The dynamic logo is custom drawn.

ESIETE created a brand for Hotel Wine Fest that merges elements of the wine world with typography, creating an icon that is easy to recognize and remember. The dynamic logo adapts to both online and offline formats and applications.

The first campaign reinterprets a distinctive element of the hotel, the hanger, transforming it into a piece with double meanings that invites, with elegance and a casual touch, to enjoy the event.

For the Hotel Wine Fest’s 3rd edition, we developed the campaign’s visual framework for a city-wide festival staged across Barcelona’s landmark hotels. The system builds on the award-winning format of earlier editions (ADG Laus Silver 2025, Logo) and updates it with a new “blend”: lighter, more playful messaging and a flexible layout logic designed to travel across formats—from posters and digital banners to on-site applications. Taking a more illustrative approach compared to previous years, which were driven by typography.

OFF GRID was founded with the mission to share the wines that excite: wines that come with a story and leave with a lasting impression.

What started as a series of tastings in the Fels Klasar design studio slowly became a hub for experienced winelovers and first-time natural wine drinkers alike to try, talk and buy wine in Stuttgart, Germany.

Illustrations by Good Food Crap Drawing.

Pixie: A Meeting of Earth, Time, and Visual Enchantment

Pixie is more than a wine. It is an ethereal expression of all that nature holds as invisible, enchanted, and deeply vital. Its name evokes a small magical creature—a forest fairy, associated with the spiritual world of nature, the ancestral wisdom of plants, and the creative force of the universe. It is also the affectionate name given to the muse who inspired this unique wine project, born under the principles of biodynamic agriculture at Quinta da Nossa Senhora da Conceição, in Évora, Alentejo.

This wine arises from an intimate connection with cosmic rhythms. The vineyard is cared for in harmony with lunar cycles, using practices that respect and enhance the vitality of the soil and the energy of ecosystems. Biodynamics is more than an agricultural method—it is a philosophy that sees the earth as a living organism, a system in constant dialogue with the sky and the stars.

It was this concept—the interplay between the visible and the invisible, the organic and the spiritual—that gave rise to the design of the label. The visual identity takes shape in a minimalist, delicately dreamlike composition. At its center rests a small fairy upon a surreal fruit: a symbol of fertility, of dream, and of raw matter transformed—a visual metaphor for biodynamics itself, where subtle, natural forces meet to generate something greater.

Every graphic element was designed to evoke the lightness of the ethereal world while also conveying the depth of natural cycles. The soft color palette, discreet typography, and symbolic illustration create an atmosphere of contemplation and mystery. This label does more than communicate the wine—it invites a sensory ritual: opening the bottle becomes a poetic gesture, a silent toast to the invisible energies dancing between the fertile earth and the starry sky.

Pixie is, in this way, an ode to enchantment. A project that unites wine and design in a coherent and emotional narrative—an invitation to intuition, delicacy, and imagination. Through this visual creation, the brand offers a pause, a celebration of that which can only be felt when we truly learn to see.

Label design for a limited edition of 50 units from the collaboration between two local Lanzarote entrepreneurs: hotel/lodge Garage La Santa (Adrian Rodd) and winery Bodega Cohombrillo.

The multi-varietal wine was made mainly from Malvasía Volcánica grapes grown on two-hundred year old vines from La Geria-Lanzarote. The labels were printed on Fedrigoni Nature Touch Class 193 g/m², and the text is set in La Santa’s brand typeface Aperçu Mono.

Submachine is a graphic design studio based in Budapest. For Ábrahám Borműhely wines, they designed distinctive labels, using Norbert Schmal Fett by Philipp Neumeyer as the primary visual motif and Triptych Grotesque by Ellmer Stefan (The Pyte Foundry) for normal-sized text.

Drawing inspiration from early metal type families, Norbert Schmal Fett features bold, condensed forms that combine craftsmanship and precision with analogue vitality. The result is a distinctive, nostalgic yet bold and fresh look. Triptych Grotesque has a very similar feel, with its strong contrast and print-like appearance, since it is inspired by Victorian text typography. Through analogue printing techniques, the large letterforms acquire a visible, tactile texture on the labels. This approach mirrors the handcrafted and authentic character of the wines.

