Fello is a Swedish mobile phone provider that focuses on simplicity, honesty, and customer care. When Bold was commissioned with the rebranding, the focus was on refreshing the brand identity. The goal was to increase recognition and make Fello’s positive qualities more tangible.

The result is a flexible but consistent design system that relies entirely on Grato Classic for its typography. Bold’s creative director explains the choice as follows:

Grato Classic had the perfect balance of character and simplicity that we were looking to strike with Fello’s rebrand. It’s distinct enough to work nicely as a headline — but hardworking enough to be leveraged across type styles. We saw its playful, conversational, tonality rhyming particularly well with the tone of voice we were looking to land with the Fello mascot, so to us it felt like a perfect fit for the new brand.

Visual identity of the exhibition Process Work at the RISD Museum which uses Sprig with ATF Franklin Gothic as a support for body copy. The exhibition explores the development of photographic printmaking processes and traces its historical legacy into the present day. Starting around 1825, a widespread interest in reproducing visual information faster and more cheaply fueled an explosion of experimentation in photographic printmaking techniques, with wide-ranging effects across visual culture and the fine arts. This exhibition highlights those early experiments and innovations, as well as the culture of mass-market illustration and printed media into which they first unfolded.

Curated by Sarah Mirseyedi, Andrew W. Mellon Fellow for Prints, Drawings, and Photographs.

Bescheriel is the cousin* of the infamous Bescherelle. Like Bescherelle, it is both a guide and a book.

In this zine, you will find a non-exhaustive arsenal of weapons, all aimed at attacking the current grammatical order. The goal is to create a new non-order—fluid, inclusive, and neutral. Every weapon is valid, and every battle is a victory, even the defeats. But beware of the Immortals, the great conservators of what we will call the ‘old world.’ Their minions won’t hesitate to use trickery to better erase you and ban these weapons.

A pdf is available here. See also Issuu.

Designed by Studio Round in 2022, the new look for Australia’s oldest professional theatre company includes a dynamic website, posters, brochures, tickets, and social media presence.

The humanist Grato Classic, with its geometric core, not only takes the stage as the logo typeface for the Melbourne Theatre Company, but also serves as headline font together with GT America. The neo-grotesque Acumin performs in small sizes of the body text.

On June 14th we embarked upon a kayaking adventure that would take us across the entire Deh Cho river (also known as the Mackenzie River) in the Canadian Northwest Territories. The river begins on the Western shore of Tucho (also known as the Great Slave Lake) and flows all the way up to the Beaufort Sea (which is a part of the Arctic Ocean).

Our journey began on the beaches by the small town Xátł’odehchee (also known as Hay River) and for 54 days we would make our way towards our goal, a small Inuvialuit hamlet known as Tuktoyaktuk. During our voyage we visited small communities along the way, such as Zhahti Kue, Tthek'éhdélį, Łı́ı́dlı̨ı̨ Kų́ę́, Pehdzeh Ki, Tulita, Tłegǫ́hłı̨, Rádeyı̨lı̨kóé, Tsiigehtchic, Inuvik and Tuktoyaktuk.

The area we crossed during those 54 days was vast – the Northwest Territories are approximately four times the size of our home country Finland, but hosts a population of merely 44.000. (It is estimated that bears outnumber humans in the NWT.) The people who live on the land we travelled through are to the most part First Nations: Dene, Gwich’in and Inuvialuit.

Wherever we landed, we were met with warmth and kindness, and there was not a moment we didn’t feel welcome on the land. We learned a lot from the people we met and the discussions we had helped us gain a better understanding of what life was like in these remote areas.

Along us we naturally also brought our adventure flag – the standard underneath which we felt our journey to be blessed.

The design of the flag, as the journey itself, was a collaborative effort. Alone we are nothing. Christoffer designed the flag, Viivi did the caribou illustration, and Haije served as our seamstress.

On the obverse side the Dene name for the river (Deh Cho) is spelled out along with the year of our expedition. On the reverse side the abbreviated version of Tuktoyaktuk is written on top of a caribou. (The name Tuktoyaktuk can be translated into ”looks like a caribou”.)

The typefaces on the flag are three digital revivals of type from the late 1800s/early 1900s. Mark Simonson’s Etna (a revival of Aetna, William Hamilton Page, 1871) is used for the words Deh Cho, with the year being ATF Wedding Gothic (originally released by ATF as Wedding Gothic in 1901), created by the design team at ATF, and the name Tuk is set in Cottonwood – based on Gothic Tuscan Italian, Wells & Webb 1854. Adobe’s version was designed by Barbara Lind, Joy Redick and Kim Buker Chansler.

