Aloom is a gastronomic lab based in Brasilia that aims to create the wow effect in every bite. As it offers a premium experience, the visual attributes were developed to express part of its impact.

To build a unique identity for the brand, we created a palette of vibrant colors and geometric forms that recall the shapes and textures of Aloom's desserts.

The visual identity was inspired by mid-century typography, with a mix of textures and colors, where form is as important as function. The use of fonts with different weights and styles is a modern take on retro that communicates the tradition of recipes in contrast to the innovative proposal offered by the brand.

To create a contrast of heights, Tipofili’s Montecatini is combined with Font Bureau’s Benton Sans. The former is a clean and elegant font that is versatile for subheadings and long texts, while the latter brings strength and prominence to titles and brand phrases.

On May 18th 2023, the Los Angeles Times released a checklist of the 101 Best California Experiences. This was also published as a full feature article on their website, Instagram, and in the printed issue from May 21st, 2023. The 26 page guide was also made available for purchase at the LA Times store, which has since sold out of all copies. In their own words:

The 101 Best California Experiences is a guide to the most awe-inspiring, fascinating and delightful things to do across the Golden State — right now in 2023. Stargaze in Borrego Springs. See the shoreline sparkle at Glass Beach. Eat with abandon at Grand Central Market. Written by L.A. Times travel writer Christopher Reynolds, “Cal 101” is packed with history, insider tips, traveler updates and a checklist to mark off your adventures.

The article headline “CAL 101” features Obviously by OH no Type Co (with a custom 1 in the CAL 101 animation). Obviously’s figures are featured throughout, along with some animated text weaving in and out of the scenic imagery, which can be viewed on the website. Body text is rendered in Benton Sans, with FB Kis Display for headlines. Social media graphics also feature Benton Modern Display.

Creative director: Amy King
Design director: Taylor Le
Senior deputy design director: Faith Stafford
Art direction, digital production and motion graphics: Anne Latini
Art direction and print design: Kay Scanlon
Additional print design: Jan Molen
Digital production: Denise Florez, David Lewis
Full credits on the Los Angeles Times website

Show post/poster for The Supplements at Miami bar/venue Thank You Miami. Two typefaces often miscredited to David Carson are used, Big Ed and Serifedsans. Edwin Utermohlen designed Big Ed in 1995. Address details come courtesy of Benton Sans Compressed as it’s the more legible choice to Serifedsans at such a low size.

Some 1990s/Wolf of Wall Street influence, for sure. I actually used some AI to sketch out an image based on keywords, then remade/refined with Photoshop.

A Palette for the People is a monograph of the work of Shirley Woodson, a Detroit painter who was the Kresge Foundation Eminent Artist in 2021. Part of that recognition and award is a monograph of the artist's work.

I designed the cover to precisely the size of the painting, without realizing I was doing it. I discovered this at the release party for the book, which was also the exhibition opening for the artist's new work.

VTC Carrie is used for the titles, with VTC Marsha on the spine (both from Vocal Type). Subheads and text are set in Zenon from CAST and good old Benton Sans (Font Bureau) was chosen for captions and small text.

The book measures 9×12″, 80 pages, printed full color on matte white, perfect bound with soft touch cover.

In addition to a biography of the artist, the book featured short essays in response to a certain Woodson painting, written by other Detroit artists and friends in the community.

On press with the book. This photo shows the proofing table and press controls. We would proof the color with the pressman and request any adjustments to the sheet, like more magenta or less overall density in a certain section.

Cover image: Radar station, 2018. Artist: Stelios Kallinikou.

Drone Vision: Warfare, Surveillance, Protest documents and reflects on the curatorial research process behind three coherent exhibition staged in Gothenburg, Lahore and Nicosia. The project explores the affective meanings of drone technologies on photography and human rights and is a collaborative initiative between HDK-Valand, University of Gothenburg, the Hasselblad Foundation, Nicosia Municipal Arts Centre (NiMac) and the National College of Arts in Lahore.

Bringing the cities Gothenburg, Nicosia and Lahore together through shared photo-based research is an endeavor to make apparent the differential meanings of visibility, of vulnerability and resistance. The triptych of exhibitions is an effort to produce a “geography of thinking” about drones shaped in part by the political and ethical implications of the asymmetry of seeing and not being seen, the proximity and physical distance to drone warfare and the political contexts of Sweden, Pakistan and Cyprus.

The subtitle is screen printed around the edges of the book, connecting to the idea of the triptych and implications of visibility and orientation adressed in the texts.

Benton Sans is the main typeface for all typography except the running text, which is set in Lyon. On the cover, Benton Sans is paired with other typefaces for the translations of “Warfare, Surveillance, Protest”. Swedish is set in Benton Sans; Graphik Arabic is used for Urdu, and Greek is set in a combination of Graphik and Benton Sans.