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Letterhead by José de Ros

Josep de Ros was an industrialist from Figueres, Spain, born in the manor house of Les Olives into an aristocratic family. Around 1917, he started a business in the fertilizer sector and opened the Camponal liquor distillery a few years later. He had a warehouse on Vilallonga Avenue in Figueres, near the railway station, close to the border with France. He died in 1935.

In the shown letterheads by Josep/José de Ros from around 1930, the difference between typography and lettering is difficult to appreciate (thanks to the staff of Fonts In Use for the clarifications).

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Detail of the letterhead: “José de Ros / Abonos, cereales y despojos / Figueras”. All three styles are lettering.

The name is in an English script close to Stempel’s Künstler-Schreibschrift, known in Spanish as Inglesa Artista semi-negra, with an ornamented J and a characteristic loop around the stem of the R. Josep de Ros i Moner (father) and Josep de Ros i Reig (son) were descendents of Ros de Olano. In Stempel’s 1918 specimen book for the Spanish market, the name of Ros de Olano is set in Inglesa Artista (it’s misspelled as “Olona”; another page in the same book has the correct spelling).

“Figueras” is drawn in a serif with inline. The structure is very close to the Bravour typeface designed by Martin Jacoby-Boy for Stempel in 1912), but with sharper serifs, and a wider letter U with a small spur. I have made a comparison with the solid Bravour negra and the decorated Bravour adornado (Verzierte Bravour).

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Comparison of the lettered inline caps to the Bravour typeface

From the obituary for the father in La Veu de l’Empordá, 27 December 1919 (translated):

[…] Josep de Ros was from a noble family, from the stately house of Ros located in the town of Les Olives, although the one they owned in this city could also be considered a manor. Among the ancestors of the house are the famous General Ros de Olano, who was a minister of the Crown and commanded an army corps in the African War during the years 1859 and 1860. The last Prior of the Monastery of Santa Maria de Ripoll also came from the Ros family.

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Detail of the letterhead featuring Merveille, Kleukens, and Venus, all by Bauer/Neufville

The Camponal letterhead is typographic: it’s set in the typefaces Merveille, Kleukens-Kursiv and Venus-Grotesk, all by the Bauer type foundry (Merveille originated in the United States under the name Laclede), and distributed in Spain by the Neufville branch in Barcelona. Bauer’s typefaces were the most commonly used ones in Catalonia before the Franco dictatorship (1939). This letterhead helped to locate the forgotten Camponal distillery.

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Label featuring Venus schmal dreiviertelfett, Fette Grotesk-Kursiv, and Clio a.k.a. Kleopatra

The Camponal identity uses other typefaces by Bauer and Neufville, like Antigua Mercedes (the Spanish name of Tages-Antiqua), Bernhard-Antiqua, Fette Grotesk-Kursiv, Carnaby (Marocco), Grotesca Estrecha (Neue enge Zeitungs-Grotesk), Florentiner Mediaeval, and Majestic.

A few typefaces could have been sourced from different type foundries based in Madrid and Valencia, like Clio (Ludwig Wagner, 1903) distributed by Neufville/Bauer as Kleopatra and by Gans as Aurora; or Aurora Grotesk (Wagner & Schmidt, 1908) sold by Gans as Grotesca Ideal and by Fundición Tipográfica Nacional as Grotesca Estrecha.

Typography and lettering also coexist in other elements, such as in the Camponal liquour labels and packaging.

Learn more about Josep de Ros and the Camponal distillery.

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Camponal label featuring lettering (white letters), Kleukens-Antiqua, and Majestic

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Label featuring Kleukens-Antiqua, Venus, and an unidentified typeface (similar to Stempel’s Holzhausen-Antiqua, but with a different M)

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Bottle label ft. lettering, an unidentified grotesk for “Licor de Hierbas ‘Camponal’” (similar to Grotesca Favorita by Gans), and Bauer’s Kleopatra

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Packaging ft. lettering (the reversed letters at the top), Marocco a.k.a. Carnaby for “Cura estómago e intestinos”, Majestic for “G. Garriga”, and other unidentified typefaces

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Camponal ad ft. Bernhard-Antiqua, Universitäts-Antiqua a.k.a Druckhaus-Antiqua, Neue enge Zeitungs-Grotesk, Tages-Antiqua a.k.a. Antigua Mercedes, and others

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Point-of-sale display ft. Columbus, a version of Edel-Grotesk (probably Groteska Moderna by Fundición Tipográfica Nacional), and Schmale halbfette Etienne

