Palisades Parks Conservancy tasked Order with creating a series of icons for Fort Lee Historic Park to illustrate the parks’ features to its many annual visitors.

Developed alongside a comprehensive signage system, the design takes inspiration from the park’s primary typeface, Interstate by Frere-Jones Type. Icons were constructed with legibility in mind, designed to communicate across a range of languages, scales, and applications.

Fort Lee Historic Park is a cliff-top park in Fort Lee, New Jersey, that features scenic overlooks of the George Washington Bridge and the Hudson River, along with a reconstructed 18th-century Revolutionary War encampment. It includes a Visitor Center with exhibits, reconstructed barracks, and batteries, and is situated on 33 acres of land that served as a key defensive position for General Washington’s army in 1776.

Karen LaMonte is an American artist and sculptor whose 30-year career has spanned an astounding range of mediums, from paper to glass, porcelain, marble, and bronze.

The Munson Museum of Art organized a retrospective of her work, which featured pieces from her personal studio, many of which were on view for the first time.

Order created a visual identity for the exhibition, which premiered in the summer of 2025. Etude, designed in 2022 by Emily Atwood for Order Type Foundry, was selected as the primary typeface for the exhibition. Its stenciled design echoes carved material, capturing the ever-present relationship between positive and negative forms in LaMonte’s work.

Munson’s house typeface, Munson Grotesque, is used for supporting copy. A light weight was selected for its similarities to Etude. Both typefaces were designed by Emily Atwood.

In 1993, Texas Is the Reason guitarist Norman Brannon founded a fanzine called Anti-Matter, one that not only featured interviews with members of Fugazi, Rage Against the Machine, Rancid, Sunny Day Real Estate, and Sick of It All, but also actively countered the overt machismo that characterized much of the hardcore scene. In 2023, he brought it back to life as Substack.

On instagram, Anti-Matter regularly shares excerpts from exchanges with musicians, accompanied by black-and-white photographs.

For the visual identity of Anti-Matter, Jesse Reed of Order used Exposure, designed by Federico Parra-Barrios and distributed by 205TF.

The Palisades Parks Conservancy provides programming and assistance to over 25 parks and historic sites across New York and New Jersey.

To more accurately reflect their mission to preserve, protect, and support the parks, the organisation recently asked Order to update their identity. Their new branding pairs Esperanza Headline and Esperanza Stencil from Labor & Wait with Founders Grotesk from Klim Type Foundry.

From Order:

The Conservancy traces its roots to 1900, when the Governors of New York and New Jersey first took action to protect the Palisades Cliffs from mining. Since then, the Parks region has grown to encompass over 130,000 acres along the Hudson River Valley.

The symbol is derived from the pitch pine, a hearty and resilient tree that is native to the Parks region. As seed transmitters, the pitch pine's pine cones provide food for animals and help generate forest growth.

Esperanza Headline is used for most applications and is supported by its sister cut, Esperanza Stencil, for more expressive uses. Founders Grotesk provides clarity and contrast at smaller scales.

Re:Beach is the City of Oceanside’s (CA) Coastal Resilience Competition, bringing together three design teams from around the world to develop innovative sand retention pilot projects. One team and their winning design will be selected to move into final engineering and permitting at the completion of the competition.

To design the identity of Re:Beach, the graphic design studio Order used Colonel Sharp by Damien Gautier (205TF). According to Order, Colonel “was chosen because of its relationship to beach signage, typically spray painted to identify safety concerns or critical information.”

Standards Manual is an independent publishing imprint founded by designers Jesse Reed and Hamish Smyth in New York City in 2014.

The website and some of the publications feature the monospaced Pitch by Klim Type Foundry as well as Standards Manual’s own NYCTA Standard typeface. The latter was drawn by Nick Sherman, derived from the typeface originally used for the New York City public transit system, Standard Medium (known as Akzidenz-Grotesk halbfett in Germany).

