In 2014 Pentagram, led by Luke Hayman, partnered with Golf Digest’s creative director Ken Delago to redesign the magazine. The goal was to “connect with millennial golfers (ages 25–34)—the magazine’s fastest growing segment of readership—as well as the traditional core golfer (age 50–plus).”

To update the masthead, the designers looked for a font with balls—specifically, ball terminals, which add a playful touch given the subject matter. The contemporary stencil-like font Dala Moa was selected for its distinctive ball terminals, which break free from the letterforms so balls can be hidden in plain sight in the logotype and in display text. With the blessing of Dala Moa's designer, Paul Barnes, the terminals were customized to make them perfectly round. Commercial Type, the foundry that licenses the font, worked on refining the logotype by adjusting the letter spacing as well as the spacing of the stenciling, to make sure the identity would work in a range of different sizes. The colored dot of the “i” in “Digest” was retained as a link to the magazine’s former logo.

In addition to the Dala Moa used for the masthead, section openers and other display type, the team put together a suite of fonts: Heroic Condensed, used mainly for cover lines and display type on features; the Fakt family (Fakt, Fakt Semi Condensed, Fakt Condensed), used mainly for small headlines in front of book; and Tiempos Text, used for body text.

Heroic Condensed, a 2008 family by Silas Dilworth, may have been inspired by the condensed styles of the 1950s typeface Information, which has that telltale R with a straight, diagonal leg.

As of this writing (October 2025), the Dala Moa logo and Heroic Condensed have survived in Golf Digest for over ten years – even on social media – while other typefaces, Gotham and Tungsten, have replaced Fakt in print and the web.

About Baret Scholars, via ICGS:

Named after Jeanne Baret, the first woman to circumnavigate the globe, Baret Scholars is a global gap year program that brings together a cohort of 180 just-graduated high school students from around the world to journey across seven regions (North America, South America, Europe, Africa, Middle East, India/Southeast Asia, and China/East Asia), over 200 days, in a semi-structured and self-guided gap year experience. These scholars will explore their personal interests in different regions via prominent local speakers, curated traveling Fellowships, and optional volunteer opportunities.

Baret Scholars’ mission is to provide students with a comprehensive and holistic understanding of the world, paving the way for years of fulfillment and achievement. The program serves as a foundation for the scholars’ future, fostering cultural literacy, a global perspective, and a desire to create a better world.

Luke Hayman and his team at Pentagram were commissioned to design a book about scholarships, gap years, and studying abroad. The typography combines Guyot (in Text and Headline sizes) with Founders Grotesk (in regular-wide and Condensed widths). The illustrations are by Adam Simpson (London).

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Omnes is the typeface chosen for the 2009 relaunch of Tennis, a monthly magazine covering the most important news from the world of tennis. The design was developed by Luke Hayman and Rami Moghadam at Pentagram, with creative direction by Gary Stewart of the Tennis Media Company. Darden Studio provided a customized version in which the pointed stroke endings were rounded off. The magazine logo is drawn with more squarish terminals, but follows the skeleton and proportions of Omnes Bold.

The Omnes family is used in a range of weights, on the cover and the interior spreads. It serves for headings and section openers as well as for medium and smaller sized text, in decks, teasers, running titles, and more. The sans serif Omnes is paired with Typotheque’s serif Greta Text. The Complete Player section additionally uses FIG Sans by the Process Type Foundry.

Source: cargocollective.com License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Source: cargocollective.com License: All Rights Reserved.

Source: garystewartdesign.com Gary Stewart. License: All Rights Reserved.

Source: www.rafaholics.com License: All Rights Reserved.

Source: www.rafaholics.com License: All Rights Reserved.

From Pentagram New York (Luke Hayman):

Keap, formerly Infusionsoft, specializes in CRM (customer relationship management) and marketing automation software that helps small businesses manage their customers and operations―booking appointments, sending proposals and invoices, and collecting payments―all in one place.

Pentagram has developed a new brand identity for Keap, including its new name, that captures the platform’s ease of use and powerful capabilities.

