The Advent Project is an online, multimedia advent calendar featuring 24 pieces of bite-sized art by different artists. Each day between December 1st and December 24th, users unlock a new, short piece of media — songs, illustrations, stories, crafts, jokes, and more. This year’s calendar benefits The Community Justice Exchange, a non-profit dedicated to building a community-centered vision of justice.

The brand identity relies on two font families: Duplicate Sans by Christian Schwartz for body text and headings, and Matthew Butterick’s Triplicate (particularly the italic, non-monospaced variant) for captions and other supplemental text.

Each year’s calendar features a completely new identity and site design. Further, each of the year's 24 artwork pages has its own color scheme, inspired by the tone and content of the piece. All of these pages are anchored by the same type — giving the site a consistent user experience, while pulling focus away from the project brand and on to the piece itself.

Designed and developed by Austin Heller and Tim Jacques; additional design and development by Emily Sanford and Lori Buchanan.

From Malmsten Hellberg:

Lucky One is a new feature film by Mia Engberg, director of the acclaimed semi-documentary Belleville Baby. “The film takes place in Paris and at a secret place somewhere near you.” Malmsten Hellberg designed the titles and the international poster with an illustration by Rui Tenreiro.

Christian Schwartz’ Duplicate Sans – started as an attempt to recreate Antique Olive from memory – is used throughout.

Three years ago, a year after the tragic and unexpected passing of Jean-François Danquin, a character that was very important in my scholarship but also in my life, I took care of the design of a book displaying his whole tribal art collection. The book had two goals: being a worthy memory of him and his collection and being the catalog of the auction sale that was about to happen to disperse his massive gathering of statues, masks (over 300 pieces without ever stepping a foot on the African continent) and books into the hands of other collectors (hence the date and prices indicated).

The book is an heterogeneous mixture of studio pictures of the pieces, texts, private photographies, stamps, paintings, lists … If I would have designed it in the 1970s or 1980s I would probably have used typefaces like Jacno, Vendôme, or Antique Olive, that were highly popular at the time. But as I was designing it in the 2010s I rather chose Framboisier (a typeface based on Jacno’s work designed with Dorine Sauzet for an exhibition) for titles and paratext elements, Duplicate Sans by Christian Schwartz for the numerous captions, and the still-unreleased Ganeau Book by Sandrine Nugue for written texts by or about Danquin.

Éditions Vivement Dimanche / 240 pages / 20×26.5 cm [see an extract online]

PS: This book is the first of the Collection(s) Danquin series, the second one being Accumulation de plaques publicitaires émaillées (about his enamel plates collection) designed by Michelines. The third one remains to be published.

Jean-François Danquin is pictured in front of his (almost) whole collection at the beginning of the book facing the title page.

I designed a map to locate every tribe featured in the book. Current African borders are indicated.

The introductory texts are set in Ganeau Book roman with a Framboisier drop cap.

The book features some pictures of Danquin’s playing with his pieces that we found in his photo books.

Danquin was particularly fond of Gelede masks from the Yoruba tribe. A whole section of the book is dedicated to them.

As Danquin was not only collecting tribal art pieces but a lot of others things too, we included some stamps from his collection where appropriate.

Danquin was a painter. Here’s a self portrait of him showing the Igbo statue shown on the left page. There’s several of his paintings in the book.

Extracts from Danquin’s writings from a previous book scour the book. They are set in Ganeau Book italic.

Framboisier was used for the page number and the running tribe identifier on the bottom of each page.

The book was designed with a structured but flexible grid allowing a lot of different picture layouts.

Black and white pictures indicate pieces from his collection that weren’t for sale because they were offered to some of his relatives and friends, lost, or buried with him. A lot of time has been dedicated to make sure the black and white wasn’t too flat and paid proper homage to these pieces.

The huge bibliography (over 1,500 references) featured at the end of the catalog was quite a challenge. I used Regular Expressions to design it (almost) automatically!

The endpaper was made out of some Danquin’s scribbles that we found on a loose sheet of paper. I shaped them to pay homage to Tintin’s endpapers (he was a big fan of it) and added his signature at the bottom.

Since September 2011 Fast Company, an American business magazine with a focus on technology and design, is doing well with TypeMates’ space-efficient Meret Pro for text.
Not using the Book weight​ but the lighter Regular gives the layout of Fast Company magazine a fair and fresh feeling.

Alongside Meret, three typeface families from Commercial Type are doing the main work of editorial design: Custom tailored condensed sans serif Kaiser (available as Kommissar) and Antique Olive flavoured Zizou Sans and Slab (renamed for the retail release to Duplicate Sans and Slab).

Besides performing their fixed tasks in the typographical hierarchy, every now and then all typefaces are used for different sizes as well: e.g. for slide-in quotes in layouts or subtitles on the cover, depending on issue and topic.

Aperture:

In this series, Aperture Foundation works with the world’s top photographers to distill their creative approaches, teachings, and insights on photography—offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer.

The entirety of the series is set in Duplicate Sans, Christian Schwartz’s take on Excoffon's classic Antique Olive. The clean layouts let the photography do most of the talking, letting the type sit back and create a warm and welcoming environment.

Good Behavior is an Ann Arbour based design studio using the Duplicate family for their brand identity. The logotype uses the alternate set 1 with the cursive ‘a’. Duplicate is probably my favorite of all of Christian Schwartz’s amazing work but is seen in use rather rarely. It began as a redrawing of Roger Excoffon’s iconic Antique Olive from memory but became a robust super family in its own right with Sans, Slab and Ionic variants. It was originally commisioned for Fast Company magazine where it was called “Zizou”.

Cover. Logo redesign by Jim Parkinson. 

The Paper: a weekly roundup of news (the only page using Benton Sans).

FOB news opener. The fonts in use are Zizou Slab and Zizou Sans. They were later named to Duplicate.

Column.

Feature opener.

Feature opener.

Dept opener.

Glossary (Back Page), set in the style of a type specimen. 

Cover. 

Reviews dept. opener