Editors: Sarah Tuck, Louise Wolthers
Copy editors: David Price, Sarah Tuck
Texts by: Wajahat Saeed, Ran Slavin, Daniel Jewesbury, Stelios Kallinikou, Sajid Khan, Ignacio Acosta, Salman Khan, Efi Savvides, Mhairi Sutherland, Vicky Pericleous, Kathrin Maurer, Yiannis Toumazis, Ellada Evangelou, Imran Qureshi, Sehr Jalil, Markus Miessen
2022, English, softcover
352 pages (on two different paper stocks), 15×20 cm
ISBN: 9789198606560

Design by Karl Stefan Andersson
Published by Art and Theory Publishing

ShopRite’s Fresh to Table concept stores are store-within-a-store solutions where customers can find fresh and balanced meal solutions in a variety of flexible grab-and-go formats or easy-to-prepare lunches.

Brand strategy agency Lippincott not only came up with the concept and brand positioning but also designed the visual identity going along with the stores. They used SangBleu OG Sans as the main typeface, signaling shop sections and addressing direct quotes to the customer. It is combined either with Interstate or Benton Sans depending on the situation. Script typeface Beyond Infinity, echoing the style of Shoprite’s logo, is sometimes used to add a bit of manual flavour to the composition.

SangBleu OG Sans is part of the SangBleu OG typeface, available from Swiss Typefaces.

Event promos for Connecting Things, a monthly, free event for creatives, based in Orange County. This event featured a talk by Andrew Hochradel, plus free drinks, food, and good people. Header font is Lone Pine Regular by Hoodzpah and the supporting type is set in various weights and widths of Benton Sans by Font Bureau.

Fisios is a physiotherapy and osteopathy centre based in Spain with more than 20 years of experience. They approached for a rebranding that would match with their philosophy: “making all patients feel like home.”

I did the rebranding using Benton Sans as the main typeface, due to its neat appearance, elegance and visual character that follows the grotesque model.

The brand represents the cosiness, naturality and authenticity that we all find at home. The rebrand includes the design of the logo, stationery, packaging, outfit, signage and website design.

Nieuk (Polish for “ignorant”) by independent type foundry Laïc in use for the launch of contemporary ceramic studio Hyper-Mediocre’s new website and online store.

Nieuk is an experimental, modular typeface in lowercase, with a baseline that shifts in unpredictable ways. This suits the similarly unpredictable, playful, character of handbuilt stoneware. To emphasise the soft, imperfection of clay the corners have been rounded subtly – which is then echoed in the Benton Sans path typeset sub-headings.

In collaboration with founder and skincare expert JP Mastey, we created Corpus Naturals, a new D2C brand that creates completely naturally derived, vegan deodorants. Corpus is made for people who don’t want to sacrifice quality for the sake of going natural.

There are three core colors to the Corpus visual identity. We never use the common modern hues of black, grey, or white. Instead, we use a refreshing spectrum of green; dark green, neutral green, and light green. The heart of our palette is green, thoughtfully represented throughout the packaging design.

Benton Sans is used throughout.

Promo graphics for Spring Break, a sketch comedy production presented by Just Jackie, to be shown at Coalition Theater in April 2020 (but cancelled due to Covid-19).

Designer Eric Gordon (The Hot Brain) used Crayonette DJR in all caps, for a decidedly vernal flair. The letterforms of DJR’s revival of the swashy Victorian italic with horizontal contrast – as well as those of the accompanying plain gothic caps from Benton Sans Compressed Bold – were processed to give them a roughened, vintage look.

7th graphics was made as a student project at UNIRSM.

The objectives of the project are to make the research of this kind of material more accessible, in the simplest possible way with the purpose of informating and educating. At the same time we want to show through images the amount of graphic work required for the set design in a film. Given the close relationship between graphics and set design, I decided to design an open source web platform for creatives and film lovers, who have the possibility to search and publish information/images in order to create a collection of usable material.

The choice to create a website is due to the fact that the internet page can be updated with the release of new films. The project also includes a printed version in addition to the website, which aims to spread and promote the concept of the project. The publication will contain the most interesting examples of the graphics in the films: images of artifacts and related content such as title and plot of the film, production information, but especially the names of the graphic designers who worked on the film.

To promote and commemorate the release of Martin Scorsese's The Irishman, Netflix underwent a month-long activation across two cities. An 8-page broadsheet newspaper was produced, taking audiences back to August 1, 1975, the day after Teamster boss Jimmy Hoffa was reported missing to federal authorities.

At showings at New York's historic Belasco Theater, copies of The Irishman Daily were stocked in newspaper receptacles adorned with political stickers from the era. Next to those, interactive phone booths played clips from the film on a small screen when you picked up the receiver.

