For Kin (2026), Tayari Jones presents a striking cover designed by John Gall, published by Alfred A. Knopf and selected for Oprah’s Book Club. The design is set entirely in Etna X Condensed by Mark Simonson Studio—title, author name, and cover blurb unified in a single typeface.

What makes the cover memorable is how the floral illustration weaves through the letterforms until type and image become inseparable. Etna X Condensed’s high contrast and flared terminals hold their own against the density of the flowers—the two elements reading as one rather than layered on top of each other.

The Oprah’s Book Club sticker features Miller Display, designed by Matthew Carter for Carter & Cone.

Murcia-based studio Rubio & del Amo designed the visual identity and packaging for Harinas La Encarnación, a Spanish flour producer known for its artisanal quality product. Using Miller Display from Carter & Cone, the design captures a level of elegance rarely seen in such a humble category. The design also includes Helvetica in use on the back for some content and nutritional details.

Large, confident typography dominates each bag, paired with a pointillist illustration of a soaring bird—a symbol of tradition and care from the area it is produced. The restrained palette of earthy tones and matte finishes conveys both craft and sophistication.

It’s a perfect marriage of form and function: striking enough to stand tall in a bakery, but completely grounded in typographic precision. Easily among the most beautifully designed flour packages ever produced.

See the entire project on Rubio & del Amo’s site.
Hat tip to Brand New.

Friend.com blog

Friend is a San Francisco-based AI hardware startup company. Moving away from the clean, precise Neo-grotesques typical of 2010s Silicon Valley, the Friend website opens with Miller and Miller Display – a serif typeface family with strong print and literary connotations. Completing the look, its product visuals feature ample natural lighting, people in sportswear, and A24-esque cinematography (product trailer).

The small text (“terms & conditions”, “privacy policy”, etc.) tucked away in the corners gives away the fact that Friend is still a tech company, as it is set in Favorit – a longtime tech darling.

Friend.com homepage.

Actual product rendering. Stripe Checkout handles the actual pre-ordering experience.

Miller Display in use for the main and end titles of Scenes from a Marriage.

This TV drama miniseries is a remake of the 1973 Swedish miniseries of the same name by Ingmar Bergman. Developed, written and directed by Hagai Levi and starring Oscar Isaac and Jessica Chastain, it premiered on September 12, 2021 on HBO.

Daxton is a 151-room high-end hotel conceived by entrepreneur Mark Mitchell and partner Aparium Hotel Group in Birmingham, MI—a vibrant downtown outside Detroit. Its striking interior is a fearless take on modern luxe, with over 400 original pieces of avant-garde artworks curated by Saatchi Art, from artists both local and international.

With a lobby bar encased by a sprawling metal geode and mixed-media pieces like a mechanical gold horse, the experience is one of refined escapism. The fusion of dreams and reality that defines the interior also informed the branding, which blends an edgy wit with a modern sophistication. From its global collaborations to its cultural partnerships and world-class restaurant, Daxton is Michigan’s young gun upending the status quo and taking a well-deserved place next to the international giants of luxury hospitality.

For Daxton’s logotype, Mucca customized a stencil-version of Miller Banner, and utilized various cuts of the Miller and Miller Display type series throughout the collateral, stationery and wayfinding.

Various Egyptienne Bold Condenseds have long been central to New York magazine’s design aesthetic, dating back to the issues that co-founder Milton Glaser art directed and continuing in contemporary print and web editions with readily-available digital interpretations.

For the magazine’s 50th anniversary issue (October 22, 2017), design director Tom Alberty and deputy art director Chris Cristiano expanded their typographic palette by commissioning a new, extra-narrow typeface in the style.

For the custom “NY Egyptienne Compressed”, XYZ Type’s Ben Kiel looked back to Schelter & Giesecke’s Halbfette Egyptienne (circa 1880) to return to the roots of a typeface which is generally seen through the lens of the PLINC version. An adapted version of custom typeface was publicly released under the new name Ballast, and Kiel shares more about the magazine’s commission in a journal post.

October 27, 2019 edition cover

Contemporary issues of New York magazine make liberal use of off-the-shelf Egyptienne Bold Condensed in print and web editions, tying in with the tradition that goes back to the early days of the magazine in the late 1960s.

February 1997 ft. Impact, FF Blur, and Franklin Gothic. Bryant’s #8 jersey would be a mainstay until 2006 when he switched to #24.

Slam magazine was started in 1994 by Publisher Dennis Page and Creative Director Don Morris at the now-defunct Harris Publications. Morris designed the current logo in 1996, based on Neville Brody’s FF Harlem. Cory Johnson (who later went to Vibe) was founding Editor-In-Chief.

