Jhambo Ink, a boutique publisher in London, brought out a limited edition in 1,000 hand-numbered copies of a double book bringing together Caroll’s Alice's Adventures Under Ground and Alice In Wonderland. Ana Santiago of Index designed the two books joined by their spines in a dos-à-dos binding. The book is richly illustrated by Brazilian artist Zansky.

While the box containing the book is text-less, the covers are exclusively typographic, showcasing Le Murmure in a playful elongated and top-aligned layout. The font is used throughout the book in both its normal shape but also often vertically elongated (without distortions) or horizontally stretched (with distortions). It's accompanied by Viskjø doing a great job for inter-titles in all caps as well as for the text of the stories themselves.

A poster for the Festa de São João do Porto at Underfall Yard in Bristol for Port O’ Bristol and Pickle Cafe. Port O’ Bristol’s wines are brought from Portugal by traditional cargo ships without engines. No fossil fuels are used on their voyage. The festival celebrates this rediscovery of traditional, ethical trade links.

Night Swim Coffee is a collaboration between the founders of two Charlotte coffee institutions, Undercurrent Coffee and Not Just Coffee. Their new identity includes a logo and standards system to help maintain consistency across multiple locations at their cafes, as well as signage, apparel and packaging.

Viksjø is the main typeface, with label information set in Garaje Mono Condensed and Degular.

Through a long-lasting artistic collaboration after our own hearts, artists Brad Davis and Janis Provisor’s Fort Street Studio has brought the ancient practice of Chinese carpet weaving to an international audience. A Tale of Warp and Weft chronicles their joint discoveries and explorations throughout a shared career, craftily designed in parallel to the act of weaving itself. Hardcover editions also include a cloth fabric spine featuring a sample of their work.

Some knitting, a wool ball, a skillful and focus monkey, here are the foundations of the new identity of “Le singe qui tricote” (“The knitting monkey”). With the help of Marion Hermet (a creator from Lyon) and illustrator Nono Ampuy, we thought about an identity which could renew the image of knitting and represent the studiousness necessary for crafting it. This relaxing, manual, and creative activity needs an identity which stimulate the desire to launch into it!

The monkey represents the creator comfortably snuggled up to shape her new creations. The rounded ball of wool serves as a body for the hidden monkey and emphasizes the importance of the ball of wool which is the raw material to realize multiple creations. The monkey tail is shown by a simple thread going out from the wool ball. The whole thing is sober and draws its inspiration from traditional Japanese elements like the seals (hanko/inkan), or the bow belts (taiko musubi/obi) in order to adapt later the content to various format.

To avoid the pitfall of typefaces classically used for knitting and to revisit its image, we have opted for a non-gender-oriented visual sense, and used two typefaces:

To give a new image to knitting and give it more character, we have chosen Viksjø by Monokrom. This typeface is mainly of architectural inspiration, but also includes a research directed towards bringing some round shapes to severe and stiff lines. By using it only for its’ warm and original shapes we take somehow the opposite view. To complete the identity and bring real comfort to the reading, I used a traditional Elzevir (a serif font), Spectral by Production Type, including characteristics which allow the typeface to be rendered perfectly in a website. The typeface is inspired from François Rabelais’s book The most horrific life of the great Gargantua, father of Pantagruel (1534).

Table Talk emerged in the silent, isolated corners of a pandemic, when long conversations, the kind that blur daily schedules, were greatly missed. It attempts to fill these silent moments with stories that use a plate of food to weave personal histories with our understanding of the world.

Table Talk uses Frode Helland’s Viksjø for display, Optician Sans (a custom typeface by Fábio Martins for Norwegian design agency ANTI that was released open source) for subheads, and Bryce Wilner’s Standard for text.

The graphic identity for Food For Good Bcn is designed by Bloc D. A vibrant palette sets the backdrop for the display typeface Viksjø. It is juxtaposed with ATC Harris Code for text.

Food For Good Bcn is an initiative born from the solidarity of the gastronomy industry with the aim of cooking and distributing healthy, rich and balanced menus to the most disadvantaged people in our city, most of them homeless.

