Branding and identity for Broad Leaf Spirits, a boutique offshoot of Michigan-based craft beer juggernaut Brewery Vivant, forged as a passion project of the restaurateur to explore non-traditional brewing and distilling techniques.

The design brief was an open invitation for experimentation and play. On-site conversations led to discoveries. The team’s philosophies and external positioning? A group of self-proclaimed mad scientists who share a love for cassette futurism and bygone electronics.

50+ unique graphics were created using a modular synthesizer and oscilloscope. Sounds from the synthesizer’s patch bay were plugged into the oscilloscope and captured at 1/50th shutter speed for analog light trails and haze.

The fuzzed-out 8-bit Unknown font signals the spirit type (vodka, gin, mezcal) while Futura supports with legible sans-serif copy and descriptors. Accessible technology for those who are blind or have low vision was incorporated by printing Braille DIN as raised text with a double-hit of spot gloss.

Show ’Em No Mercy is a spin-off of the famous Uno card game, invented in 1971. Mattel offers several spin-offs of the original game and most of them use a specific typeface to highlight the differences between the versions. Show ’Em No Mercy—spelled with a rotated apostrophe —uses Nove as its brand font.

A connoisseur of M.F. Benton’s work was inspired to combine the capitals of Wedding Text with the classic (not necessarily fitting) American Text. A sprinkling of Bernhard Modern rounds off this stroll through the ATF catalog. (The few bits of Myriad probably were not a deliberate choice, and therefore not worth mentioning).

Most likely, this label has been designed in-house at Sallandt – Alte Münsterländer Kornbrennerei & Liqueurdistillerie GmbH, however I cannot find definitive proof of this (but other labels in their collection look remarkably similar).

In 2023, Pastai Sanniti, a historic pasta factory in Sannio, enters a new phase thanks to the acquisition by the two-Michelin-starred chef Giuseppe Iannotti. A bold and contemporary vision has transformed every aspect of the brand, leading it to break with the past to project itself towards an innovative future.

The rebranding was born from the encounter between the extraordinary quality of the products and a radical narrative approach, inspired by the legendary figure of Mazzamauriello, a mischievous elf of the Samnite tradition.

Mazzamauriello, a mythical and mischievous figure of the Samnite culture, has become the symbol of the project. This elf, with his pointed hat, has been reinterpreted in a modern key: an alchemist of flavors who wanders around the pasta factory while production is in progress, leaving the mark of his magic. Hence the idea of ​​the brand: Alchemy of wheat.

The logotype and other elements are set inSud. The typeface chosen for smaller text is Onest.

Packaging and campaign visuals for Kinder Coffee Lab’s Lemonade Coffee Shandy release, designed by Switchboard in collaboration with Fable Roasters in Minnesota. The identity uses Allsorts across cans, social graphics and promotional materials, pairing bold condensed display typography with bright citrus-inspired color palettes and playful vertical composition. Allsorts was designed by Becca Dore and is available from BTYPE.

Champ (by Typeverything) is used in Infinito’s branding fo Casino Galletas to reflect the brand’s playful, youthful spirit. With a 34-year history and a constantly evolving audience, the typeface helps give the brand a bold, expressive voice across messaging, patterns, and product naming, connecting authentically with a modern, diverse audience.

OTSU opened in Barcelona the way the best places do, without a big announcement and already belonging in the neighbourhood. This café is a reflection of its founder's instincts: food built on contrast, a space that doesn't rush you, and the kind of care that only reads as effortless when it isn't.

The identity takes its cues from the places that inspired the space, particularly Asia and the kind of beauty that lives in restraint and precision. It's built from the physical language of the café itself. Verticals that recall curtains, tall ceilings, and the upward pull of living things, paired with the shape of a perfect circle that holds it all in.

The logo doesn't repeat itself unnecessarily and appears only where it counts. Red leads the palette with conviction—warm, rich, and loaded with cultural weight. In Asian cultures it's the colour of luck, celebration, and something worth paying attention to.

The result is a brand that feels the way this café does. Nothing is accidental and nothing is excessive, leaving a quiet mark exactly where it matters.

Opening credits

From Wikipedia:

Aaahh!!! Real Monsters is an American animated television series developed by Klasky Csupo for Nickelodeon. [...] The show focuses on three young monsters—Oblina, Ickis, and Krumm—who attend a school for monsters under a city dump and learn how to frighten humans. Many of the episodes revolve around their zany hijinks after making it to the surface in order to perform "scares" as class assignments. The series premiered on October 29, 1994, and aired until November 16, 1997.

The titles and credits use Snort, a custom font designed for the show by László Nosek. Snort was also used on merchandise, and was made available to the public in 1999 as part of the Nick-O-Matic Design Factory art software.

Episode title card

End credits

Toys with packaging featuring text in Snort

Back, showing text in Mister Frisky and Uncle Stinky (now known as Professor Minty) as well as Helvetica Condensed

Cover of the book Stage Fright! (Simon & Schuster, 1997), using Snort for the title; other text is in Woody Normal and Avenir Black.