From the digital type specimen:

The NYCTA Standard typeface is based specifically on the glyph designs and spacing system shown in the 1970 New York City Transit Authority Graphics Standards Manual. Digital versions of the Standard typeface (or Akzidenz Grotesk, as it was also historically known) existed previously, but the digital NYCTA Standard font focuses on the design as it was rationalized and presented by Unimark International for implementation in the NYCTA’s signage system. The new font began as a literal digitization experiment in February 2013, based on images of the Manual provided by Jesse Reed and Hamish Smyth. Despite various eccentricities in some letter­forms and their spacing, the digitization remains very faithful to what was presented in the original Manual.

New York City Transit Authority: Objects, 2017. Design by Order.

New York City Transit Authority: Objects, 2017. Design by Order.

The New York Subway Debate, 2021. Design by Order.

For Promotional Use Only is a collection of film promotion memorabilia from A24 featuring over 160 artifacts from Hollywood marketing excess and ingenuity.

Order worked with the A24 team and photographer Brian Kelley to document and chronicle this unique collection celebrating the boom-era of movie promo from 1975 to 2005.

Words from A24:

A Twister neck tie. A Stepford Wives frisbee. An embroidered satin jacket for The Color Purple.

With these and 160+ more artifacts of Hollywood marketing excess and ingenuity, For Promotional Use Only celebrates the boom-era of movie promo from 1975-2005. Featuring a foreword by Roger Corman, an essay by Lindsay Zoladz, and an oral history by Caroline Golum.

8.5×11 in., two-color silkscreened buckram cover, silkscreened clear PVC jacket, 236 p.

Skateyogi is a skateboard school based in Brooklyn, NY that brings camps, classes, and lessons to all age groups.

Brooklyn-based Order created a logo and brand system with Irregardless from OH no Type Co at its heart that perfectly matches the vibe of the school. The type kicks and ollies across the page; used as a frame or a backdrop for photography, or just by itself. Though the type treatment is electric when animated — as it is on social media posts — even in "still" applications the type feels like it is in constant motion.

Irregardless is supported by Good Sans from Good Type Foundry for informative text.

From Order:

To mark the opening of their new Williamsburg location, Order created an identity that echos the movement and expression found in skateboarding. The vibrant, type-driven identity system celebrates the values of the Skateyogi community and captures their inclusive approach to learning.

Being an Order project, of course it has a totally rad identity guidelines book that is a design object onto itself!

Gage & Tollner was a beloved landmark of Brooklyn’s fine dining scene for over a century, an oyster and steak restaurant operating continuously from 1879 to 2004. In the decade after it closed, the space fell into disrepair and was occupied by a clothing store, a TGI Fridays, and an Arby’s.

In a successful 2018 crowdfunding effort, restaurateurs Sohui Kim, Ben Schneider, and St. John Frizell raised enough money to restore the space in hopes of reviving the restaurant. After the meticulous restoration of the space and development of a menu honoring the restaurant’s history, the new incarnation of Gage & Tollner had its soft opening in February 2020, before temporarily closing due to the pandemic. It reopened fully in April 2021.

Order designed a broad-ranging identity system for the restaurant, paying homage to its long history. They write in their case study:

From the outset, we decided that we wanted to try and bring back the original feeling of the restaurant’s branding, but updated for the 21st century.

Over the years Gage & Tollner used several different logos. The original window lettering was distinctive, but was not found on any other materials. Our research showed the oldest printed logo the restaurant used was set in a typeface named Art Gothic.

Rather than working with one of the lumpy digital versions of Art Gothic currently available, Order commissioned custom lettering from Jesse Ragan of XYZ Type for the logotype. The crisp digital rendering of the typeface was drawn from scratch based on specimens from American Type Founders, its ampersand significantly re-proportioned while retaining the structure of the original.

Continuing the homage to period typography, Order chose a serif and sans pairing for extensive use:

The 1890 menu served as a starting point for the new typographic system.

