For almost a century, Pescheria Pedol has pursued a clear vision based on respect for the sea and a constant pursuit of quality in every detail. Specialists in fish and a historic reference point for the retail sale of fish products, the company has always represented an authentic balance between tradition, expertise, and passion.

Today, we discreetly present our new rebranding: an evolution of our visual identity designed to reflect even more accurately the values that define Pescheria Pedol – essentiality, rigor, and fidelity to our idea of excellence.

At the heart of this renewal is a new pictogram, a symbol that encapsulates stories of family, the sea, and daily commitment. A sign capable of guiding the company’s identity with consistency, along a path of continuity and loyalty to its roots, projected towards the future with the solidity of its history.

Together with the new pictogram, we have rethought and curated the entire visual image of Pescheria Pedol: an authentic and coherent story, capable of conveying the essence of the company through a contemporary lens.

The logo is custom drawn, based on the previous one in Copperplate Gothic. The brand typefaces are Claude Type’s Romie and Klim Type Foundry’s Pitch.

The new identity has already been rolled out to the company’s Instagram and Facebook profiles.

The new logo in custom sans-serif letters, shown on top of the previous one in Copperplate Gothic.

In his book A84 ,artist Cyprien Desrez tells a story about a three-week journey on foot, with a tent and backpack, along the Autoroute des Estuaires from Rennes to Caen. The book also features a selection of photographs by the GANG collective (Jérémie Dru & Antoine Séguin).

Motherlode offers a range of instant lattes designed to provide a balanced energy boost while calming your nervous system. Packaged in convenient single-serve sachets, it helps you enjoy the right amount of caffeine, without the negative side effects of overconsumption.

The Australian based brand is using Nikolas Type’s Solare in a variable font setting of 600 on the weight axis, mixed with the Intense axis of around 350, making the typographic appearance more unique. It is paired with Kris Sowersby’s Pitch and what appears to be Good Sans by Kenneth Knutsen.

From Harley Johnston:

Doodee King is a group of restaurants that offers delicious Thai food in Sydney. We were originally engaged to help with the design of their new Castle Hill restaurant. We ended up completely refreshing the brand starting with a brand strategy workshop with the owners. The key themes that stood out for Doodee King were that their food was suitable for all age groups and cultural backgrounds. Their food is also authentic and sort after from the Thai community. These themes led to the idea of ‘Real Thai for All’ which sums up the brand perfectly.

Alias Noah is used for headline type, supported by Klim Type Foundry’s Pitch.

Weaponized Innocence is a newsprint publication made as student project at the ArtCenter College of Design. It explores the exploitation of children in warfare, combining striking visuals, impactful storytelling, and a thoughtful design. It transitions from the harsh realities of child soldiering to messages of hope and recovery, emphasizing UNICEF’s vital role in protecting and rehabilitating affected children.

Permanent Headline was chosen for headers due to its bold intensity and resemblance to war headlines. In the first half of the editorial, the tightly tracked, blurred, and posterized letters convey the chaos and brutality of war. In contrast, the second half transitions to loosely and evenly tracked letters, symbolizing the hope and freedom UNICEF brings to children.

Pitch was selected for body text, offering a contemporary take on monospaced typewriter fonts that lend a governmental and matter-of-fact tone. Quotes are highlighted in red in the first half and blue in the second, with larger, all-caps type emphasizing key points at the end of each paragraph.

Sketched Out: Artistic Sketchbooks and Journals Unveiled offers an intimate dive into the personal pages of 55 artists from around the world. This book celebrates the raw essence of the creative process, revealed through sketchbooks and journals used for doodling, experimenting, or jotting down ideas. From Grace Helmer to Irene Saputra, Jill Senft, and Tom Froese, each artist unveils a part of their universe, with special contributions from Pavel Ripley and Takeuma enriching this fascinating collection. Readers are invited to discover the inspiration behind the final works and immerse themselves in the visual thoughts of these creators.

The cover of Sketched Out perfectly reflects this unfiltered creative process. Designed as a tribute to sketchbooks themselves, it features dynamic and varied artwork, mirroring the diversity of the creative minds within. Inferi, the captivating serif typeface by Matthieu Salvaggio from Blaze Type, gives a unique character to the title and section headings, highlighting the blend of chaos and structure inherent to the artists’ work. The typewriter typeface used for text, captions and page numbers is Pitch by Kris Sowersby of Klim Type Foundry. Victionary, the agency behind this project, captured the spontaneity and energy emanating from these sketchbooks while respecting the creative process of each contributor.