The resulting flag brought a smile to the faces of everyone who saw it, and the people we encountered were clearly impressed by our humble effort. The first photo with our flag was taken just when we were about to cast away, the final one when we had reached the end of our journey. The pictures that are in-between these two shows the land we paddled through but they cannot begin to tell all the stories, encounters and events we experienced.

Whatever the photographs lack in artistic quality they more than make up for as memories of a summer well spent.

Motion campaign developed for National Arts Centre English Theatre’s Season 2024–2025. While using their already existing visuals, I was asked to develop a visual language encompassing typography, layout design and animation style that would span across six animated vignettes. The horizontal vignettes would be featured in the promotional campaign video, while the vertical vignettes would be shown on social media. I wanted the campaign to be bold, with each production being presented in a memorable and impactful way; the layout of each animated vignette resembling a movie poster.

Creative direction by no hands

Cover with slanted Croissant for the title

From the Ventoline website (translated from the French):

Ventoline is a fanzine born of both a daily enthusiasm for everything to do with music, and a genuine weariness at the near-absence of women's words on this vast subject. Commenting, criticizing, prescribing, sharing stories, tastes, dislikes – in short, musical culture… […]

Ventoline is an entirely self-produced and self-distributed editorial project that receives no public or private financial support, and has been running for three years thanks to the sale of its issues and a few hectoliters of elbow grease. Everyone contributes on a voluntary basis, according to their desires, means and time. The frequency of each issue is therefore erratic, but this absence of imperatives also proves to be a relief: Ventoline comes out when you can, when you want.

In issue no. 6, the contributors talk “about record collecting. Algerians, unloved instruments, Mexican narco-culture, euphoria and mourning of concerts, a heterotopic club of dykes, Moldavian tradition, and even motherhood – who knows!”

The text typeface in this feature is GR10. The blackletter used for the headline is Neue Theuerdank Fraktur.

Contents (“sommaire”) ft. Spider Panic and Optima with faux small caps and faux italics. The numbers are from GST Aero; the text at the top is set in OCR-X.

Insitu in two columns for text, with Tekton for the headline and emphasis

Body copy is set in Glasgow. The quote uses Modern Blackletter and the bold extended grot is OPS Facitype.

More text in GR10, paired with drop caps from Neue Theuerdank Fraktur and some Ober-Türkheim.

Verona on an angled baseline, with body text in Figure Monospace. The sans used for the lines on a steep angle appears to be ES Allianz.

The poster (50×34 cm) included in Ventoline no. 6 is a transcript of a TV interview with Edith Massey, a.k.a. the Egg Lady, actress and friend of John Waters, and performer of two punk rock hits including “Punks, Get Off the Grass”. The display typeface is Lyric Stencil NF, slanted, paired with more Figure Monospace.

On the left: Produkt and Glasgow Italic with headlines in obliqued Optima. On the right: WS Naive with triple contour and replies in Routed Gothic.

More of the interview in Produkt and Routed Gothic

Frankfurter Medium (left) and ITC Souvenir Italic (right), with big type in IM Fell DW Pica Italic and Lyric Stencil NF

The box on the bottom left of the right page is set in EB Garamond. The colophon in OCR-X additionally mentions Eccles and Hershey Times, but these fonts don’t seem to be shown in the images included here. Jakob, Aston Script and Flash represent a mirrored reproduction of an exhibition poster, and Harrington (“Club Ventoline”) appears to belong to a previous design, too – these aren’t listed under the fonts used for the design of this zine.

LIFEBLNC’s purpose is to mitigate water scarcity by providing an alternative solution to water-stressed nations. In order to highlight certain statements, they use Grato Grotesk all over their website. TT Hoves serves as body text.

LIFEBLNC is the first large-scale global exporter of high-quality water in bulk shipments. Water scarcity is an intergovernmental problem, which is defined by the quantitative lack of fresh water resources. The UN General Assembly established the Sustainable Development Goal 6 to achieve universal and equitable access to safe and affordable drinking water for all by 2030.

