Ama Terra is a bio-social farm that promotes a high quality of life through sustainable agriculture. The project was founded in 2010 by the non-profit association Cooperativa Sociale Ama Aquilone. Its protagonists are the people involved in the cooperative itself, who continue their commitment in the Piceno Hills, where the organization is based. The products created through sustainable social agriculture reflect a deep care for the environment. For this reason, Ama Terra represents a unique reality, promoting an agricultural model that encourages conscious consumption while safeguarding rural heritage, supporting the local economy, and fostering social well-being. This creates a virtuous circle connecting nature, work, territory, and social ethics. For the Ama Terra organic product line, simple and anti-ornamental labels were designed. The visual identity was developed through typography and illustration, which become the main expressive elements across the entire product line.

The illustration is based on the simplification and the abstraction to the geometric figures of the elements that constitute the oil: the leaf, the olive and the drop of oil. The various parts recompose distributing proportionally along all the front label. This geometric translation of the shapes is also recalled in typography; hence a grotesque signature was chosen, without graces, designed on the basis of geometric figures such as circles and squares. This typographic design is therefore able to guarantee a nitid and highly readable result, also in contexts hardly readable. The label is printed on textured ivory paper in four-colour process. A gold lamination ennobles the parts representing the heart of the fruit, recalling the logo of Ama Terra that is a growing grain seed.

Ama Terra pasta packages are made of entirely recyclable FSC cardboard. Each type of pasta is characterized by the use of a different illustration in which the wheat harvest is represented, as happened before the advent of mechanization in agriculture.

Until the 1960s (in Italy and beyond) the wheat harvest in the month of July was done by hand with sickle and pitchforks, and everyone took part in this event, considered a real celebration: men, women and children, each with a very specific task. The men were responsible for cutting the ears of corn with the scythe, while the women and children were responsible for harvesting the ears of corn. The ears were then tied together forming bundles which were stacked with the ears facing upwards forming sheaves. In this way the sun dried the ears which were then ready for threshing.

Instead, just like the French painter Millet does in his work The Gleaners we wanted to represent the humility and simplicity of an action despite the hard life in the fields. The reference is to the commitment of the Ama Terra bio-social farm, in offering high quality pasta characterized by the processing of an ancient durum wheat with excellent protein characteristics and high digestibility.

In line with the other organic products in the Ama Terra product range, the illustrations are characterized by the use of primary colors and clear geometric shapes, which stand out against the background of the natural recycled kraft paper, creating a strong contrast effect between: old and new, tradition and innovation. To give the consumer the opportunity to appreciate the golden color and porosity of the paste – typical of bronze drawing – each package has a window that directly shows the product.

The brand typeface, Founders Grotesk, matches the illustration concept of shape reduction, referencing the rudimentary geometry of the early 20th century by way of loose letter spacing. The logo and tag line use Silka and Argesta, which is also used for the information on the sides of the package.

The packaging for the passata di pomodoro by Ama Terra uses Founders Grotesk, Argesta, and Silka. See also the previous post about the general identity of the bio-social farm.

Simple and anti-ornamental labels were created for Ama Terra’s line of organic products. They were realised through typography and illustration is the main feature of the entire line of products. For the tomato puree the illustration is based on the simplification and the abstraction to the geometric figures of the elements that constitute the tomato: the fruit, the stalk, the seeds and the plant. The various parts recompose distributing proportionally along all the front label. This geometric translation of the shapes is also recalled in typography; hence a grotesque signature was chosen, without graces, designed on the basis of geometric figures such as circles and squares.

This typographic design is therefore able to guarantee a highly readable result, also in contexts hardly readable. The label is printed on textured ivory paper in four-colour process. A gold lamination enhances the parts representing the seeds of the fruit, recalling the logo of Ama Terra that is a growing grain seed.

Ama Terra is a bio-social farm that supports the good quality of life. It was born in 2010 as a project of the Onlus Association AmaAquilone. Ama Terra represents a unique reality, proposing an agricolture that contributes to conscious consumption, the safeguard of the rural heritage, of the local economy and the social welfare. A virtuous circle through nature, work, territory and social ethics.

Ama Terra is a seed that germinates, it’s hands supporting one another, it’s care. It’s spirit. Ama Terra is the people that yesterday, like today and still tomorrow will bequeath roots. Seed after seed, effort after effort, our own land Ama.

In their philosophy, we found a graphic symbol that recalls birth, the ear of a grain, the roots of a plant and the lines of the land made by the plow seen from above.

The supports are printed on the Favini’s ecological paper Crush Mais, made from industry processing waste. Part of the business card, printed on plantable paper (containing seeds), can be torn. If planted and watered it can give life to a new shoot. This simple gesture of respect contains the whole philosophy of the cooperation, choosing and practising ethical consumption to preserve nature and its seasonality.

Argesta is used for the logo, and headlines use Founders Grotesk. Both are also used for copy. The payoff is set in Silka.

The logo of Cox Lewis Hearing uses Object Sans by Pangram Pangram, whilst the rest of the identity flexes between Object and Argesta by Atipo.

None of us are getting any younger, but the negative perceptions around aging have led to a reactive approach to hearing health, resulting in an industry that has been slow to cater to the needs of a younger customer base. However, hearing loss is just the tip of the iceberg. The result can lead to isolation, depression, cognitive decline, and the loss of many of life's joys. Cox Lewis aimed to change this by focusing on the concept of connection and promoting a sense-rich life by prioritising hearing health. They differentiated themselves from industry clichés and created a unique in-store experience that engaged the senses through tactile elements and aromas.

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Released by Corner in 2020, Paixão: Uma Viagem pelo Futebol Inglês (“Passion – A Journey Through English Football”) is written by journalist Plácido Berci, narrating the evolution of English football. The fat sans serif used for the title is Graúna from Typeóca; supporting typography pairs two typefaces from Atipo: Argesta and Silka.

This is a biography of Loïe Fuller, an American actress and dancer who pioneered both modern dance and theatrical lighting techniques in the late 1800s.

Fuller was one the most famous dancers of the time and she invented (and patented) light techniques for her own performances. She was also one of the first modern dancers, paving the way for current styles. Fuller became the icon of the Folies Bergère, one of the most famous cabarets in Paris, and was a muse for artists at the time, having been portrayed by Henri de Toulouse-Lautrec, Koloman Moser, Charles Maurin, Auguste Rodin, Henri-Pierre Roché, and many others. She is the main subject in many posters of the time, classic imagery that we all know from the belle epoque. She was also in an openly lesbian relationship with Gab Sorère, her work partner.

Overall, Loïe Fuller is an icon and trailblazer in the theatrical scene of the early 1900s and this book aims to promote her life and work in a curated and visual way.

I chose Alegreya as the copy type for its character and readability and I paired it with Argesta Display for some highlighted text, giving the book a classic yet modern look. The book was designed for personal use.

De Geboortebundel (“birth compilation” or “birth package / bundle”) is a collection of birth stories written by forty-two women. The publication was conceived by Nina Pierson, who also wrote a theory section about the birth process. The two parts of the book are divided by color; lilac pages for theory and white pages for the birth stories.

Edited by Tanja Terstappen, published by True Colors. The book was designed by Marjolein Heije who used Kaftan Serif for headlines, and Argesta for body copy. the artwork on the softtouch cover is by Misty Mawn.