The magazine looked to show a hip hop spin on basketball. When it came to design, everything from the distorted grunge era to stretched PC type to early 00s pixel/techno to Obama-era clarity has been covered in truckloads. The magazine is a great representation of the last 25 years of type trends (see all the covers at Fandom). Standouts include an odd version of House Industries's House Gothic 23 (maybe a very early version) and the timely Timmons NY/BWord combo (both by Pentagram’s Matt Willey).

Kobe Bryant was on the cover of Slam upwards of twenty times (Slam has collected all of them). Key career moments are highlighted, right on to Kobe’s mentorship of his daughter Gianna’s basketball team at Mamba Sports Academy.

February 2003, ft. Chalet Comprimé 1970 in use shortly after its release.

January 2000, ft. House Gothic 23, sometimes with the alternate straight-legged R and bearded G, plus Vineta for “KB8”.

March 1998 with more House Gothic 23 and Garage Gothic caps.

December 2008, with Champion Gothic, in all caps from several weights. “Special” fetaures Bello. Design by Stephen Goggi.

March 2019, with Timmons NY and BWord, both designed by Matt Willey.

April 2010, ft. United Sans in various weights and widths. The quote is set in all-caps Miller Display Italic. In supporting roles, more Vineta (stars) and Bello (URL). Design by Melissa Medvedich with photography by Martin Schoeller.

Special Edition 2016, ft. Tungsten and Gotham Ultra.

I still love how the Guardian used to look before their 2005 redesign, using Miller, very industrial, bold and tightly spaced Helvetica, and surprising amounts of white space for a newspaper.

Jonathan Safran Foer's 2002 parody of pretentious font writing is still, perhaps appropriately, one of the few pieces of the way it used to look hanging around as a pdf. It's still linked from an odd corner of the Guardian's website that I'm not sure is supposed to still exist. The heading is the display optical. (This is an extract from the Saturday culture and review supplement.)

The Guardian's banner used to be an attention-grabbing contrast of Garamond and Helvetica, created by David Hillman in 1988. The Garamond I've seen called ITC Garamond, and while close the 'T' isn't quite the same - custom redraw to match Helvetica's x-height? There's also small amounts of an agate font - it's just called "Agate" in the pdf metadata - that's some kind of News Gothic variant.

The opener page is almost exclusively set in Hobeaux Black, stacked and justified, with a rainbow gradient. Parentheses and quotes/apostrophes are taken from lighter weights of the 5-style family.

Just in time for OH no Type Co.’s first anniversary, founder James T. Edmondson’s “dreams are coming true, thanks to the brave designers at @NYMag.” The Culture Pages of New York’s Fall Preview issue 2016 are a celebration of his Hobeaux.

Credits: Thomas Alberty (Design Director), Randy Minor (Art Director), Chris Cristiano (Deputy Art Director), Miranda Dempster (Strategist Art Director), Stevie Remsberg (Art Production Manager), Aaron Garza (Designer).

The section titles are in gigantic Hobeaux Black, cropped and partly superimposed, sometimes rotated. The colored numbers and the authors’ names feature the Bold weight.

The pilcrow (¶) is a space-efficient means to mark paragraph breaks.

Hobeaux drop cap! Fun fact: “Loser” was released in 1993, just like Whale’s “Hobo Humpin Slobo Babe”.

Detail from the calendar. New York’s regular typefaces are Miller and Verlag.

Detail from a column in the Pop section

Specialized in communication and brand development Baker builds and redesigns business brands. On the firm’s website its work and philosophy is presented combining Miller Display for headlines, section headings and quotations with Georgia Pro for continuous text as well as Graphik in different variations for the rest like headings and navigation.

App colors change with the temperature

Weather Simple is exactly that; a simple and beautifully designed mobile weather app for your iPhone. Detailed forecast descriptions, stunning icons, and rich typography set Weather Simple apart from other complicated weather apps.

Miller Display Light and Miller Text Roman were used to showcase the most important weather information; the current temperature and the main forecast descriptions. Neue Helvetica complements the serif, is native to iOS, and is used to display weather data and secondary information.

Main forecast screen

Hourly breakout

Contrary to the fast-paced news industry The Slow Journalism Company — publisher of the Delayed Gratification magazine — stands for a decelerated but comprehensive and final reporting.

London based graphic and web design agency C2 Clear Creative designed an easy to understand website for the company using Miller Display for headings, ITC Franklin for sub-headings and short text passages and Georgia for continuous text.

The fashionable appearance of Vogue Japan’s website is especially due to the use of Miller Display for headlines, Avenir for section headings and subheadings as well as Gothic MB101 and Hiragino Kaku Gothic for Japanese text.

Design agency Hail Design created the web presentation for the (property) finance service Aviser Finance using Miller Display for headlines, highlighted statements and quotations, Alright Sans for section heads, subheadings and short text passages as well as Benton Sans RE for continuous text.

Miller Display and Lake Bell for New York Magazine.