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Camponal ad ft. Bernhard-Antiqua, Tages-Antiqua a.k.a. Antigua Mercedes, Universitäts-Antiqua, Florentiner Mediaeval, Kleukens-Antiqua, and an unidentified grotesk

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Address label ft. Etienne Sombreada (Gans’s version of Umstochene Etienne by Schelter & Giesecke), Venus, and Antigua Veneciana (Gans’s version of ATF’s Cheltenham)

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NHL power forward Evander Kane launched his wine brand, Dovetail, with a design reflecting his love of wine and craftsmanship rather than his on-ice feats. Inspired by the Japanese-style dovetail joint, the label evokes precision and harmony. A full-wrap design with die-cut accents showcases innovation in the label while subtly referencing the wine’s name. Across the website, social posts, and launch events, the visual identity remained integrated and balanced.

Design by Studio Pumpo, with creative direction by Monique Gamache.

In Guadalajara, brand designer Moisés Visuals created a bright, modern identity for Cleo y Teo, a local restaurant celebrating the flavors of the Mediterranean. The illustrations are unfussy and playful, setting an approachable tone that pairs naturally with the typography: Gopher, a reverse-contrast modern typeface from Adam Ladd Design, appears in the logotype and large headings, while Gotham from Hoefler & Co. brings structure and clarity to supporting text.

The result feels open and joyful – minimal without being sterile. Each element works in harmony to express the restaurant’s welcoming spirit and contemporary take on, as they say, “comida predilecta” (favorite food).

See the full project on Behance.

Para from Ultra Kuhl is used in the branding of Urania Berlin, a cultural and scientific institution in the heart of the city. The identity, designed by Stan Hema, highlights clarity and openness while giving the venue a distinct visual voice. Para’s strong, geometric forms are applied across signage, print materials, and digital channels, ensuring high legibility and a recognizable presence in both cultural and educational contexts. The accompanying sans is Colophon’s Basis Grotesque.

Various typographic proposals have been made in order to find the best solution to convey the Tour d’Argent heritage. The result is inspired by the archives of the famous Parisian restaurant, taking its roots from the 1950s typographic style with a contemporary twist. The Tour d’Argent logotype made by ZeCraft (our sister company) paid homage to Vendôme, the typeface used by the restaurant for years. As the sign on the building – which is still in place – proved it too, sharp serifs have been in vogue during the fifties in France. That’s why Jean François Porchez added sharp details to the new logotype such the angle on the R and specific serifs on certains positions of the letters that build the logotype.

Creative director Aaron Levin recommended the use of two typefaces in association: Le Monde Livre Classic by Typofonderie and Darby Sans (not show on products presented, but you can see it on the website) by Commercial Type. Le Monde Livre Classic works beautifully on text and titling settings. This typeface is used for packaging, menus, and other items at the Tour d’Argent. Designed as an extension of Le Monde Livre, this family distinguishes itself by its historical forms and by its numerous stylistic effects. Le Monde Livre Classic’s italics follow the models of the Renaissance and feature swashes for capitals and lowercase letters.

Wine label, cap and boxes for Lighthand, a winegrower from Euroa, Victoria. The name is set in lowercase letters from Romie Italic, with a sweeping swash on the final d. Complimentary text is set in all-caps GT Alpina (with Typewriter).

For the wine series “Handled with Care” by Felix and Alex, Studio Freude developed a visual identity centered around sustainability and individuality. Instead of using traditional wine labels, each bottle is wrapped with a strip of printed tape—making every unit unique and emphasizing the handcrafted nature of the product.

The typographic centerpiece of this design is Brubeck, a bold, condensed sans-serif. Set in tight, headline-sized arrangements, Brubeck adds powerful presence without overflow. Its compact proportions and strong graphic presence are ideal for the narrow, linear format of the tape. Brubeck’s retro-inspired forms evoke a tactile, analog feel that aligns with the project’s emphasis on care, craft, and minimal intervention.

Altina Drinks is an award-winning Australian company that makes non-alcoholic wines. In 2022 they hired the Boxer & Co. agency to design their new vibrant and colorful identity. The humanist typeface Zoran is used as a primary typographic choice – for headlines and body text, on printed packaging and website. Its warm, elegant voice that celebrates life fits perfectly with a sophisticated luxury niche that is aimed with this new branding.