Food for Good Bcn aims to put tangible and intangible resources to one of the consequences of the Covid-19 pandemic: feeding all those who are homeless or in a situation of social exclusion, as well as helping non profit entities that are overwhelmed by the demand.

A large amounts of banners, posters and ephemera (many can be seen in situ in Adrian Bugge’s photographical documentation and on the official Y-block website) were produced throughout the Støtteaksjon for å bevare Y-blokka (“Campaign to save the Y-block”). The many events – including movie screenings, art installations, concerts, public debates, demonstrations and more – were given a coherent appearance by lead designer Saralinn Hembre Singstad of Mandag Studio. The identity initially consisted of a pared down color palette, Pablo Picasso’s Y facade drawings (reinterpreted by artist Ane Barstad Solvang) and one typeface, Folio. The typographic palette was later extended with Frode Helland’s Viksjø typeface and archival photography from the Teigen Fotoarkiv collection.

The Viksjø typeface was designed in response to the looming demolition threat, and cast in concrete as part of the activist exhibition Blow it up / Tear it Down.

The Y-blokka was finally demolished in 2020.

The yblokka.no website, designed by Mandag Studio, is an in-depth documentation of the fight to stop the demolishing of the architect Erling Viksjø’s ‘gesamtkunstwerk’. The Y-blokka building and its surrounding Norwegian government quarters were the target of the 2011 Oslo terror bombing. The Y-building was scheduled for demolition in 2014, against vocal opposition from leading architects and the Directorate for Cultural Heritage.

The website catalogues art projects, photography, documentaries, debates, press coverage and official documents produced throughout the process, from construction in 1959 until Y-blokka was finally demolished in 2020.

The Viksjø typeface was designed by Frode Helland of Monokrom Skriftforlag in response to the demolition threat. Starting with the floor plan of the building, the design expands outwards according to the principles of Brutalist architecture coined by the architectural critic Reyner Banham in his 1955 essay (and later book) “The New Brutalists”.

Viksjø is combined with Neue Haas Grotesk. It replaces Folio, which, alongside Viksjø and Pablo Picasso’s facade drawings reinterpreted through the pen of artist Ane Barstad Solvang, has been used in various other graphics for the campaign to save the Y-block.

As part of the initiative to save Oslo’s Y block building, three documentaries were screened at Cinemateket Oslo on December 14th 2019. Hammersborg Protecting the Bygone Future by Birgitte Sigmundstad, Bauta by Paul Tunge and Egil Haaskjold Larsen, and Save the Y-block by Støtteaksjon for å bevare Y-blokka.

The introductory graphics are designed by Saralinn Hembre Singstad of Mandag Studio, using monochrome photographs of Erling Viksjø’s now demolished government building, snippets of a reinterpretation of Pablo Picasso’s facade mural The Fishermen by artist Ane Barstad Solvang, and Frode Helland’s typographic tribute to the architect, a typeface named Viksjø.

Pineapple Collaborative is on a mission to connect and celebrate women who love food. They believe that sharing knowledge, supporting each other and coming together for a meal is the best way to create community. This sentiment lies at the heart of their new line of pantry staples featuring their first women-made olive oil and apple cider vinegar.

We started this project by looking at Pineapple Collaborative’s primarily online brand to understand how we would bring it to life through physical packaging. We explored a lively colour palette and provided naming and messaging options before landing on “The Olive Oil and The ACV” which are brought to life through playful typography on a relatively formal grid.

To create a sense of nostalgia for the recyclable olive oil pack we worked with a traditional tin maker. For the ACV, we landed on this unique glass silhouette with a tactile wood & cork top. The Olive Oil is produced in three contemporary colours so you can choose which one best compliments your kitchen.

The primary typeface chosen for the project is Viksjø by Monokrom, used with a customized V. It is paired with ABC Ginto Nord by Dinamo and Bell by Monotype.

The female founders of Pineapple Collaborative take pride in their highly engaged female following, and they’re proud to be working directly with women producers & growers, so we called this out on the back.