Grandparent’s Delight is the name of my well-stocked home bar, and in the years since I developed a cane sugar allergy, Grandparent’s Delight has also lent its name to a range of housemade decoctions, infusions, and liqueurs designed as cane-free alternatives to commercial products. A set of labels were designed to give these products a more legitimate presence on the liquor shelf. To complete the illusion, the labels fall into several different visual sub-brands under the umbrella of Grandparent's Delight:

• The Fernets: lightly sweetened liqueurs principally flavored with saffron and bitter aloes. Labels are set in Beaux Arts Didot and Polliwog.

• The Génépis: complex, high-proof herbal liqueurs flavored with the alpine herb génépi. Labels are set in Hesse Antiqua (including one of Hesse Antiqua's ornaments) and a coarse optical size of Kyrios.

• The “single-notes”: pure infusions of a single ingredient, typically fruit. Labels are set in FF Bauer Grotesk.

• The Grandparent’s Delight house brand: a catch-all category for multi-ingredient recipes. Labels are haphazardly set in Bild. (Spot the customized cedilla.)

• Aquavit, a nordic infusion of caraway, uses Kabel and (what else?) Kumlien.

A workmanlike universal label for the back side of each bottle uses Pitch and Pitch Sans and provides space for detailed notes on the batch.

Back cover

People Who Aren’t There Anymore is the new studio album by Future Islands, released on 4AD today. It was named after a painting by Albuquerque-based artist Beedallo. A different painting of hers, Fading Memory of a Face, is featured on the front cover.

The creative direction and album design is by Nolen Štrāls, who’s been working with the Baltimore-based band for years. For the band name, he started with caps from Philipp Neumeyer’s Rainer and connected the letters of the two words in a way that evokes the rippled surface of the sea surrounding the nominal Islands.

The title on the back cover is set in Regrets. One’s tempted to assume that Ohno’s 2023 release was chosen for its name – which happens to be a perfect match for the album’s title. But Štrāls used Regrets before, for the video to Future Islands’ “Deep In The Night”. The typewriter font used for the track names and the lyrics is Klim’s Pitch.

[More info on Discogs]

Front cover with inner sleeve and vinyl record

Compact disc

Promotional banner

Regrets with hyper-extended initials that form an interlinear ligature for the “Dancing” sweatshirt

A variant of the band logo, with the two words not aligned to each other

The “Figures” shirt features Rainer’s Slanted style.

Hôtel-Dieu, the oldest hospital located in the heart of Paris, sits on Île de la Cité, one of the two natural islands on the Seine, and in the immediate vicinity of the Notre-Dame Cathedral, as a significant place for the residents of the French capital. For centuries, this architectural landmark has withstood both the changing cityscape and its dynamically shifting role in healthcare. Despite numerous metamorphoses – expansions, reconstructions, damages from fires, and the passage of time – it remains a respite for those seeking support. Over time, Hôtel-Dieu has also adapted to the needs of a changing society and scientific advancements. Today, while maintaining its medical functions, the hospital is also a vital hub for medical research and a home for innovative start-ups.

Cyril Delhomme, Maison Solide and Studio BOLOZ designed an installation in the courtyard of Hôtel-Dieu dedicated to all users of this place: staff, patients, caregivers, and start-ups from the innovation and health sector. The story of Hôtel-Dieu’s evolution begins at the entrance hall, where visitors are greeted by a series of symbolic illustrations bridging the past, present, and future of this historic venue.

Maison Solide used Rillus (Formagari) for titles, Agipo (Radim Peško) for texts, and Pitch (Klim Type Foundry) for captions.

Scenography: Cyril Delhomme
Graphic design and illustrations: Maison Solide
Designer: Studio BOLOZ
Concept, coordination, and production: Manifesto

This festschrift celebrates one hundred years and five generations of Anderson Concrete, a family business from Columbus, Ohio. From the foreword by Jessica Anderson, President:

It’s my distinct privilege to recognize and celebrate our first century of business at Anderson Concrete. From our humble beginnings as a sand and gravel hauling company in 1921, we have innovated, adapted, and sustainably grown to become a prominent and successful family business in central Ohio.

