The logo of Cosco Kids uses Omnes by Darden Studio.

Cosco is a brand for strollers, car seats, high chairs and other gear for babies and toddlers. Founded in 1935 as the Columbus Specialty Company in Indiana, it was acquired by Dorel Juvenile in 1988. In 2023, the manufacturer decided it was time for a rebrand:

One of the first elements to get a refresh was our logo. The old logo was dated, and lacked the motion that’s inherent to our redefined Brand DNA. As we thought about the brand’s visual language, we realized we needed something more substantial to command attention and step forward, away from any background graphic noise. And just like that, Cosco became Cosco Kids™.

The logo is at the center of the new identity. The wordmark is based on Omnes’s Bold weight, with various small adjustments, like a narrowed o. Letters are twisting and turning, to visualize the desired motion. “Kids” is added on a curved baseline below, dropping the i dot. The two words are held together by a thick outline in a shade that is dubbed “pirouette purple” by the designers.

The brand typeface that accompanies the logo in Omnes is Plau’s Vinila.

The introduction video for the new identity features an animated logo evolution, leading up to the new one in Omnes. The slogan “Together, we’re the village” is shown in Vinila.

The Cosco Kids product range

Video ad

Weißer Sport und zweite Heimat. Eine Spurensuche nach der jüdischen Tennisspielerin Nelly Neppach (“Tennis and a second home. Searching for traces of the Jewish tennis player Nelly Neppach”) is the title of my bachelor project made at the University of Arts Bremen.

From the editorial:

A multi-perspective research on the complex topic of antisemitism with the aim of raising awareness of exclusion(s) and their effects in our society. The starting point of this project is Nelly Neppach (1891−1933), one of the first successful German female tennis players, whose biography is widely unknown. She played for Tennis Borussia Berlin until April 1933, then resigned (under political pressure) and committed suicide in May of the same year. How can forgotten traces be made visible again? How can we deal with history in an empathetic way?

The text is set in Vinila by Plau and Velos Mono by Scifipoetry.

“Lessons in lifesaving from Brazil” is an article by the Bill Gates Foundation, published on their Gates Notes website. A short version of the story is presented in this video, set in Vinila.

From Florian Cornut, designer and founder of Habillage Graphique:

In recent months, I have had the opportunity to work with Shapes & Forms, a multidisciplinary motion design and creative company based in Los Angeles, New York & Medellín. The objective was to introduce the DNA of Shapes & Forms working with other different big companies (NFL / SuperBowl, Netflix, Stiiizy...) while collaborating with designers/motion designers all over the world. The visual identity had to be integrated into a simple and impactful design, based on the use of typographic and modular grids in order to highlight the different types of content while keeping a strong and identifiable graphic universe. The case study focused on the creative direction and design of different communication media such as: brandbook, stationery, signage, website, clothing and objects, environmental design, social network posts (Instagram, Behance, LinkedIn...)

The case study was made between March and June 2023, under the creative direction of Florian Cornut / Habillage Graphique. The fonts in use are Vinila by Plau and GT Alpina by Grilli Type.

Poster design and graphic appearance for this year’s exhibition / graduation show Rundgang at the Kunsthochschule für Medien Köln (Academy of Media Arts Cologne).

Vinila is used in the op-art visual style for the event.

Vinila is the brand typeface for GoldKo, an upbeat low-sugar chocolate from Brazil. Designed by Colletivo Design, the visual identity is based on abstract illustrations and pop color palettes all of it supported by Vinila. The multiple widths and weights of Vinila allow a plethora of layers of information to work under the same identity.

Some interesting shapes as the ones in the ampersand and the inktrap rich figures give the identity its rich, creamy texture, both in type and flavor. The wordmark is custom drawn.

These graphic design templates were made for the use on TikTok, to advertise the broadcast of the rugby tournament Six Nations 2022 on the replay platform France Télévisions (French national TV).

The main idea was to create a template that could be adapted for all games. The highlighting of known and recognized players is part of the graphic identity and allows an easier identification from the users. A total of 40 visuals/key arts were created for this event.

An exhibition that reflects on the possibilities of living in Rio de Janeiro. The main yearly art exhibition from the Museo de Arte de Rio (MAR), Casa Carioca discusses different ways to live in Rio de Janeiro, such as: popular architecture, sociability, housing rights and women’s roles in the domestic space.

For the typograophy we used Vinila, designed by Flora de Carvalho, and available at Plau. Vinila aligns the expressive and rhythmic energy from Rio de Janeiro with the typography.

This project has the curatorship of Joice Berth and Marcelo Campos, and presents the work of artists such as Alan Fontes, Ana Hortides, Bruno Portella, Érica Magalhães, Concreto Rosa, Gilson Plano, Maria Fernanda Lucena, Mariana Paraizo, Mauricio Lima and Fábio Menino.

Uptaco is a handmade breakfast tacos brand located in New York City. Created by Dan & Derek, two childhood friends, the company spotted in the New York market the opportunity to bring something different, fresh, and tasty to the breakfast of the city. The inspiration comes from the recipes of Texan tacos, a little different from the well-known Mexican tacos and reinvented by Chef Derek, with different ingredients.

The briefing asked for a provocative yet simple and direct attitude that would work in coffee shops and restaurants but that could also be taken to groceries stores in the future. Considering a young and diverse audience, the creative process inspired by the tagline “How about a fresh start?” brings a series of connected elements to communicate the brand’s personality.

