Magazine ad for fluoridated toothpaste by the Colgate-Palmolive Company, 1972.

The display font is Twentieth Century Ultrabold. This weight of Monotype’s copy of Futura is distinguished by the straight section in the bottom right part of G. The copy is set in what looks like Century Schoolbook. The short arm on the f and the compact fl ligature can be found in Intertype’s version.

In the beginning of 2018 Texas Monthly launched its redesign, both in print and online. The goal was “to better capture the beauty and variety of Texas, in all its bright, zany glory.”

The redesign intended to bring a more appealing and clean look with a generous use of white space, allowing photographs and illustrations space to shine. Sections were reorganised and adjustments were made to improve legibility and navigation in the magazine.

And when it comes to the magazine and the website we can now answer, with great confidence, Yes, they are beautiful enough. In both mediums we’ve done a great deal of work to make Texas Monthly visually more appealing. Most noticeably, we’ve brought in new typefaces and added more white space to allow our gorgeous photos and illustrations to shine. Words are still important—of paramount importance—to us, but readers will no longer be faced with the monolithic walls of type that too often dominated our layouts.
–– TexasMonthly.com

The typefaces chosen are R-Typography's Grifo and Grifinito for headlines, while Hoefler & Co’s Chronicle, Ringside and Verlag are used in body copy and leads.

New website on the left, old website on the right.

La Gazzetta dello Sport was redesigned in 2008 by Cases i Associats and Pablo Ruiz (former senior designer at Cases i Associats and founding partner of R2 Media Factory). The designers were contacted a few years later for polishing the design and this time they choose Tablet Gothic. TypeTogether’s typeface is used for almost everything except the body copy.

The story of the redesign can be read on the TypeTogether website.

Designed by Emily Suber, then art director at Kino Lorber, with an illustration by Michael DeWeese.

This alternate poster was used a lot at theatres around NYC.

“The stamp features a photograph by West Virginia photographer Roger Spencer showing an early morning view looking east from the Highland Scenic Highway (Route 150) in Pocahontas County, West Virginia, within Monongahela National Forest. Greg Breeding [of Virginia] served as art director.” — USPS

Read more about the stamp at Beyond the Perf.

Didones are usually associated with fashion magazines, so it is somewhat surprising to see Ambroise replace the rugged, mechanical type we’re used to seeing in Wired. Claudia de Almeida, who is responsible for the redesign, agrees that the choice is unexpected. I am all for the unexpected, and don’t want to fuel stereotypes, but when I look at these pages I can’t help but think they belong in the lifestyle, fashion, and women’s sections of the newsstand. I wonder: Is Wired trying to broaden its readership? Does this represent an even more fundamental shift in the brand? Or is this simply a standard magazine refresh?

On the other hand, some treatments have a news mag vibe. And the combination of Ambroise with the machined squareness of Tungsten and FF Oxide do keep things from getting too frilly for the subject matter. Perhaps the unexpected is exactly the right choice after all.

De Almeida doesn’t skimp on typefaces. I count five in this column alone. Not sure what the bulbous thing is for “Mat Honan”.

The text face is Exchange, originally designed for the Wall Street Journal by H&FJ and not part of their standard retail library.