Temporary tattoos included with Stage Fright!, some of which also use Snort.

Oliver Grace has updated the identity of the Australian brand Redheads, drawing inspiration from its archives of the 1960s and 70s. The project simplifies the historic Ms Redheads icon, whose hair is now treated as a graphic flame flickering across the bottom of the packaging. The goal is to modernize this national institution while preserving its original spirit, ensuring it remains recognizable both in-store and on e-commerce platforms.

The new logo features Fusion from the Blaze Type foundry. This typeface was chosen for the specific details in the lowercase l, t, and a, which add a touch of personality to an otherwise understated structure. This typographic choice bridges the gap between the Swiss design rigor historically present in Redheads’ identity and a more contemporary, effective aesthetic.

To ensure consistency across the range, a flexible grid system was implemented. This allows visual elements to adapt to vastly different formats, from small matchboxes to four-kilogram charcoal bags, while clearly integrating mandatory regulatory information. This modular organization provides a technical balance between respecting a well-known visual heritage and meeting today’s logistical needs.

Brite by Scotch-Brite is a new line of kitchen cleaning tools from 3M, launched March 1, 2026, at Target, Walmart, and Amazon. The collection – which includes a Dishwand, Palm Scrubber, and Scrub & Wipe, each with a matching Drain & Dry Stand – is designed to sit on the counter rather than hide under it, targeting Gen Z and millennial consumers who want their cleaning tools to reflect their personal style.

From 3M:

Your cleaning routine is about to get a serious glow-up – the first collection of its kind shaking up the category with bold, beautiful, and thoughtfully-designed tools that prove everyday essentials don't have to be boring.

OH no Type Co.’s Ohno Softie appears throughout the campaign in its Black weight, driving the display typography across packaging, in-store materials, and social content. The font's fully rounded terminals and soft negative spaces make it a natural fit for a product line built around the idea that cleaning can feel good – its warmth and bounce matching the collection's bold fuchsia, yellow-green, and teal color palette. The supporting sans is Poppins.

Product, packaging, and identity design by Katlyn Echeverri, Brand Design Principal at 3M.

MN Metis Sans is a custom handwritten-style sans serif created for Metis, a barley milk and fruit milk brand designed for Gen Alpha by M — N Associates.

The typeface was developed as part of a broader identity system centered around Vitrô, the brand’s playful mascot and character universe. Inspired by the spontaneity of doodles, internet stickers, and the imperfect visual language commonly found across Gen Alpha culture, the font embraces soft curves, chunky proportions, and an intentionally loose rhythm.

Rather than pursuing polished neutrality, MN Metis Sans was designed to feel alive, expressive, and slightly awkward in a deliberate way. The goal was to capture the confidence of imperfection without falling into overly childish or generic territory.

The typeface includes three weights and full Vietnamese diacritic support. Small details throughout the system reinforce the relationship between typography and character design, including a custom .notdef glyph rendered as Vitrô’s head in the typeface’s own proportions.

Across the Metis identity, the font appears throughout packaging, merchandise, digital touchpoints, stickers, and motion assets, functioning both as a readable system and as an extension of the brand’s playful personality.

Atelier Bulk is a French boutique printer specialising in high-quality embellishments – hotfoil, embossing, debossing, and bespoke print finishes for luxury brands. Originally known simply as Bulk, the company faced a perception gap: a name that suggested mass production for a business built on craft and precision.

Bordeaux-based studio Abmo led the rebrand, drawing inspiration from luxury fashion houses to position the printer as a leader in its category. The new designation incorporates the term “Atelier” to signal artisanal character and distance the brand from industrial associations, supported by the descriptive line State of the Art Printing. The visual system pairs an elegant minimalist monogram with a powerful, timeless wordmark – clean and disruptive within a traditionally conservative industry. A unified website replaced the previous fragmented digital presence, integrating all services under a single identity.

Heavenly by Nia is a skin care brand founded by Niamarie Vargas. From Jakarta-based design studo GL*TCH:

Heavenly by Nia was created to help teens understand their skin, embrace these changes with confidence, and celebrate diversity. This brand speaks their language—through bold, digital-native visuals that resonate with their daily lives. The theme of change and inclusivity is reflected in our dynamic typography, blending multiple typefaces to symbolize individuality.

One of the most prominent typefaces in this visual identity is OffBit, a typeface created by Power Type Foundry. OffBit brings a distinct character inspired by bitmap structures—mapping pixels into forms such as dots, rings, plus signs, stars, crosses, bars, lines, and tilts. Within the Heavenly by Nia brand, OffBit functions to amplify the message of courage and diversity through letterforms that feel unconventional, digitally energetic, and instantly recognizable to teens who grow up surrounded by screens. Its modular yet flexible character reflects how every individual is unique in their own way—perfectly aligning with the brand's spirit of celebrating change and difference.

The logo combines a modified TAN Daisy with Silenter and Ambroise. Fonts that are used for single glyphs in the product names seem to include Allura, Times New Roman Italic, and Brush Script. On the website, OffBit is supported by Instrument Sans.