The primary typeface is Ivar Soft, a custom version of the graceful and sturdy serif Ivar Headline (designed by Letters from Sweden) that nods to the Times New Roman so many small business owners work with every day. The typeface has been rounded for warmth, friendliness and a more contemporary feel, and can easily scale up or down without losing legibility. Secondary type is set in Sul Sans, a geometric sans serif that helps readability in the Keap interface, and Sul Mono, a monospace font that is useful for UI design (both designed by R-Typography).

Ivar Soft was released for general licensing in February 2019.

Volume 16, No. 4, “The Future of Interaction”. Art Direction: Shostak Studios, Mitch Shostak, Corey Kuepfer.

XRDS, formerly Crossroads, is the flagship academic magazine for student members of the Association for Computing Machinery, or ACM. Issues focus on computer science topics and are published quarterly in both print and electronic forms. The magazine is distributed to tens of thousands of students worldwide. The magazine was relaunched in Summer 2010. Since Volume 16, No. 4, XRDS uses the design developed by Luke Hayman and Rami Moghadam of Pentagram, featuring Eduardo Manso’s Geogrotesque alongside Fred Smeijers’ Arnhem.

Vol. 25, No. 2, “Hype vs. Innovation”. Art Director: Andrij Borys. Associate Art Director: Margaret Gray. Assistant Art Director: Mia Balaquiot.

Pentagram:

Designed by Apple in California is a new book that chronicles 20 years of Apple design. This remarkable body of work is expressed through 450 photographs of past and current Apple products, from 1998’s iMac through 2015’s Apple Pencil. The book also documents the materials and techniques used by Apple’s design team over two decades of innovation.

Pentagram’s Luke Hayman and team assisted Apple in the design of the book, the first to be produced and published by the technology company. Working closely with Apple’s Chief Design Officer, Jonathan Ive, and the Industrial Design team, Pentagram supported Apple in their goal to create a book worthy of the company’s extraordinary legacy.

Oh, and it also costs $299.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

It isn’t adored by quite as many young fans as other riders of the current geo-sans wave — typefaces like GT Walsheim, LL Brown, and LL Circular — but FF Mark is one of the more popular releases of the last three years, and it’s picking up steam. You see it in industries from tech to editorial, in print and on the web. As a plain, clear sans with a moderate x-height it works reasonably well in most of these environments, yet it’s often called to do jobs it’s not really meant to do: especially pages full of light body copy where the design’s uniform stroke and letter widths paint a pretty drab monotone.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

That’s not a period, it’s a ®. Trademark symbols have become like terms and conditions texts: legally required, but practically useless. Designers prefer to make them as small as possible to get them out of the way of their logo.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Designed by Hannes von Döhren and Christoph Koeberlin in 2013, FF Mark filled a gap in FontFont’s library: a geometric sans with a large lowercase. This sample image is by Pentagram, who is admirably steadfast in crediting the type they use.

This major redesign for Mastercard, however, is exactly the kind of mission FF Mark was trained for. Pentagram began by refocusing on the iconic interlocking symbol, now nearly 50 years old, wisely clearing it of its clutter and moving the name to the side or below. The new circular typeface obviously echoes the symbol’s geometry, but it’s not just about circles: FF Mark’s other characteristics fit well too — its broad stance, open forms (‘s’ and ‘c’), the roundness of the ‘m’ arches and ‘t’ tail.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

This redesign is not so much a revolution for Mastercard as a callback to the best logo of the brand’s past. In 1979, “MasterCard” was set in ITC Avant Garde Gothic, stamped boldly over the center of the circles. This was replaced in 1990 by an ill-advised italic which was later littered with a drop shadow in typical ’90s fashion. Going back to a geometric sans serif is a no-brainer, but Avant Garde is rather cold and closed. Switching to all-lowercase FF Mark refreshes the banal corporate presentation with a more approachable air.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