In the pages of The Irishman Daily, auxiliary stories fill out the world of Scorsese's decades-spanning epic. True crime drama sits among stories of the day, like the MTA increasing subway fare to 50 cents and the Yankees hiring the notorious Billy Martin. Arts and sports pages are filled out with classified listings, standings, and music charts. On the back, an ad paying homage to Frank Sheeran's chosen profession sits below a map guiding visitors to Netflix's Little Italy takeover promoting the film.

The design of the paper drew inspiration from the splashy, photo-heavy New York Daily News, while elements from the Brooklyn Daily Eagle, New York Times and Detroit Free Press influenced the denser interior layout. One anachronistic indulgence is Florian Karsten's Screamer, used only for the front page hammer head. Distressed Futura and ParaType’s SchoolBook round out the headline typography. The newspaper logo is an adaptation of the movie’s logo in all-caps ITC Grouch. Bushwick JNL is used for the word “FINAL” on the left side of the masthead.

Among the fonts used for the ads are Optima (Giovanni I. Russo), Akzidenz-Grotesk Condensed (Jimmy’s Last Stop) and Moret (St. Luke’s).

Corner Store JF, Main Feature JNL and SAA Series for the Secret Guide to Little Italy.

“Have you heard … WE PAINT HOUSES.” is in Rockwell Condensed, with Amboy for “CHEECH’S”.

The text typeface is Bookmania. The classified ads on the right are in Monotype Grotesque and Benton Sans Condensed. ITC Kabel and some Britannic are used for the Fair furriers ad. “Belasco” features Davida and Columbia Titling.

San Diego Magazine implemented of a new their design in January 2020, with new content organization, and new typography. In an interview for Folio, editor Meanly Glenny shares some insights about the redesign:

From a design standpoint, Meanley Glenny says she focused on injecting the magazine with a more modern look, with cleaner fonts and a wider color palette. Clarity was important in terms of presentation, she said, but also in terms of legibility—San Diego Magazine’s readership has a median age of 47.

Both texts and headlines are set in Gliko Modern and Gliko Modern Condensed from R-Typography, and Tide Sans by Very Cool Studio. The magazine logo is based on Font Bureau’s Benton Sans.

Poster and promotional imagery for a run of improvised comedy shows you could drag your friends to. Trade Gothic was chosen for its inherent hilarity, while the more refined Benton Sans was used for the supporting bits. Instead of going with Futura, I used Geograph (with Futura alts) just to be insufferable.

Cover design inspired by vintage postcards and the architectural letters of the San Francisco Bay Area. Features fiction, nonfiction, poetry, and art from and about the region. Available for purchase from ZYZZYVA.

For James Heather’s debut album Stories From Far Away on Piano, antipattern created black and white album art driven by the album’s concept where nearly every song is inspired by real life events that Heather read about in the news. Layers of black ink bleed into newspaper print, repeatedly scanned and treated to interpret the regurgitation of information. The use of space plots latitude and longitude locations where each story came from, forming an abstract landscape.

Heather subsequently released Reworks, a follow up of high-calibre remixes and alternate versions titled. The artwork introduced a technical aesthetic, remixing piano and electronic worlds. Both albums use Benton Sans in a restrained typographic treatment with loosely spaced all caps.

Some well-put words by journalist Bob Whitman on the De Volkskrant newspaper website, typeset in one of Unger’s designs.

Type designer Gerard Unger (Arnhem, 1942) may not be well-known to a large audience, but he is by far the best-read Dutchman ever. For example tomorrow’s de Volkskrant newspaper will contain hundreds of thousands of carefully designed gems from Unger, in the form of the letters of the Capitolium News font.

Capitolium, which De Volkskrant has been using since 2006, is one of many successful typefaces designed by Unger in his lifetime. Newspapers and magazines like Het Parool, Trouw, VPRO Gids, Vrij Nederland and USA Today work or have worked with fonts from Unger. His typeface designs can be found in the old PTT telephone books and in the Amsterdam metro stations. Unger designed a chocolate letter alphabet, but also the lettering of ANWB signs [Dutch highway signage]: “If I take a turn somewhere, I will always check whether the spacing on the signs is correct.”

Detail

The Sydney Symphony Orchestra (SSO) is an Australian symphony orchestra that was initially formed in 1908. Since its opening in 1973, the Sydney Opera House has been its home concert hall and performs more than 180 concerts a year with some of the world’s most illustrious conductors and soloists. The orchestra’s current chief conductor is David Robertson. [Wikipedia]

The current brand identity was conceived by Sametz Blackstone Associates in 2013. The primary typefaces are Emtype’s Ciutadella and Linotype Walbaum. The former is mainly used in all caps. The latter often is featured with its italics. The logo is in lowercase letters from Benton Sans by Font Bureau.

Signage on the Islander Bar & Grille, in Middleburg Heights, Ohio, United States. “ISLANDER” is set in Helvetica; “BAR GRILLE” in what looks like Benton Sans.