A few interior pages and details from the magazine Dinero (“Money”) published in Mexico by Grupo Expansión. Art directed by Óscar Yáñez, it used Borges in the main text, Borges Poema for special titles, Fedra Sans for intros and other details, and Stag for key numbers. The cover likewise features Stag, together with Auto and Futura.

Flama and Stag are the fonts used by Diario de Navarra, a local newspaper based in Pamplona, region of Navarre, Spain. It is also a graphic project designed by errea comunicación years ago.

In 2020, this newspaper trusted us and gave us two columns of its space for a new proposal: a visual diary of our quarantaine. Spain is one of the countries most affected by the Covid-19 pandemic. Our goal is to talk visually how this affect to our lives. Working from home has become as exciting as being in a big data newsroom. It helps us to be creative and strong as a design team. See this project on www.cuarentenavisual.com.

How has the coronavirus infected the other news in the cover newspaper that we read every morning? How many steps do we take and count every day? How may times do we say “I love you” or “leave me alone” to our partner living 24/7 together? How many seeds did we find in a 1 kilo rice bag?

Te Reo Māori educational resource that focuses on the events of the 1981 Springbok tour of New Zealand. The resource was designed to engage year 11–13 students and provoke them to explore the concept of social consciousness, while improving their research and literacy skills.

The typeface selection was unbound by any identity guidelines. A custom font wasn't an option within the budget (and skill levels!), so Brush Up was selected to represent the protesters’ hand-painted signs that were a symbol of the tour. Jockey was chosen for its bold geometric quirkiness, and was used to avoid hand-painted overkill from Brush Up for secondary headers and infographics. Stag’s texture felt right for the running text in the students’ resource, and Graphik was used for the complimentary captions and instructional text within the teacher’s guide.

The full kit includes a class set of student resource books (Te Reo Māori), teacher resource (bilingual) with picture card pack, DVDs of Patu! and Try Revolution, and the containing box. Published by Huia, the book won the Edify Award for Best Educational Book 2017 in the PANZ Book Design Awards.

A book by Bonnie Siegler “offering an invaluable step-by-step guide to how to talk so creatives will listen, and how to listen when creatives talk.” [Google Books]

Front cover makes use of Font Bureau’s Titling Gothic. Credits are set in Neutraface No. 2. Table of contents make use of two different widths of Rhode. Chapter body text uses Stag.

“It’s Complicated Being a Wizard”, Double IPA @ 8% ABV

Two labels with line illustrations designed by Steve G. McDonald for the Burlington Beer Company in Williston, Vermont. The typography pairs Stag and Klinic Slab.

“Uncanny Valley”, IPA @ 7.0 ABV

Geared campaign by Popular Mechanics and American Hiking Society.

Fulton & Roark crafts high quality grooming products specifically built for the way men operate. Their products are designed around the details that shape the lives of men; from the dimensions of the pockets in a pair of trousers, to the requirements of a global traveler, and even to the real estate around a bathroom sink. Source: http://www.fultonandroark.com/about/

Book series with quick introductions into the works of Nietzsche, Mozart, Dostoyefski, Kafka. Doğan Kitap, 2013–14

This is probably the largest sighting of Frode Helland’s Aften Screen (designed for small sizes on screen) I’ve come across to date — 20 px for body copy and 72 px for the title. Dan(iel) Mall uses it as the primary typeface for the article section of his website, and it reads very well, due to the typeface and good writing. (For reading I preferred it scaled down one cmd– on my small screen and at a moderate reading distance, though.) (And I might have negatively tracked the big headline by a px or two to give it more punch.)

Looking around you can see Aften Screen accompanied by a bunch of other fonts: below the article by some small Trebuchet and compact Urbana, linking to other articles, and Neue Helvetica plus Georgia in the Disqus comments. I almost didn’t recognize meager-looking Georgia there though. Subpixel-antialiasing is turned off in this section, probably from the Disqus side by default. As the cherry on the right top, there is Stag (VERY) Bold for navigation.

It’s clear, Dan Mall loves typefaces, and he loves to experiment with them. 

Inventing the Modern World, by J Busch and C Futter, a catalog for an exhibition of artifacts from World's Fairs. The light version of Stag isn't seen as often as bolder weights.

Images below are from MGMT.

The Cincinnati magazine logo is a heavily modified ITC Clearface Black. Most 2012 covers also used Antenna, but the November issue introduces Stag.

Carrois Type Design:

The italic Stag by Christian Schwartz makes the leap from modernity towards appetizing. Purple and brown work in their particular combination, of course, and form a design exception to the green-dominated organic shelf.

See more Herzberger on Fonts In Use »

Herzberger bakery bread crumbs

“The new design of High Times is more confident in its appearance, both reflecting the brand’s authority of the subject matter and longevity in the community. The type palette aims to be confident, utilitarian, and timeless.”

Sauna, a warm and friendly typeface from the Dutch type foundry Underware, was rejected in an alternative design direction proposal early in the redesign process, but found a home in the reader-favorite “Pot 40” column.

from Herzberger bakery