​Khloé Kardashian has introduced Khloud Protein Popcorn, a new snack under her brand Khloud Foods.

The branding for Khloud Protein Popcorn is centered around a wordmark that features a slightly customized version of the CoFo Plusha typeface. CoFo Plusha’s soft, airy, and rounded letterforms contribute to a friendly and approachable brand image. The accompanying rounded sans is Optimo’s Hermes.

Brest Brest Brest / Rémy Poncet has designed the artwork for the record Il s’est passé quelque chose by French singer Auren. Headlines are composed in Signal Compressed (by Production Type) and texts in Hermes (by Optimo).

New visual identity for Le Train Théâtre. Design by the French studio Brest Brest Brest.
Logo and identity consist of Pimpit, designed by Benoît Bodhuin. Hermes by Optimo is used for text.

For over a decade, and almost in secret, Scott Avett has amassed an impressive body of artwork. Though known primarily as a member of The Avett Brothers, Scott’s formal training was in visual art. We designed and co-edited a monograph that catalogs his work and documents his creative process.

The typographic palette was carefully chosen to balance a host of tonal qualities and specific use cases. GT Super Display, a striking contemporary serif from Grilli Type, provides the lion’s share of typographic personality. Its sibling, GT Super Text, imparts an appropriate formal quality to the essays. With its simple, rounded, typewriter-esque forms, Optimo’s Hermes Condensed provides a stark counterpoint to GT Super’s razor sharp serifs. Dia, a blocky, quirky sans from Schick Toikka, is peppered throughout the book in titles and headings. Dia’s lighter weight is paired with GT Super Text in interviews to provide a visual tone-of-voice change from interviewer to respondent.

When the eco pioneers at outdoor apparel brand Patagonia approached us to design a printed guide to Boulder, Colorado, we knew we had an opportunity to push the sustainability envelope. The end result is an amusing yet handy pocket guide that’s also the world’s first use of algae-based offset ink.

Unsure of how the ink would perform on press when designing the piece (it ended up printing perfectly), we chose typefaces that would be forgiving under unforgiving conditions. Hermes Condensed is used for body with Whyte Inktrap for headings and titles (and a tiny bit of Stratos sprinkled in for diagram labels).

Read more about the design and algae ink at Cast Iron Design.

Brest Brest Brest designed the program of the Berlioz Festival with the typefaces Plaak and Alcala, created by Damien Gautier.

Catalog accompanying the exhibition of Czech artist Miroslav Tichý at Centre Pompidou, Paris, 25 June – 22 September 2008:

Only recently discovered, his work reveals the distinctive talent of a marginal and somewhat monomaniacal figure who steadfastly refused the social, political and personal values of the Communist period, form its beginning in 1948 to its end in the late 1980s. Tichý took up photography in the mid-1950s, reinventing it as it were from scratch and building his own cameras and enlargers from shoe-boxes, tin cans, recycled glass and other waste materials. His timeless and uncategorizable images, shot instinctively or carelessly on handmade cameras with makeshift optics, offer an extraordinary vision of a fantastical, eroticised reality, half real, half dream. Women on the TV screen: these are his single, obsessional subject. Rescued from neglect by his neighbour, the film director Roman Buxbaum, in 1989, Tichý's work was first shown at the Sevilla Biennale in 2004. This exhibition at the Centre Pompidou brings together a number of cameras and some hundred photographs, mostly from the Foundation Tichý Ocean.

The typeface is Hermes (Optimo, 2002) with the alternate ‘i’.

The Curatorial Conundrum. What to Study? What to Research? What to Practice?
Edited by Paul O'Neill, Mick Wilson and Lucy Steeds

As part of an entire rebrand of leading Scottish architects JAMstudio, we wanted to present bold, confident messaging. The typeface we chose to carry this weight was Hermes – a clean and modern reinterpretation of the type from the Hermes 3000, a typewriter from 1966. A time when architecture, design, writing and photography were synonymous with character and a timeless style. Hermes worked well at small sizes where its clear geometric shapes allowed for easy readability. At larger sizes, its uniques character and visual quirks helped support a specific tone of voice for the JAMstudio brand.