As our 100-year milestone was approaching, my family and I wanted to do something special to honor this accomplishment. We decided to create a commemorative book, which resulted in a 194-page culmination of our rich history, showcasing the family legacy, the lifelong relationships, and the generational grit and determination that got us where we are today.

The publication was designed by Zach Wilke and Neil Wengerd at Nonfiction. Copywriting by Brit Eaton, printing by Pressworks Inc.

Playtype’s Publish Gothic used beautifully by Barcelona and New York based design studio Pràctica for P&T Knitwear, a family-owned independent bookstore, podcast studio, event space, and cafe on Manhattan’s Lower East Side.⁠ Pràctica writes:

Named after the family business established in the same neighborhood 70 years ago, the commission required taking its old sign as a starting point.⁠
⁠
As a result, we transferred its main visual attributes into a system based on the structure of book spines, reinterpreting them as a communicative and signaling tool. This way, we rely on a familiar strategy to the reader as book-spine browsing, directing it to an unprecedented medium and solving signage, daily comms and merch all at once.

See more images on Behance.

The menu additionally uses Pitch by Klim Type Foundry.

Standards Manual is an independent publishing imprint founded by designers Jesse Reed and Hamish Smyth in New York City in 2014.

The website and some of the publications feature the monospaced Pitch by Klim Type Foundry as well as Standards Manual’s own NYCTA Standard typeface. The latter was drawn by Nick Sherman, derived from the typeface originally used for the New York City public transit system, Standard Medium (known as Akzidenz-Grotesk halbfett in Germany).

From the digital type specimen:

The NYCTA Standard typeface is based specifically on the glyph designs and spacing system shown in the 1970 New York City Transit Authority Graphics Standards Manual. Digital versions of the Standard typeface (or Akzidenz Grotesk, as it was also historically known) existed previously, but the digital NYCTA Standard font focuses on the design as it was rationalized and presented by Unimark International for implementation in the NYCTA’s signage system. The new font began as a literal digitization experiment in February 2013, based on images of the Manual provided by Jesse Reed and Hamish Smyth. Despite various eccentricities in some letter­forms and their spacing, the digitization remains very faithful to what was presented in the original Manual.

New York City Transit Authority: Objects, 2017. Design by Order.

New York City Transit Authority: Objects, 2017. Design by Order.

The New York Subway Debate, 2021. Design by Order.

Path Robotics is delivering on the promise of what intelligent robotics can become – starting with truly autonomous welding. Studio Freight partnered with their team to pave a path forward for manufacturing.

The system showcases the flexible precision of various weights of Suisse Int’l from Swiss Typefaces on an offset rational grid, while Pitch from Klim provides intricate details. Together, they achieve a remarkable balance of sophistication and functionality.

“Do good and good will come to you” – a piece of wisdom, an idea, a vision that inspired Simone and Adi Raihmann to create Karma Food. What started out as a restaurant with the mission of making people happy with healthy and nourishing meals soon grew into a multi-layered and diverse brand. Six additional restaurants later, the Karma Food world now includes a recipe platform, catering business, cooking classes, events, their very own cookbooks, and a wide range of specially created products, all centered on Indian cuisine.

We had the pleasure of supporting Karma Food in the creative process for their product line, and developed the visual language of the packaging. Reminiscent of vintage Indian packaging and matchboxes, the headline typography Zangezi Sans by Daria Petrova mimics the slightly offset printing and reinterprets it in a contemporary way. A bright color palette rich in contrast creates a striking, distinctive look and simultaneously blends perfectly into the colorful world of Karma Food.

The logo was designed by Atelier Karasinski using GT Haptik (Grilli Type). Pitch by Klim Type Foundry is used for information. On the menu it is paired with Haptik – plus selected details in Lineto’s LL Circular and Nirvana (Altiplano).

From HHV:

If Words Were Flowers is Harding’s first new music since 2018, a follow up to his critically acclaimed Face Your Fears album. It features songs like Hopeful , where Harding croons with devotion over a classic soul groove, textured with infectious horn playing, background singers and modern psychedelic flourishes. Harding fuels his psychedelic sound with the essence of Soul but isn’t bound by it. Instead, his songs convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour around the country as a child to rapping in Atlanta […].