Words by the designers of Atipus:

Le Petit Ballon offers a way to discover and buy wine through monthly subscriptions and personalized recommendations according to subscribers' preferences.

When it comes to summer in France, Rosé reigns supreme, eagerly awaited by enthusiasts. That's why our aim for the 2024 edition of Batti Batti, as we have approached it in previous ones, was to craft the identity of a great wine, to impress and entice a new audience this season.

For this 4th edition, we kept the signature elements that make Batti Batti unmistakable: the bold circle, the playful name placement, and a clean secondary typography. These details tie the identity together, giving the label its fresh, modern feel.

What’s new this year is how the design interacts with light. The label reacts to sunlight, almost disappearing when hit by the brightest rays. This effect isn’t just about aesthetics; it’s a playful nod to summer moments where the focus shifts from what’s in your hand to what’s happening around you, and invites you to soak in the surroundings.

We paired this concept with a typeface, Bourrasque by Bureau Brut, that adds an easy-going touch, giving the whole design an energy that feels perfectly in tune with the Mediterranean spirit.

The secondary fonts are Founders Grotesk and an unidentified serif.

See also the 2022 edition.

Sant’Or is the first certified biodynamic winery in Greece. As this is an important advantage of the winery, Kommigraphics were assigned the redesign of the winery’s labels, with the aim of enhancing the biodynamic and vegan nature of the different wines it produces.

The design of the labels refers to the fauna of the area Santameri in Achaea, which is where the Sant’Or winery is located. Through an abstract and at the same time archaic-ish design of the illustrated animals and insects, they aimed at the emotional and direct connection of the consumer with the product and consequently with the winery.

The logotype is set in Cako. The accompanying sans appears to be GT America Expanded.

Gordita is used for the design studio’s presentation, but is not part of the winery’s identity.

Maison Ladore is a refined collection of contemporary table wines, offering a modern selection of wines sourced from around the world. Ladore was developed in partnership between Arterra Canada and culinary entrepreneur Cassandra Loignon.

Memory Studio was responsible for the brand development including the name, concept, visual identity, and product line, with product visualization handled by Bolide Studio. A key design element is the use of Flecha Brônzea, featured on the woodwork. Flecha S is used for smaller type on the bottle labels.

Mathilde Kœnig is the creative mind behind the elegant and minimalist visual identity for Hugo Saulnier-Blache’s organic wine range, produced in Montlaur, France.

Drawing inspiration from the natural quality of the wines, Mathilde designed sleek and refined labels that emphasize simplicity and sophistication.

She carefully selected the Flexible typeface by Art Grootfontein to add a modern yet timeless touch to the branding, ensuring the wines stand out on the shelf while reflecting their artisanal roots. The secondary typeface is BR Hendrix by Brink.

Schloss Freudenstein hotel emphasises its authentic charm and the nostalgia of a place steeped in history with lively and organic Urby.

Although at first glance Urby is more associated with technical functionality, the typeface shows its elegant side in the design of the historic accommodation in South Tyrol.

Whether it is the elegant interface design of the website or the glamorous print with gold embossing — the appearance of the castle hotel designed by Brand Gorillas is expressive and stylish.

This is the story of a label that becomes six. The same label idea that responds to six variations – and which allows for many more, always different and always recognizable.

But we don't end there, the Inspira design goes further: this is the story of a design that emphasizes the idea that wine is culture: Inspira plays with the metaphor that wine is poetry. For this reason, it dresses its wines with verses by six key authors of Catalan literature who have expressly lent their poems to dress these Certificate of Origin Terra Alta wines.

Each bottle of the collection provides information about its author, as well as a bibliographic recommendation so that the reader can stretch the thread and extend the link with the culture beyond the wine itself.

With the creation of different label models for the same wine, we motivate the collector aspect of the consumer. With the elegance that comes from subtlety, by making different models available we propose to pair a wine with different texts and live the experience of how wine and writing take on new nuances and sensations, as they accompany each other.

Finally, with this versatile label, we commend the passion for poetry through wine. For this reason, each text is accompanied by a bibliographical recommendation and a pinch about its author.

The colors of a clay soil and the characteristic stone of the Certificate of Origin Costers del Segre territory inspire the labels of the new Grealó Negre and Blanc (Red and White) wines from the Vinya L'Hereu de Seró winery.

The generously applied typography means that both wines complement each other, in accordance with the fact that they both make up a new line of the winery.