Isometric designed a new brand identity to foreground the ethos and work of the Center for Reproductive Rights. Its visual specificity and editorial elegance appropriately communicate the bold vision, rigor, and sophistication of a respected global legal entity at the forefront of reproductive rights advocacy. Nonprofit communications typically raise funds by depicting people as powerless victims in need of saviors. While the Center certainly responds to urgent issues around the world, its brand depicts people and their stories with dignity and agency, emphasizing the power of the rule of law to make long-term structural impacts.

The principal typeface, Lyon Display, is deployed in large and staggered formats to create active yet dignified compositions that represent the importance of legal structures and activism. The secondary typeface, Agipo, is used to create a sense of humanist heritage with a contemporary edge. GT America Mono is used for captions, offering a sense of empirical importance.

The Pioneering Women of American Architecture website is a collection of in-depth profiles of women who have made important contributions to American architecture. Designed by Yay Brigade, the website is set in Utopia in tight combination with JAF Facit and Lora. Utopia is used for the headings and display sizes; Facit is for the UI elements, info graphics and small notes; Lora for the body text. The typefaces – particularly Utopia and JAF Facit – share similar attributes such as somewhat narrow proportions and slightly squarish bowls. The typography of the website is a good example of how several type families are combined effectively. This website was nominated for a Webby Award 2018.

We worked with the Beverly Willis Architecture Foundation to create a website that celebrates women who were trailblazers in the field of architecture. The site’s navigation allows readers to browse the women’s profiles alphabetically, chronologically, and pictorially. Each profile—written by a leading architectural scholar—features an in-depth essay alongside bibliographical information and archival photographs. It was important for us treat the typography with a very considered “print sensibility.” We even wrote a few lines of JavaScript to prevent pesky (typographic) widows from ruining it all. — yaybrigade.com/work

A use of Output Sans for headline and text, with special emphasis made to use a Stylistic Set variant for text, for the annual report of the Trinidad & Tobago Housing Development Corporation (HDC).

The HDC is an Agency of the Ministry of Housing & Urban Development and has been in the business of providing critical housing assistance, through an aggressive construction programme.

In fall 2018, Narrative rebuilt the visual identity of the journalism school École W.
We created a graphic charter and redesigned the logo for a more distinctive and dynamic communication. It draws on web interfaces to refer to the school’s teachings.

NewParis Skyline, from Swiss Typefaces, and Interstate, designed by Tobias Frere-Jones, are used on all media.

Series page and viewer.

As the producer of a number of well-known series — including the world’s longest running showcase of documentaries on television, POV — the brand of American Documentary itself had historically taken a back seat to its series. In order to elevate American Documentary as a consumer identifiable organization in its own right, Type/Code created a logotype set in Commercial Type's Dala Floda that stands in stark visual contrast to the branding of American Documentary’s series.

That new wordmark lives in a complementary brand environment that features Schick Toikka’s Noe Display and Noe Text for headlines and body text respectively, and Sharp Type’s Sharp Grotesk 19 & 20 for navigation and informational text. Combined with a flexible color palette, the effect is a recognizable ecosystem that plays nicely with a wide array of original media and artwork from disparate filmmakers and styles, while giving American Documentary an authentic voice.

As of early 2018, American Documentary hosted an enormous corpus of content, distributed piecemeal across American Documentary’s own website, its subsidiary Community Network, and PBS’ streaming platform. These properties, built on content management systems not designed for creating editorial experiences, did a poor job of making films and their tangent resources available to both the wider public and to employees.

The new web platform strives to aggregate all of this content, and nests it under clear and actionable navigation items. The navigation prioritizes categories like “Watch” and “Engage” — allowing users to explore American Documentary’s full array of media, agnostic to its broadcast origin. The other half of the navigation scheme leverages American Documentary’s most recognizable series — POV and America Reframed — to give users direct access to media they may have seen over broadcast. Elevating series also allowed American Documentary to more overtly identify itself as the parent of POV — a series long thought to be its own, independent entity — and to introduce its Interactives division as a new series of content on par with POV and America Reframed.

Visit the case study at Type/Code for more information.

Logotype, website text style guide and color palette.

Homepage.

Film page.

Watch index page.

NYC design studio Partner & Partners worked with Freshkills Park to design and illustrate a publication concerning the history of the former Freshkills landfill and its massive transformation to a 2,200-acre park.