De Vinne, based on Bruce Foundry No. 11 c. 1860 was chosen as a “Modern” typeface that resembled the fonts used in the early menus.

Proto Grotesk from Production Type was selected to be used when bolder type was needed. Its forms are reminiscent of turn of the century sans serifs that oscillate between an Egyptian and Modern.

Order’s extensive case study of the project includes greater context and images of the historical menus and signage.

Wine cellar numbers are set in Proto Grotesk’s alternate numerals

Travis Fitzsimmons of Travis Signs applied the logo to the restaurant window in gold leaf—see a time lapse here.

TWK Everett is used as the sole typeface on the artwork for Fly Oblivion, the second full-length album by Brooklyn-based rock band Quicksilver Daydream. The artwork was designed by Order:

The lyrics for "Fly Oblivion" have repeating themes of reflection, planetary orbit, light, immortality, and weightlessness, to name a few. As a way to visualize these themes, we searched for imagery that looked surreal — depictions of reality that were distorted through an active process.

Everett was chosen because of its “mechanical” nuances (flattened points), resembling aeronautic spacecrafts.

The final packaging system is a combination of reflective, transparent, and tactile material — the results are only fully understood in physical form.

The entire album jacket is printed on reflective silver paper — this allows the listener to literally reflect on the lyrics.

Tape cassettes follow the same themes — fully transparent shells hide and reveal information as the tape is transferred from one spool to the other.

Italian Plate No1 in use for the book The Motorcycle: Design, Art, Desire, designed by Order Design for Phaidon.

An essential and compelling exploration of the design, history, and culture of the motorcycle — an icon of the machine age. The book includes over 400 motorcycles, photographs, and ephemera spread over six chapters. Order comments:

From non-profit design studio Civilla:

Civilla’s new primary typeface is Degular, designed by OHNO Type Foundry. Degular was chosen as a functional yet unorthodox font that represents the playful and kinda quirky spirit of Civilla. Lowercase headings and tight spacing are a nod to our previous logo and keep the ‘community’ of letters close together. Down to our type, we acknowledge that nothing big in the world has ever been done alone. Change is always supported by a collective.

Degular is used for headlines – all lowercase in logo and on the chronicle, Title Case on other brochures – and paired throughout with Work Sans by Wei Huang for text in smaller point sizes.

Żywieckie Suwakowanie is a trombone festival held annually in Żywiec, Poland. Over the course of a week in summer, national and international trombonists and tubists convene to exchange ideas and make music.

The type-based identity by Order draws from the movement, shape, and colours of the brass instruments, giving organisers a playful yet simple graphic palette to work with. The bell of a trombone was the starting point for the graphic system. Type is set in Di grotesk throughout.

Everett and Everett Mono were chosen by design studio Order for the visual identity and website of Breaker.

Formerly SingularDTV, Breaker's mission aims to evolve the entertainment industry with a decentralized ecosystem empowering creators to deliver a diverse collection of classic and original content.

The Breaker logo uses Eurostile.

From the Order website:

James Felton Keith is a Harlem-based entrepreneur, engineer, and community activist running for U.S. Congress in New York's 13th Disctrict. James, or JFK, is the first Black member of the LGBTQ community to run for federal office.

The identity for Keith’s campaign is a modular typographic system built around Mark Simonson’s HWT Konop typeface. The typeface was designed for the Hamilton Wood Type & Printing Museum to be produced as physical letterpress type, with each glyph designed in a square-based system so the wooden blocks can be rotated and locked up easily in a grid. As such, the digital version of the typeface can also be used for creating rotational grid-based systems, which Keith’s campaign takes advantage of for some of its materials.

Keith’s campaign website also uses Avenir as a secondary typeface for body type, etc.

RADAR is re-imagining RFID technology with a focus on the retail space.

For their identity, Order used GT Pressura to great effect.