The redesign of L’Alliance New York was handled by Eddie Opara’s Pentagram team, using Inferi and Rules from Blaze Type, while the new logo is based on Dahlia by VJ-Type. From the case study:

L’Alliance New York, a key player in French culture in New York and beyond, offers immersive French language courses and a wide range of multidisciplinary programming. This independent non-profit organization celebrates the diversity of Francophone cultures and creativity worldwide. Formerly known as the French Institute Alliance Française (FIAF), the institution was renamed to better reflect its openness and role as a bridge between Francophone cultures and the New York public.

Pentagram redesigned L’Alliance’s visual identity by creating a framework that highlights its dynamic and welcoming spirit. The use of expressive typography and the creation of an apostrophe brand mark symbolize the organization’s lively approach to language teaching. The fonts chosen include Dahlia, a creation by the VJ Type foundry known for its dramatic curves, along with Inferi and Rules from the Blaze Type foundry, which bring an elegant and modern touch. This new visual universe, with its vibrant and contemporary colors, aims to engage a broader and more diverse audience.

The long-running font project EK Notice – consisting of EK Notice Sans, EK Notice Classic and EK Notice Decor (all designed by Erkin Karamemet 2017–2023) was known as EK Klodt prior to its official release as EK Notice.

The collection’s first official application before release is for Citizen magazine: a slightly modified version of Notice Decor was used for the Citizen wordmark.

Citizen is a new bi-annual magazine “documenting Black life and culture through the words of Black thinkers and the lenses of Black creatives, a beautifully designed record of Black life” by and for the Black community and anyone interested in culture at large.

Inside the publication, Notice is paired with ABC Repro, Genath and Gerstner-Programm FSL.

Halyard Display by Darden Studio stars alongside several typefaces by Vocal Type in the design of Ben’s Best Blnz.

Ben’s Best Blnz, or B3, is a cannabis brand initiated by Ben Cohen, co-founder of Ben & Jerry’s. Its mission is “to sell Great Pot and use the power of our business to Right the Wrongs of the War on Drugs.” The independent non-profit organization advocates for the decarceration of those convicted of nonviolent cannabis crimes and the descheduling of marijuana as a Schedule 1 substance.

For the branding, Eddie Opara and his team at Pentagram relied on eclectic and colorful typography, exclusively using typefaces by Black designers. Halyard Display by Joshua Darden is the text typeface on the B3 website (development by Jacob Macdonald), and is also used in the packaging designs as well as for merchandise such as T-shirts. Halyard is paired with a range of more expressive fonts all designed by Tré Seals from Vocal Type, namely Eva Peron, Eva Maria, Martin, Bayard, and Ruben.

Read and see more in Pentagram’s case study and on B3’s page about their art and design.

Homepage with mission statement, main menu, quotes, contact form, and infographics

Social Mission page with info on background, advocacy, investment, vendors and partners

Mission statement on the homepage. Interestingly, the lowercase glyphs from Halyard Display Regular are here combined with caps from the slightly heavier Medium weight.

Labels for the Blended SloSmokes that are available in various effects: Focus, Creative, Relax, Stimulate, Cloud 9, Kick Back, Happy Go Lucky, and Dream Sweet Dreams

Website detail featuring Eva Maria for the ticker text, Eva Peron for “B3”, and Halyard for text

Website details including an interactive shop finder

Get There Slower Full Color T-Shirt featuring Halyard Display with alternating glyph colors

Get There Slower Wavy T-Shirt featuring Halyard Display set on a wavy baseline

Full Spectrum Vape Pen packaging designs

Blended SmoSmokes packaging

Assorted packaging designs

From Pentagram:

Black artists and entrepreneurs have been instrumental to moviemaking from the start, helping to shape this most modern and popular of art forms while facing racism and prejudices that limited opportunities. Presented by the Academy Museum of Motion Pictures in Los Angeles, Regeneration: Black Cinema 1898–1971 explores the rich history of Black participation in American cinema from its beginnings to just beyond the civil rights movement. Pentagram partner Eddie Opara and team [Jack Collins, Brankica Harvey, Dana Reginiano, Jun Jung] have designed a companion book for the exhibition that aims to be an essential resource on this heritage.

Co-curated by Doris Berger and Rhea L. Combs, Regeneration seeks to revive lost or forgotten films, filmmakers and performers for a contemporary audience, focusing on the foundational period that led to the explosion of mainstream and independent Black cinema that followed. (The exhibition takes its name from an independent all-Black-cast movie from 1923.) It is only the second exhibition presented by the Academy Museum since it opened its doors in September 2021 and coincides with the arrival of its newly appointed Director and President Jacqueline Stewart, a leading scholar on Black cinema and film preservation.

The book design employs an eclectic approach to typography inspired by the eye-catching posters and their dramatic display type that drew audiences to the films. The designers selected an ensemble of typefaces that hint at the period as well as the posters’ expressive lettering, most of which was originally hand-drawn. The lead role in the book is given to Sharp Grotesk, chosen for its sheer versatility and a range of widths that allows it to be everything from powerful to whimsical. The elegant geometric Parafina is a supporting player, and other fonts include Domaine Display, Surt and Arizona Flare.

The cover repeats the title in strong upper-case type (set in Sharp Grotesk Black), projecting out of the dark like a film in the theater and suggesting an evolution into a bright future. (“The title Regeneration is not just from a race movie, but it’s about the successive waves of Black filmmakers,” Stewart says.) The contrast gives the cover a sense of dimension, heightened by a foil varnish.

The designers developed a bright, modern color palette that draws from the posters. The vibrant color is used to offset the sepia tone of the historical materials, and visually echoes the title of the curators’ introductory essay, “A Spectrum of Black Cinema.”

Regeneration is helping to write history, the book is intended to serve as a valuable reference beyond the exhibition. The design encourages readers to flip around the pages and to follow various narratives. A system running along at the fore edge serves as a guide, indexing the essays, case studies, filmographies and interviews into separate sections.

The book is published by DelMonico Books in collaboration with the Academy Museum of Motion Pictures.

From Pentagram:

Toronto’s post-industrial eastern waterfront contains some of the largest areas of underdeveloped urban land in North America. “Toronto Tomorrow” is a proposed masterplan that will transform the location into one of the most innovative districts in the world, developed by Sidewalk Labs, the Alphabet subsidiary that reimagines cities using design and technology. Pentagram collaborated with Sidewalk on the design of the draft Master Innovation and Development Plan (MIDP), a massive, four-volume, 1,500-page document that details the proposal. The books’ design helps establish a visual identity for the project, using color, typography and illustration to capture the vibrancy of Sidewalk’s vision and balance the technical and the human. […]

The designers wanted a typographic tone of voice somewhere between sharp and technological and warm and human. They looked at the expressive differences between serif and sans serif font, ultimately selecting both, but in unconventional choices. The final suite of typefaces includes Neue Droschke (designed by David Einwaller of The Designers Foundry), an attenuated geometric Grotesk with unusual offcuts, seen in the book titles; the quirky sans serif Beatrice Display (designed by Sharp Type), used for the distinctive numbers on the covers; the standard Beatrice, a highly readable Grotesk, used for text and body copy, and Gliko Modern (designed by R-Typography), an elegant serif, used for headers and pull quotes.