Estúdio Gole designed the brand identity and packaging for Zentra, a US nano CBN sleep gummy brand, using a pastel purple palette and custom 3D gummy renders.

The system is grounded in a pastel purple palette, lifted by a deep night-blue that anchors the packaging and provides contrast across applications. Kalice (designed by Margot Lévêque available on Claude Type) handles the expressive, editorial display type while LL Circular (designed by Laurenz Brunner and available from Lineto) holds the functional copy. The logo appears to be based on Commercial Type’s Feature. The set of custom 3D gummy renders is designed to feel tactile and slightly surreal.⁠

Mirtilo Cheesecakeria is a São Paulo based dessert brand centered around artisanal cheesecakes, with a visual identity that leans into richness and indulgence. Developed by Victor Cruz, the project explores a graphic language inspired by the texture and visual appeal of cheesecake toppings.

The typographic system combines Pacaembu by Naipe Foundry and Gooper by Very Cool Studio, used consistently across packaging and brand applications. Gooper appears in titles and headlines, bringing a soft, rounded presence that reinforces the brand’s playful and creamy character.

For the logotype, Cruz began with a stencil of Gooper, which he filled with actual cheesecake topping to capture its natural flow and texture, as shown in this video posted to his social media. The resulting forms were then drawn and refined into the final mark, preserving a distinctly “gooey” quality.

Pacaembu is used in all caps for smaller copy throughout the identity. Cruz specifically sought out a Brazilian typeface for this role, and its structured yet warm tone provides contrast while remaining in dialogue with the more expressive headline style.

White Coffee is a Parisian specialty coffee brand founded by Etienne Ryckeboer and Jenny Martin, with shops across the 3rd, 4th, 9th, and 10th arrondissements of Paris. The brand positions itself at the intersection of architectural minimalism and street culture – raw, sharp and precise.

Bordeaux-based studio Abmo developed the identity and packaging in two phases. The wordmark is set in Cardinal Fruit by Production Type. Suisse Int’l Regular by Swiss Typefaces handles the deadpan neutrality of information, while Editorial New Ultra Light by Pangram Pangram brings tension to editorial accents.

Albra Sans by Rellence is used for Fossula, a skincare brand from Korea that develops new ingredients and formulas based on extensive skincare experience. It was launched in September 2020.

The brand identity design and font selection were executed by Seoul-based design studio HuskyFox. Plus X were in charge of developing the website.

The supporting typeface for small English text is Benton Sans. The Fossula website (no longer online) additionally used Noto Sans KR, see Source Han Sans.

Rebranding Ngọc Thẩm Jewelry (NTJ) was a comprehensive identity transformation for the three-generation jewelry house that’s rooted in the Mekong Delta since 1989. Developed by M — N Associates, the project repositions NTJ as a contemporary cultural luxury brand while preserving the emotional familiarity and trust deeply associated with the brand across Southern Vietnam.

At the center of the system is the custom NTJ type system, developed in collaboration with Trà-Giang Nguyễn (Gydient). The typography consists of two complementary families: NTJ Display and NTJ Sans.

NTJ Display carries the ceremonial and editorial voice of the brand, designed in refined Roman and Italic styles with elegant proportions, subtle contrast, and soft transitions that echo traditional craftsmanship through a contemporary lens.

NTJ Sans functions as the structural backbone of the identity system. Designed for omnichannel applications ranging from retail signage to digital platforms and product engraving, the typeface balances clarity, scalability, and luxury restraint while remaining fully optimized for Vietnamese typography.

Together, the two families form a 20-style type system built to support a complete cultural luxury ecosystem across packaging, retail environments, photography, digital experiences, and spatial branding.

Throughout the identity, typography was treated not simply as a communication tool, but as a way to express inherited value, precision, and continuity across generations.

See more images and a full list of credits in the case study.

Sold in the late 1970s and early 1980s [ads: 1978, 1981], the Hot Dog Radio box is branded with – what else? – Frankfurter. This ray-shaded version of the 1970 Letraset classic is similar to Rock Opera but with fewer stripes. Perhaps another transfer type or phototype outfit offered this style. I love everything about this box, including the “HOT & SPICY SOUND” and the crowd of sports fans holding their sausage soundmakers. These photos and object come from the collection at the California Historical Radio Society.

Pennsylvania-based Amico manufactured (in Hong Kong and Taiwan) many models of novelty transistor radios, including King Kong, The Pink Panther, and another food-based audio product: the Chocolate Cookie Radio.

Hurry Up Chicken Butt is a fast-paced, “hot-potato” style kids game. It was designed by game designer Elan Lee and produced by Exploding Kittens. Both the box and the promotional video use the Cafeteria typeface by Frere-Jones Type

Get ready to jump up and get silly with Hurry Up Chicken Butt! Shake the Chicken to reveal your wacky activity, then perform it quickly before passing the Chicken Shaker to the next player. But watch out—if the timer goes off while you’re holding the Chicken, you’re out! This game is fast-paced, unpredictable, and guaranteed to get everyone laughing.