As we can expect from an experienced firm like Pentagram, the logo and type harmonize naturally. The designers resist the urge to rationalize the geometry via some contrived construction grid. And all the work is thoughtfullly implemented in a variety of environments where bite-size chunks of type combine with large images and the overlapping circle motif.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

These teaser images for the new identity came out pretty nicely. It’s solid work. Not thrilling, but as fresh a look as you can expect from a multinational payment network. The question remains, however: Will FF Mark be the only part of the typographic palette for this new identity? Will it be used to set long passages of text? Will it be pushed beyond its purpose? We’ll have to wait for the answer because the redesign was just announced today. (Mastercard.com is still set in Accord Alternate, a 2010 face that already feels dated, perhaps because it piggybacks on the well-worn spurless concept from 20 years ago.)

Source: www.youtube.com © Mastercard. License: All Rights Reserved.

This mockup (not necessarily a final design) overlooks a basic principle of setting body text: the more space letters have inside them, the more space they need between them.

I hope this teaser video is not an indication of FF Mark’s intended role, because some of these screens make all the most common geo-sans mistakes: a light weight, spaced way too tightly, for all the text on the page. A financial services company striving for clarity and simplicity should take the readability of mundane info as seriously as its logo.

Source: www.pentagram.com © Mastercard. License: All Rights Reserved.

At its core, this is a strong mark, returning Mastercard to its former glory, by emphasizing not the name, but the symbol: a couple of unmistakable dots that shine your way to a shop door, even from across the street.

This is the first issue of a TIME redesign which features Proforma alongside the long-running Franklin Gothic. Proforma served as the magazine’s main text face until June 2015.

The redesign was led by Paula Scher and Luke Hayman. In a DigitalArts interview, Art Director Arthur Hochstein, who was TIME’s AD from 1994 to the end of 2009, explains the choice of Franklin:

“When [Pentagram’s] Paula Scher and Luke Hayman began their typographic examinations, they looked at other faces, but rather quickly returned to Franklin Gothic as the primary display face.” Franklin was used by Walter Bernard in his 1977 redesign.

“We had Matthew Carter re-envision it as Benton Bold Condensed, which we used up until this redesign,” says Hochstein. “Pentagram felt that Franklin both signified news and reinforced our brand and heritage. They also felt it could be used in a fresh and modern way.”

And Proforma:

For the body face, the team picked Proforma, due to Hayman being strongly committed to a text face that imparted a sense of modernity, combined with ease of reading. “Proforma is a face without a lot of attitude,” says Hochstein. “It’s not derived from classical roman typefaces. It’s more matter-of-fact. My own feeling is that it makes the magazine feel a little more objective, and a bit smarter than its predecessor.”

“More important than any particular type choice, though, was its application in a crisp, disciplined format that de-emphasized type as illustration, that made type part of an overall framework for words and images. We abandoned tinted boxes and coloured type in headlines, which is a great relief. We had drifted much too far in the direction of decorative type, which is the wrong approach for a serious news magazine.”

Deputy Art Directors: Cynthia A. Hoffmann, D.W. Pine.

Published by American Express, Travel + Leisure is one of the world’s top travel magazines, recognized for its stylish photography and smart writing. Pentagram of New York has redesigned Travel + Leisure with a dynamic new format that matches the magazine’s chic, sophisticated tone. It introduces a clean, modern design that clearly delineates sections and opens up page layouts. The designers worked with the editors to restructure and reconceive the magazine’s departments using Encore Sans as the main typeface supported by Superior Title. They are used for both the US and Southeast Asia issues. Encore Sans is currently utilized on the website and the iPad edition of the magazine as well.

“The new custom logotype is based on Sweet Sans.”—Pentagram

The Folio: Show (now called MediaNext) is the largest magazine industry event in the U.S.

One of the USA’s top ten magazines in paid circulation, Ladies’ Home Journal has a circulation of 3.2 million and a readership of over 12 million. The redesign by Pentagram in 2012 updates the magazine’s format and presented new editorial strategy. Pentagram’s Luke Hayman chose Plan Grotesque for the headlines, subheads and in some sections for the body text.