Bruket Fjellhamar is a new real estate project just outside of Oslo, Norway. Designer Jessie Jones collaborated with Natural State to develop a complete visual identity, applied to practically every relevant surface and medium. The design references the industrial past of the area, which used to house a saw mill and paper plant among others, by sticking to a limited palette of colours and materials. The decision to use Tiny Grotesk was driven by its design range across three strongly distinguished widths. As Jessie says:

Moving through the research phase I knew that versatility in typographic widths was going to play a key role in how this identity would use type to reference Bruket Fjellhamar’s industrial history. While a fully variable typeface could work for such a purpose it was clear that I needed a font with different width options, but in way where each width was more thoughtfully considered, both to make the design more beautiful, but also to simplify the typographic system for anyone making communication for the brand. Additionally, the brand typeface needed a modern, usable, and recognizable quality to it.

Tiny Grotesk is used for everything in the Bruket Fjellhamar brand. From wordmarks and monogram, to web and social media, and even wayfinding and signage. The typeface offers the brand a certain workhorse-ability, but it also functions really well within the vintage inspired ecosystem of the identity, particularly in the way the wordmarks are treated.

The identity uses something from every width of the family and showcases its versatility in all sizes.

Zo Popi’s debut album is eclectic music-nerd delight packed in a clean, almost subtle design (but then… what are these things?). Tiny Grotesk is the steady supporting character for these curious illustrations and the even curiouser music.

As the type designer, I am comfortable and familiar with the longer text settings of the lyrics, which is where I really want the design to work effortlessly. But it really earns its keep in the context of the intricate objects, which were custom made for this record by jewelry designer Sigurd Bronger, graphic designer Håvard Winther Gjelseth, and handyman Eirik Sevaldsen. It is kind of nice for Tiny Grotesk to be the least interesting thing about this project.

[More info on Discogs]