The colorful leaflet, punctuated by cute illustrations of the park’s fauna and flora, is mostly set with Optimo’s Media and Production Type’s Proto Grotesk.

ReflectUS —

is a nonpartisan coalition of eight leading women’s political organizations working together to increase the number of women in office and achieve equal representation across the ideological, racial, ethnic and geographic spectrum. Joining forces as a record number of women are poised to run for office in the 2018 elections and beyond, our organizations – Empowered Women, Higher Heights, IGNITE, LatinasRepresent, RepresentWomen, She Should Run, VoteRunLead and Women Influencers Network – are taking action because we refuse to wait any longer for representation in the 520,000 elected offices across the United States.

The visual identity was designed by Paula Scher and her team at Pentagram, using Josh Finklea’s Centra No.2 (Sharp Type) as primary branding typeface.

Under the Tree’s opening page

Under the Tree is a web documentary miniseries highlighting the work of three community led organizations in Uganda, Kenya, and Tanzania. From building an all girls school to providing healthcare in a rural village, it’s an intimate portrait of the people behind these efforts. The project was completed in partnership with the global nonprofit, Mama Hope.

Under the Tree was created by the designer/filmmaker Ryan LeCluyse. He and designer/developer David Gouch also created the primary platform for the series: underthetree.mamahope.org

The design of the website is just as important to telling the stories as the films themselves. Text interludes are interspersed between films to provide further context and a narrative bridge. Farnham (Display Light, in particular) is a typeface that reveals its beauty at a large scale. It is vital in creating arresting section titles. Open Sans, on the other hand, is versatile and simple, yet also has a flavor of its own. It is used to handle all of the other type styles on the site, from dense copy to all-cap subtitles. These two typefaces and LeCluyse’s photography provide the foundation for the series’ unique visual style.

The title card from Episode 2, The Holy Lie

Film stills from Episode 2, The Holy Lie

Credits section and preview of Episode 3

Gotham for UI elements, Quarto for display headings, Mercury for small headings and body text, and Sentinel for large attention-grabbing blockquotes round out a full set of typographic elements.

Thank you cards

Colfax was selected for the NewSpring rebrand due to how friendly it felt. Before we had typefaces that were more cold and we thought the roundness of Colfax felt more approachable. The double story ‘a’ is one of the characters that we loved when we started setting type with it. Meta Serif felt like a good secondary/body copy weight to use for print pieces such as our books & website. The two married well together and brought a lot more warmth throughout our new brand system.

See more of this project on newspring.cc and read Armin Vit’s review on Brand New.

Parking lot signage

Metal Colfax type on the awning of the Anderson location.

Colfax is the main typeface used throughout the brand. Starting with the mark and throughout all print collateral.

Monument sign into the central offices

Colfax and Meta Serif used on www.newspring.cc.

“IsGlobal is a research center based in Barcelona that operates all over the world. Its main objective is to eradicate malaria in developing countries. The project consisted of creating a distinct identity and visual code to reflect the organization’s sincerity and avant-garde nature.” — Mucho

A statistical representation of 20 years in FontShop history. Interactive version.

Nicholas Felton:

The project started by defining an exhaustive list of statistics we might be able to explore that was winnowed down to the most compelling, unexpected and visually engaging options. We were able to determine the weight of all the FontBooks produced over the last 2 decades (126 tons), create a taxonomy of the symbols in FF Dingbats 2.0 and reveal the success of the OpenType font format in 2009 as it overtook PostScript and TrueType sales. One of my favorite explorations manages to be rigorous and light-hearted at the same time … a map of all the typefaces that reference geography which recalls the first Macintosh typefaces (Chicago, New York, San Francisco, etc.) and collectively displays a range of fonts with city, state, country, continent and ocean names.

Don’t worry about the relationship between the EU and Greece. They are so tight the European Commission even asked a Greek type foundry, Parachute, to develop their identity typeface.

The European Commission is the executive body of the European Union. Recently it started implementing a corporate rebranding by redesigning its logo and changing its typography. PF Square Sans Pro was selected to become its official typeface. Parachute was asked to develop a customized version exclusively for the European Commission. The new typeface already appears in the EC’s new logo in various languages. Slowly, the Commission will redesign all the documents in more that 400 departments and replace the old fonts with the new ones, in an attempt to unify its identity. Finally, the new typeface will be used in the Commission’s website and subdomains.