Designed by Chicago based Alex Coven (with paintings from artist John Zabawa), the record cover is set with a mix of Roman and Italic styles of Suisse Works. The tracking has been adjusted to tighten letters. Inner notes within the gatefold and back cover credits are set in the monospace Pitch. Bajka is used for the record label logotype on the front cover.

Suisse Works is part of the Suisse family, available from Swiss Typefaces.

[More info on Discogs]

Shoreditch High Street, London.

Hackney Road, London.

Brick Lane, London.

Brick Lane, London.

HOLO.g is a special gallery website based on the book HOLO by illustrator パンチ (Punch). After the book was sold out, I was asked by Punch to make all of the included artwork available on a website, and I designed and implemented it.

The concept of this website is a digital archive of a fictional museum called HOLO, which is represented in the book.

Editorial New and DNP Shuei Mincho are used for the main text. Pitch is used to represent glitchy text in the console like window. Autark is perfect for giving this website an exotic and distinctive look.

Conciencia Verde is an environmental and educative collective based in Santa Marta, on Colombia’s north Atlantic coast, aiming to reforest urban common spaces and city surrounding through neighbor's participation. Confronted to water access difficulties, intense heat, plastic thrown in nature and a lack of green common areas in a growing city, the collective shares its green-conscious and sustainable lifestyle to locals by planting native trees and organizing educative workshops.

The visual identity – branding, logo and illustrations – was designed by Célia Grandhomme using three monospaced typefaces: Cispeo by Lucas Descroix and Pitch by Kris Sowersby are paired for the logo. In the brochures, the two are complemented with the rounded Alma Mono by Daniel Feldt.

From More Than A Vote:

More Than A Vote is an official non-profit organization. We are Black athletes and artists working together. Our priority right now is combating systemic, racist voter suppression by educating, energizing, and protecting our community in 2020.

From CNN:

More Than a Vote— a voting rights organization led by NBA star LeBron James — signed up 10,000 volunteer poll workers, reaching a major milestone this week in its effort to combat systemic, racist voter suppression. The organization, made up of prominent athletes and artists, has focused its "We Got Next" poll worker recruitment effort — a partnership with the NAACP Legal Defense Fund (LDF) — in primarily Black electoral districts ahead of November's general elections.

The website and the stoppage time video shown below use a strong yellow and black color palette, with Plakat Black (Out of the Dark) used for headlines, supported by Pitch (Klim Type Foundry).

Quality Craft Series is a publication by Flower Press in Detroit, Michigan. The collection focuses on providing simply illustrated and explained crafts in an affordable format.

The debut issue – Houseplants For All – features Maxine McCrann who supplies a 40-page, full-color, illustrated guide to simple-to-care-for sweeties that everyone can love!

Copy and illustration: Maxine McCrann. Design: Zoe Minikes. Printed by Mr. Bassett at Eastwood Copy & Print in Birmingham, Alabama.

Text is typeset in the monospaced Pitch by Klim Type Foundry. Headings are in Spindle by Gor Jihanian (made available through Future Fonts), with Gatwick by Pangram Pangram for subheads. Corben by Vernon Adams appears for the author’s name on the cover. The colophon further lists Yann Le Coroller’s Alte Haas Grotesk (not shown).

Urbanity is Australia’s premier conference for the property and urban development industry. Over two days, Urbanity brings together leaders, visionaries and disrupters from across the Asia Pacific to deliver inspired learning and connection.

Urbanity is designed as a conference for the creators of cities in the Asia Pacific. But this isn’t your run-of-the-mill developers conference. Urbanity is here to transform. To shake up. To inform, excite and agitate. To bring together the best business brains and top creative minds. To literally uproot and change how we think, behave, do business, learn and go about shaping the future. To harness a common purpose: to co-create and shape the cities of the future, to be better – less expensive and more creative, efficient, sustainable – and scalable. Theola worked with The Urban Developer team to create a bold, adaptable design system that will allow them to evolve over the coming years.

Pitch is used throughout, from the logo to the computer-generated “U19” lettering.