Studio Freight delivers brands, digital experiences, campaigns, and special projects to move missions forward. Their global team works across categories, continents, and capabilities to transport client partners from where they are to where they want to be.

Recently, the studio introduced a new brand and website, ending its “speakeasy era,” with a clarified promise of Moving Missions Forward and an unfolding ecosystem of initiatives, including The Manifest. The new logomark draws on the narrative depth of crests and hieroglyphs, combining a horse, a key, and an F that together hint at a pegasus.

The identity pairs JJannon (by Optimo) with Publico Text Mono (by Commercial Type). JJannon carries body copy and longer reading, where its editorial heritage and slightly austere contrast bring intelligence and care to the studio’s writing. Publico Text Mono anchors headlines, eyebrows, and supporting marks, where its monospaced, data-vernacular texture lends the brand the cadence of annotated research. Together, the two scale between quiet and loud, giving the system the feel of brutal elegance.

Nicéphore and its alternative glyphs on Fanette Mellier’s cover

Art direction and editorial design by studio deValence for the Prisme Collection, directed by Tony Côme and Alexandre Dimos. The collection gathers long-term interviews of graphic designers, scenographers, architects, typographers, object and fashion designers, who share their experiences, memories, and working process. Prisme offers fundamental sources for understanding the role of the designer, told by designers themselves.

Shown here are the first three books published in this series. The cover and headlines are set in Nicéphore, while the footnotes and captions appear in Pachinko. Additionally, each edition features distinct typefaces for the body text: Tongari for Fanette Mellier (2021), Media for Étienne Robial (2022), and JJannon with Perec for Rudi Meyer (2023).

Published by Éditions B42.

Ever since his artistic beginnings, Julian Charrière has been exploring changing nature and the role humans play in it. In the cinematic work Towards No Earthly Pole, he combines different ice landscapes of our planet into a sensual, poetic universe. The work relates to the current climate crisis through subjective engagement with the particular topography of glacial landscapes and the historical figure of the artist as adventurer, investigator, and explorer. Charrière traveled with his team to some of the most inhospitable areas on Earth to realize the film—exhibited at MASI Lugano, Aargauer Kunsthaus, and the Dallas Museum of Art among other photographs, videos, and artworks—which questions the notions and images of nature. The artist appeals to our capacity to marvel at the world and encourages us to look for knowledge and be overwhelmed by the wonders of nature.

The publication features exclusively JJannon. The texts are in both English and German and set at the same size, in the same weight, the only difference being their alignment (left vs. right flush). Flipping through the publication, the text columns slowly drifts in the opposite direction, till they swap sides, a subtle reference to the movement and melting of icebergs. Stanley Kubrick’s black monolith from 2001: A Space Odyssey has been used as a reference for the appearance of the book, which features an elongated shape and flaps that wraps around the fore edge creating a second spine and the illusion of a single block. The book is made of two volumes, separated at the center by a concertina fold landscape image.

Edited by Dehlia Hannah
Texts by Francesca Benini, Amanda Boetzkes, Anna Katherine Brodbeck, Dehlia Hannah, Scott MacKenzie & Anna Westerstahl Stenport, Shane McCorristine, Nadim Samman, Katrin Weilenmann, and a conversation between Julian Charrière, Dehlia Hannah, and Konrad Steffen

Mousse Publishing, 2020
306 pages
Softcover with Swiss binding, 17×28.5 cm
ISBN 9788867494347

From Mob’s About page:

We’re a food media platform dishing up tips and recipes for meals that are way tastier than they should be for how easy and affordable they are. We're not about fancy garnishes or decorative swirls or smears of sauce. We're about food you'll actually cook.

We’re here to help students and young professionals get more comfortable in the kitchen and make quality meals along the way. Our mission is to inspire and educate our audience through diverse and high-quality content, connecting the youth through what we love (and know) the most: food.

The website combines Right Grotesk – mainly used in the Spatial Black and Wide Medium styles – with JJannon in roman and italic.

In my graduation project at École Supérieure des Arts Visuels de Marrakech (ESAVM), I initiated a study exploring the profound story of mapmaking and cartography, introducing Up-side Down.

The first part of the project is a bilingual Arabic and English book, featuring three major subjects. The first one explores a brief understanding of the impact of cartography on our lives and its political power; the second part accentuates the north and south’s pre-12th-century history, the Arab Golden Age, studying a number of Islamic maps and manuscripts and revealing how the Arabs used to see the north; and the last section of the book covers the attempts of representing the world on a two-dimensional surface using the map projections, transferring the spherical network of parallels and meridians of the globe into a flat surface, these attempts had various intentions and some of them have deceptively represented the world in order to draw a contrast between religions and races.

The book is a paperback double-sided halves bound together with one part rotated 180° relative to the other (also known as the dos–à–dos binding), serving the script direction of each language, and emphasizing the Up-side Down notion.

On the second part of the project comes the posters, following the third chapter of the book, featuring a set of three parodical map projections that have been grimly distorted to accentuate the subject.

The digital calligraphy that I used is in Naskh script, composed with a design software for Arabic calligraphy called eMashq.com. The font used for the Arabic body text is Nassim Arabic. For the English texts I paired Kessler and JJannon.

See more images on my Behance and Instagram accounts.

Basel Grotesk Regular and JJannon Italic in use on a digital poster for the GOBI Preview Exhibition, held at Little City Farm, LA. Design by Jae Ee and Sangah Sin.

GOBI is a platform where a contemporary art gallery, a concept store, and a cultural mediator becomes one intra-active community – for artists and by artists. The idea for GOBI was conceived in quarantine by artist-and-gallerist team, Jenny Eom and Susan Baik. As people who made art and exhibitions, the global pandemic presented itself as a new challenge to reimagine the structures that make up the contemporary art world. They took this challenge, turned it into an idea, and developed it into what is now GOBI. Our mission is to connect, incubate, and reamplify makers that create with thought and care. We believe that the intervention of meaningful objects can deeply enrich and provide insight to one’s everyday life.