An authentic and expressive image and composition platform. The brand personality is urban and slightly cool. A positioning that should speak to the local public of NYC and at the same time the visiting public in a city that is well known for its tourism. In this project, the Vinila support typography developed by Plau delivers a diversity of weights and style differentials that make the brand stand out.

Vinila (designed by Flora de Carvalho, available from Plau) is a perfect sidekick for the artists styles, lines and shapes. But it isn't too far behind in helping to set the mood for Flutter Productions, a Jacky Winter Group initiative for all things animated.

Oh the joy of seeing type and illustration interact in perfect sync! To see different styles taking up the space that once were letters. To see big type, to see small type, to see our type – served as a variable font – used in such a lively design and cool website. Amazing work by Jacky Winter. Wordmark animated by Jordan Booker.

If there were one dream use for our fonts, it would be to see a typeface we designed in wayfinding. In a library. In France. There it is: studio des formes used Vinila at Bibliothèque Robert Desnos Montreuil, a welcoming environment for readers.

The identity concept is brilliant: the saccades we all use when reading. A graphic bouncy arrow moves within the building, taking readers to where they need to be. Vinila supports the identity in its diverse range of weights and widths, which comes in handy for longer names and locations. The signs were produced by La Maison des impressions.

Index Gallery started as an online gallery but it went beyond: digital and real met blurring the boundaries of what is what. With an internet aesthetics-inspired appearance, the brand makes use of a bold vibrant digital green.

For the typography, we picked an essentially Brazilian typeface. Vinila from Flora de Carvalho and Plau was chosen because of its body and quirkiness, both representing the solidity of Brasília and the contemporary boldness of the new artists. Its distinctiveness comes from having powerful ink traps that go from elegant and supple in the lighter styles to commanding and impactful in the heavier styles.

For the website, we created an experience that conveys the idea of an index, with a layout that can hold loads of information and makes use of dividers to organize the compositions, clearly inspired by the old yellow-lists books; we imagined an index from A to Z, with all artists and their works, representing the zeitgeist of the local scene, and creating a way to discover everything at once.

There is also a simple way to navigate, with a direct navigation system available at the top, allowing users to have a more traditional navigation and layouts that are predominantly white, giving emphasis on promoting the artist and their works.

For the full case study, please visit the website of Twoo®.

Delights to think, create and design for chocolate. GoldKo brought the challenge of chocolates and their packaging to yet another construction of the visual identity of the Zero Acúcar (“zero sugar”) family of chocolates that just grows. The marshmallow candy box, one of the products in this line that has just been launched, is already a sales success in the brand’s e-commerce.

Design by Colletivo Ltda. The typeface is Vinila by Flora de Carvalho & Plau.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

AKQA was responsible for the launch of Beck’s beer in Brazil. The campaign is an all type motion galore, with type interacting with the can and the bottle, taking a leading role.

Stretching, roling, expanding, multiplying, the campaign is used in many situations throughout social media as well as in-store ad activations such as LED displays and the such.

Vinila is neutral enough for use in a wide gamut of formats, yet its inktraps make it easily recognizable and unique. Flora de Carvalho’s Vinila started out for a small label in a music packaging project. Her intention was to create a legible neo-grotesque in text sizes that could bring a lot of texture/personality when used large.

Eduarda Nieto, a Miami Ad School graduate and D&AD pencil award winner, art directed the project. Motion design was done by Polar (formerly known as Estudio Arco), with 3D by Lucas Mayer. The studio has been tackling kinectic typography like few others.

As the engineer that helped bring Vinila to the market (it was released through Plau), it was a joy to see the use of our very first variable font in the context for which it was designed for. See more animations on Nieto’s website.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

Source: eduardanieto.com License: All Rights Reserved.

From Operative.Space:

Visual appearance of the symposium “City Sounds – City Atmospheres” organized by the DAAD (German Academic Exchange Service), today at CLB Berlin. With contributions by Sam Auinger, Gernot Böhme, Peter Cusack, Maren Hartmann, Johanna Just, Sarah Lappin, DietmarOffenhuber, Juhani Pallasmaa, Peter Payer, Birgit Schneider, Holger Schulze.

Typefaces in use: #Vinila by @floradecarvalho and #Rosart Italic by @ka_tell

Tipoversos is a series of posters that began to be produced by Vertentes Coletivo in 2018. It presents lyrics of popular Brazilian songs illustrated by geometric lines. The 15 songs were initially chosen based on personal taste, but they all talk about subjects related to Brazil’s recent past and current times. They bring a mix of critique, protest but also a little bit of hope that the country and its people will get through this very difficult time.

Due to the fact that this is a project focused on Brazilian music, it was decided that it would be better to only use fonts created by Brazilian designers. The posters had a few very specific requirements, for example, condensed fonts, a comfortable x-height and good optical balance in terms of weight of the font. Also, we were concerned with choosing fonts designed by both male and female designers. There are a lot of Brazilian women designing excellent typefaces and we thought it was important to showcase at least one of them through our work.

With that in mind the fonts selected were Silva Text Medium (by Daniel Sabino / Blackletra) and Vinila Condensed Regular (by Flora de Carvalho / Plau Design), two excellent examples of high quality typographic work recently produced in Brazil.