Playful typography and an assortment of typefaces are combined in Mäluraamat (“Memory Book”), a compilation and a behind-the-curtains look into Paide Teater’s 2021/2022 season. Graphic design by Ran-Re Reimann. Words from the theater (translated from the Estonian):

The memory book is an atlas, the pages of which map the paths already taken, those that have been discovered and noted down during the creation of the productions of the past season, but also make crossings into the unknown, undiscovered depths to investigate which dramaturgical structures and techniques could become travel documents that would allow us readers, writers to cross ever-changing borders in the landscapes of remembering and forgetting.

Paide Teater’s 2021/2022 season book brings together the productions “Paide Sümfoonia” (Paide Symphony), “Lahinguväli” (Battlefield), “Teine asi” (The Second Thing), “Udu” (The Fog), “Esimene tants. Viimast korda.” (The First Dance. For the Last Time.) and “Ja kes mind siis lõpuks mäletab?” (And who will remember me in the end?) and their metatextual structures, thematic stratifications and realizations clarified in the processes. The memory book brings together the results of one year's creative work of a theatre and allows the elements discovered during different productions to react with each other.

IM Fell English on the left, Euripides with Tiltortion on the right

Detail with text set in Ladna, annotation in Tiltortion, and a title in IM Fell English Italic

The monolinear numerals are from Scraps, a typeface co-designed by Ran-Re Reimann.

Grato Grotesk underlines the technical idea of the start-up ecoro. ​​With the Digital Road, ecoro has developed a solution that will take the growing freight traffic off the road into the future. Sustainable, cost-efficient and clever.

The corporate design by Appel Nowitzki succeeds in conveying the technical idea in a tangible way. The vision of the founding duo is given a lot of space on the website – via large images, white areas and compact information. Bright accentuating yellow and the activating claim “tomorrow now” help to bring the complex topic down to earth. Grato Grotesk is used here as the font for headlines and body text and complements the appearance on a typographic level.

Designed by Where’s Gut, Gratimo Grotesk works from headline to text in Head On: Mental Well-being, a project that is talking about mental health issues.

In light of increasing mental health cases due to the Covid-19 pandemic, members of the studio conducted a short survey to better understand the obstacles of being in a conversation about mental health; be it as “The Sharer” or “The Listener”.

They summarised the results from that survey together with expert counsel from a practising psychiatrist in the poster/zine titled Head On: Mental Well-being. It’s a project that the designers learnt a great deal from and hope everyone will find it as enlightening and encouraging as they did. On the back is an accompanying manifesto on being better communicators and listeners when in a conversation about mental health.

Gratimo Grotesk works here both as display and body font, showing the variety in which it can be used for.

Taylor Swift dropped her surprised album Folklore (all in lowercase) in the mid of pandemic in the year of 2020, shifting her musical sounds into folk alternative, and present stories from each sides of fiction character from universe that she build in an album.

The vinyl and compact disc releases were published with eight different covers (and back covers). IM Fell DW Pica is used throughout – a grungy revival of a typeface cut by Peter de Walpergen and acquired by British bishop John Fell in the seventeenth century.

Design by Swift’s 13 Management Team, with art direction by Taylor Swift.

[More info on Discogs]

Census is about data, an operational analytics platform that syncs warehouse data with all daily workflow apps. Designer Matt Yow joined the startup to take care of the rebranding:

Our brand typography is set exclusively in Gratimo Classic, a font family designed by TypeMates. Gratimo Classic is professionally geometric (near perfectly circular o) and personally humanist in its construction and feel (which means it loosely follows calligraphic hand lettering). Letterforms are drawn from simple, elemental standards while having a unique and identifiable visual tone.

The weights are clean and easy to maneuver—easily combining for the headline, subhead, and small text settings. This font was a great match for the simplicity and cleanliness we set out to design with our rebooted logo.

Furthermore, Matt wanted to emphrase the human aspect and choose the alternate double-storey lowercase g as a default in this first, pre-release usage:

Working with TypeMates, we customized the lowercase “g” to change the entire texture of the font. This small tweak more perfectly aligned the font with our DNA as a data-driven, trustworthy brand while still coming across bold and expressive. The sans serif is a classic, familiar favorite, but still unique and identifiable.

Further reading: on Fontstand News, Matthijs Sluiter takes a closer look on “Three business outfits”.

Default g compared to customized double-storey variant, changing the entire texture of the typeface.

Old logo with Lato and new one set in Gratimo Classic.

