Interestingly, Jubilat is used exclusively in caps from its bolder styles, and primarily from the Bold Italic. The all-caps italics introduce a drive that reflects the themes of sports and action, but also the speed of transmission. Words in Jubilat often are highlighted in color, adding an emotional layer to the messages.

Previously wholly owned by AT&T, DirecTV became a separate entity in 2021, now offering both streaming and traditional satellite television services.

PF DIN Text is used for GoPro’s website and corporate identity. GoPro is renowned for its high-definition cameras for extreme action videography and photography.

The Greek edition of Esquire magazine uses the Condensed weights of Parachute’s PF DIN Text for headlines and subheadings. It is complemented by PF Centro Sans, PF Centro Serif and Granger.

KJUS is the leading premium sports brand for technical ski wear, uncompromising outdoor apparel, functional golf wear and active lifestyle. Recently, the Swiss agency Metapur AG was commissioned to redesign its corporate identity, which was based on Parachute’s DIN Text Pro. This included promotional material such as the company’s workbook and moodbook. Apparently, it will be extended to the website and consumer campaigns. Currently, KJUS is using DIN Text Pro for its in-house corporate material as well.

Tallinn Transport is a service managed by Tallinn Transport Department to organise and promote public transportation. The service itself is not new, but its identity has been redesigned and launched to the public in 2012 by Disainiosakond LLC.

The project of redesigning Tallinn Transport’s identity started in 2009 and evolved from an international accessibility project called Cities for All — Tallinn for All. There was no previous experience of design usage or management in the Tallinn Transport Department. Nevertheless, the goal of Disainiosakond was ambitious — to drastically change the user experience, image and communication of Tallinn public transportation, following the lead of European cities with tens of years of experience (London, Zurich, Stockholm, etc.). The mission was to make a similar impact in a very short period of time.

Due to the lack of resources there was a need to work with the existing transport infrastructure. The project was concerned with systematisation, unification, information noise reduction and standardisation, altogether creating a more user friendly and more accessible service environment.

A comprehensive Tallinn Transport Design Standard was drafted, giving guidelines on how to communicate PT information (use of color, type, layout and user-friendly language). To create a more accessible service environment, the Tallinn Transport Department followed the concept of “universal design”, where the products are designed to be aesthetic and user friendly to all persons, regardless of their age, ability, or status in life.

In 2012 the Tallinn Transport project won the Design Management Europe Award 2012. The award recognises successful design management strategies and also demonstrates the commercial and social benefits to be gained from good design management practices.

The typeface family used for maps and signage is PF Highway Sans Pro. It is sans-serif, optimized for signage and legible from distance, and is based on the standard typeface for highway signs in the USA. The family spans a wide variety of weights. The letters have cut angles and open counters for increased legibility and short and compact extenders (there are many in Estonian language). The character sets support Estonian (incl. ÕÄÖÜ) and Cyrillic.

For the timetables, Disainiosakond specified PF Din Text Pro, another sans serif based on the standard type of lettering for road signage in Germany. It is timeless, legible, narrow and compact, has a vast array of weights, monospace numbers, and support for Estonian and Cyrillic.

The Occupied Times of London is among Design Museum’s nominations for Designs of the Year 2013. Congratulations!

The first issue of the OT came out on the 24th of October [2011], just nine days after the occupation began with a print run of 2000 copies of 12 A4 pages. For the first six weeks the paper was produced weekly out of a tent by a small but dedicated team. The OT quickly settled as an A3, broadsheet-sized newspaper and gradually increased in pages until finally becoming a monthly publication of 24 pages after six months.

bricktz.com

[The newspaper] is designed by Lazaros Kakoulidis and Tzortzis Rallis who used Barnbrook’s VirusFonts typeface, Bastard, for the large intro caps to features and PF DIN Mono, designed by Panos Vassiliou of Athens-based foundry Parachute, as the main body copy face.

creativereview.co.uk

The former, provocative in its charged references to Blackletter; the latter the accepted typeface of many mainstream corporations, businesses and banks. Sitting the two together – in fact, placing single letters set in Bastard ‘within’ the DIN typeface for headlines – chimed cleverly with the ‘occupying’ metaphor. But there was another point to make, says Rallis. “Brands are now using the visual language of protest themselves, with stencils etc, to promote their products – they stole that language – so we are stealing theirs.” […]

[U]sing Bastard came with its reservations, however, from both journalists working on the paper and some of its readers. “But Jon [Barnbrook] volunteered to come in and talk to the journalists about why the typeface was appropriate to the project” […]

creativereview.co.uk

We think it is a rather apt choice of typeface, considering the ideology of the typeface: the reinterpretation of blackletter semiotics and insinuation that multinational corporations are akin to the new fascists.

virusfonts.com