For the September 2022 issue of Fast Company, Creative Director Mike Schnaidt and Design Director Alice Alves assembled a refined editorial palette to present the magazine’s annual “Most Creative People in Business” list, honoring innovators across technology, healthcare, entertainment, and design.

The cover prominently features Cosi Azure Bold and Black by Nikolas Type, whose sculptural elegance and crisp modulation bring a sense of clarity and authority to the key headlines. Article sublines are in Cosi Times. The magazine’s text typeface is a customized Meret from TypeMates, and the logo is based on R-Typography’s Grifo, see this post.

The typographic system of the special issue is complemented by PP Monument Extended Black (Pangram Pangram), A2 Beckett Light and Regular (A2-TYPE), and Centra No. 2 Bold (Sharp Type / Monotype), creating a balanced dialogue between expressive display forms and precise editorial text.

The italic is from Colophon’s Grenette.

Beastly (OH no Type Co.) is used for the initial. The text typeface is unidentified.

The initial Y is from Salvaje Display (Typozon).

Not three lost Marx Brothers but the keys – along with a grid-based layout and a lot more open space – to the redesigned v. 1.8 of music player Roon. There was something cluttered and fatigueing to the eye about the layouts and typefaces used for previous versions, which this redesign seems to have elegantly addressed. On their website, Roon write:

Roon now has a fresh new visual design that takes its inspiration from the idea of the museum – an airy, neutral environment in which to display things of beauty. We also took cues from classic music magazines, using bold typography and innovative layout to bring music to life. Along with innovations in data presentation, Roon is now a joy to use.

Headlines use the distinct Grifo; all information is set in a combination of two similar typefaces, Noto Sans and Lato.

A Casa e o mundo (“The world and the home”) is a book that presents a conversation between an architect, a psycho-analist and an artistic project. From the designer’s website:

This book is the result of a conversation between architect Manuel Aires Mateus, psychanalist Vasco Santos and the two members of the art project Musa Paradisíaca, which took place at the EDP headquarters building on September 23, 2018. The event was part of the Open House Lisbon/ Lisbon Architecture Triennal. The book includes the essay ‘The World and The Home’, by Homi K. Bhabha.

Designed by local designer Ana Teresa Ascenção, the book pairs Grifo from R-Typography with Circular from Lineto. Grifo is also in use as the brand typeface of Open House Lisbon. Courier (IBM) is used for marginal notes. Published in a limited edition by LATA ediçoes.

M Le Magazine du Monde is the weekly magazine by Le Monde newspaper. On the eighth anniversary occasion, in 2019, the magazine got a new look with new typography and new sections. Some time after the first issue of the redesigned magazine, its masthead was extended with the spindly Marian Black (Commercial Type).

The texts are set in Grifo while headlines are set in Grifito and Grifinito from R-typography, paired with Berthold’s Akzidenz-Grotesk Wide (page numbers, some lead paragraphs) and Akzidenz-Grotesk Condensed (headlines).

Label and packaging designed by After agency:

Raymi is a beer crafted with pure water provided by rain leaked through a mountain on the outside of the city of Cusco, a truly mystic and magical place. Old tales about Cusco mention that the city has the shape of a Puma, and that was our inspiration to use it a symbol of strength and elegance. We also design the bottle with trapezoidal forms as a way to allude the shape of the inca's stones.

The logo is based on Grifo. It’s paired with Quarion and Chronicle.

M Le Magazine Du Monde International is an annual English-language publication for the non-French readers of M Le Mag, a weekly magazine by Le Monde. The annual presents a selection of portraits and stories previously published in the weekly magazine.

The release of this initial issue coincides with the eighth anniversary of M Le Mag, an occasion that led to a restyling of the weekly publication, with new typography and new sections. The International issue comes in a bigger format, a special paper stock and a strong emphasis on photography, making it a cherished collector’s item.

The texts are set in Grifo while headlines are set in Grifito and Grifinito from R-typography, paired with Berthold Akzidenz Grotesk Wide (page numbers, some lead paragraphs) and Akzidenz Grotesk Condensed (headlines).

Lisboa City Council released their newly remodelled magazine, designed by editorial designer Vasco Ferreira together with the City Council’s brand and communication department. The publication is the main means of communication between the city hall and the residents, and it uses exclusively typefaces by R-Typography: Grifo, Grifito, and Grifinito.

R-Typography also made a custom script typeface called Lisboeta inspired by old store signs, for the magazine’s logo, page markers and titling. The main headlines are set in Grifo Combo, a specially-tailored all-caps font that “randomly” combines Grifo, Grifito and Grifinito. The cover of the second issue was illustrated by André Carrilho.

The last redesign of Fast Company, with creative direction by Mike Schnaidt, includes a new logo and an updated visual identity.

The new logo uses the Grifo typeface with a custom adjustments made by Rui Abreu from R‑typography, to harken back to the old Fast Company logo, designed by Jim Parkinson.