Not A Trampoline is Rob Cantor's debut solo album. It was released on April 14, 2014 through Bandcamp.

The album, while never released physically, also includes a 22-page PDF lyrics booklet using the same typeface. Rob Cantor’s previous musical projects included the indie rock band Tally Hall, which often used vintage fonts and an engraved illustration style in its promotional materials.

The art direction for this album was done by Bora Karaca & Rob Cantor, while the layout was by Nick DuPlessis.

An editorial project by Tânia Raposo & Ellmer Stefan.
Opuscolo is a gathering of texts on all matters, with a new typographic voice and ready to print for a reading session away from the screen. The ready-to-print pdfs are in A4 format, to be folded into A5. You can find a ready-to-print pdf and a screen-reading pdf, together with all the references of the publication in its are.na page.

The second issue is the essay Of Books by the French Renaissance philosopher Michel de Montaigne.

Injurial by Sandrine Nugue is used for the title and quotes in the text. Faune by Alice Savoie is used for the quotes authors and its translations, while the main text is set in ATF Garamond by Mark van Bronkhorst, Igino Marini and Ben Kiel, with Dapifer by Joshua Darden for italics. For the drop caps, Ellmer Stefan digitized an alphabet made out of tools. It can be found in the book Champ fleury by Geoffroy Tory, named Lettres Fantastiques. And the text ending symbol was produced with the Combination Book Border (Series 87) originally designed by Richard Smith of MacKellar, Smiths & Jordan and made digitally available by Ellmer Stefan and Johannes Lang through their project non-alphabets.

The Shades of Magic is a trilogy by New York Times bestselling author V.E. Schwab, published by Tor Books.

The first book, A Darker Shade of Magic, hit shelves in February 2015, followed by A Gathering of Shadows in 2016 and A Conjuring of Light in 2017. In the same year it was announced that Sony won a bidding war over the movie rights to A Darker Shade of Magic.

For the book covers, designer and illustrator Will Staehle chose the font Polyspring by PintassilgoPrints. He comments:

Once we locked on this design we went back and forth on a few possible type solutions, but ended up with this narrow serif. Lettering that feels a bit turn-of-the-century, while also creating a nice contrast from the very strong graphic circles of the cover.

Read more about the cover design process of the book A Darker Shade of Magic and see other cover approaches commented by Tor Books Art Director Irene Gallo on Tor’s website:

It is both playful and smart, sugesting that there is a really fun and clever adventure to be had.

Rezas do Diabo (“Devil’s Prayers”) is a poetry book by Brazilian writer Wencesláu de Queiroz (1863–1921), posthumously published in 1939. Wenceslau’s poems deal with themes such as occultism, satanism, and blasphemy.

This work is the result of César Ganimi’s final project for the Specialization Course in Graphic Design at Campinas State University (Unicamp).

Second Guessing’s new EP Tijd Verdringt – a single sided 12″ record with screen print on the B-side – covers themes such as loss of a loved one, mental instabillity and recovery, written and recorded through a very witheld and internal lens. Metaphorically rich, Tijd Verdringt references themes such as Dutch architecture, the functions of the human body and more, to articulate the negatives and positives of personal experiences/struggles that are otherwise difficult to express.

I chose both typefaces to show contrast between modern and old, big and small, and rough and straight – using IM Fell DW Pica for the band name and DIN 1451 Medium and Light for the other text. Keeping this type of contrast works well with the rough and angular collage work and the contrasting theme's of the EP.

The new website of Corsaires Studio brings together IBM Plex Sans (used for text), the monospaced IBM Plex Mono (for menus, labels, and other items), and IM Fell English (for headlines). The 17th century type with the rough contours appears in regular and italic styles. Supported by vintage sea maps and old engravings showing ships, a compass, an anchor etc., it adds the right typographic voice for the theme revolving around nautics and piracy.

Corsaires Studio is a French creative studio specialized in the design and production of digital solutions. The studio is the result of a professional meeting between four sailors. After facing the darkest seas, and being convinced of the added value of their multidisciplinary skills, they decided to create their own studio. — Corsaires Studio

Artwork and visual identity designed for the latest exhibition of Studio Marant. Studio Marant is a Parisian consulting agency for creative and artistic projects, collaborations in art, fashion and design and a store specialized in limited editions.

Designed by Horror Vacui Studio [edit: In 2024, the studio was renamed to Lareu & Gonzalez.]