Mike Schnaidt:

The wisdom of the Fast Company brand is achieved visually through the extreme vertical contrast of our new letterforms, a strong characteristic of neoclassical typefaces. The new logo is modernized through the sharp triangular terminals on the letters, a technological achievement not possible in the earlier days of old-style serif type, which is what the original Fast Company logo was modeled after. […]

The backbone of our new suite of typefaces is Grifo, which was used to create our new logo as well. We selected Grifo for its versatility – depending on the weight and width of a chosen piece of text, Grifo can look elegant, bold, or even downright radical. Its name derives from the Portugese word for Griffin, the mythological half-lion, half-eagle creature with sharp talons–thus the sharp serifs of the typeface. Heavy metal, for sure.

Our sans serif font is Centra, which derives its humanist design from the classic typeface, Gill Sans. It follows the rigid Bauhaus approach to geometric type, yet bends the rules when necessary in favor of legibility. The result is a very readable typeface, accessible by all.

We have two other typefaces in the supporting role: our condensed font, A2 Beckett, and our monospaced font, Simple. Think of the previous two typefaces as our salt and pepper, and these two as the spices.

Enormous flowers, luscious color, and desert landscapes. Georgia O’Keeffe pioneered revolutionary ways of visually interpreting the world, leaving a lasting legacy for generations of viewers and artists. The Beyond: Georgia O’Keeffe and Contemporary Art brings together a significant group of O’Keeffe’s works as the centerpiece of an exploration of her continued force as a touchstone for contemporary art. Viewers encounter paintings and sculpture by this founder of American modernism alongside works by emerging artists that evoke and expand upon O’Keeffe’s enchanting artistic language. — ncartmuseum.org

The Beyond is an exhibition catalogue designed by Pentagram / Eddie Opara for a travelling art exhibition (organised by the Crystal Bridges Museum of American Art) that explores the links between the art of Georgia O’Keeffe and contemporary art. The catalogue shows works by O’Keeffe and others.

The design employs the graphic motif of a straight, centered line, suggesting a leap or shift from one perspective to another––from the representative to the abstract, from here to the intangible “beyond.” The typography mixes Marr Sans, an eccentric and sharp grotesque (designed by Commercial Type), with Grifo, an expressive, neoclassic serif (by R-Typography). — Pentagram

The Holiday Special of Bon Appétit magazine from December 2018 makes prominent use of Beatle (Lián Types, 2014), a contemporary homage to bottom-heavy scripts with high contrast like Gonzales Jeanette and Brandywine. In the words of type designer Maximiliano Sproviero:

What if Platt R. Spencer and Charles P. Zaner were born in mid-20th century? What if instead of Beethoven or Chopin they were fan of The Beatles or maybe The Mamas & the Papas? Beatle is what I think those masters would have made with their hands if they were influenced by music of our 60s. Letters shouting for peace, like a true hippie does, with a lot of elegance.

Beatle is paired with words that mix caps from Rui Abreu’s Grifo and its extra condensed companion, Grifinito (R-Typography, 2016–17). The sans serif is Futura PT. The Bon Appétit logo is custom. It was drawn by Tal Leming “for Alex Grossman’s 2011 redesign of the magazine. The initial version of the previous logo was developed by Matthew Lenning and Matthew Carter based on Zuzana Licko’s Mrs Eaves.”

Creative Director: Chris Cristiano
Art Director: Christa Guerra
Designer: Bryan Fountain
Art Assistant: Annalee Soskin
Illustrations: Jaya Nicely
Photography: Alex Lau
Food styling: Susan Spungen
Prop styling: Kalen Kaminski

Scandinavian Traveler is the in-flight magazine of Scandinavian Airlines (SAS) that replaced the former Scanorama in-flight magazine.

As Stefan Hedelius, Vice President, Brand and Marketing, SAS explains: “You want to do this to create an interest with the in-flight magazine to encourage travel. We produce a lifestyle and travel magazine, with interesting content. Most stories are connected to travel but not all. We include tech, fashion, design and also travel.”

Currently ST uses Grifo (R-typography) for the headlines and Lyon (Commercial Type) and Founders Grotesk (Klim) for the body copy and leads.

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.

Open House is an international architecture event with more than 35 participant cities in the world. In 2012, the Lisbon Architecture Triennale introduced Open House to Portugal, an event that has established itself as a reference in Lisbon.

The identity for the 2017 edition was design by Studio AH-HA, using the typefaces Grifo and Sul Sans.

Quinnipiac: The Lahey Years is a deluxe book designed by Pentagram that commemorates the work of John L. Lahey in the Quinnipiac University over the past 30 years:

The design employs a mix of typefaces from the new identity system, including the neoclassic serif Grifo, the modern san serif Atlas, and the text font Portrait.

Designed by Kenneth Deegan, Jack Collins at Pentagram
Eddie Opara — Partner In Charge/Designer
Brankica Harvey — Associate Partner/Designer
Pedro Mendes — Designer
Xingwei Huang — Design Intern

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