Drag, un art queer qui agite le monde (“Drag, a queer art shaking up the world”) is a book about the history of drag culture, written by Apolline Bazin. The titles are set in Sehnsucht (Marco Juan Lavandier, the designers of the book), the body text in Chronicle ​​​(Jonathan Hoefler), and the captions in a yet unidentified sans serif.

Description of the book by Éditions EPA (translated by DeepL):

This book looks at the history of drag and the place it occupies in our society today, highlighting figures who are popular or underground, festive or committed, consensual or radical, all of whom have changed things in their own way, between resistance, sublimation, humour and ferocity. Now an integral part of pop culture, drag remains in perpetual motion, showing us its incredible capacity for self-renewal.

From Dansens Hus:

Dansens Hus is Sweden's largest guest performance stage for contemporary dance. With us, you experience dance with all your senses, and take with you a love of the body's movements.

We present mainly contemporary Swedish and international dance and related performing arts of high quality. Here you can see contemporary companies and choreographers who have characterised the artistic expression of the last decades - and also those who will do so in the future.

From 2014 to 2022 Alias Cactus was used for headline text across posters, catalogues and social media, with Chronicle for supporting text.

The web page title plate combines Beastly with Right Grotesk Wide.

Texas Monthly’s 2021 edition of “The 50 Best BBQ Joints” features delectable food photography, not to mention some equally tasty type combinations utilizing fonts from OH no Type Co. (Beastly and Coniferous), Hoefler & Co (Chronicle and Ringside), and Pangram Pangram (Right Grotesk).

Design credits for this edition go to Emily Kimbro and Victoria Millner. Art production by Darice Chavira. Illustrations by Marianna Fierro. Photo editing by Claire Hogan and Kayla Miracle.

Restaurant review; captions are set in Ringside. On the left and right of the body text, information is set in two widths of Right Grotesk.

Detail: Coniferous is used for the restaurant locations. The joint’s name uses Beastly 12 Point – the smallest of Beastly’s nine optical sizes, originally intended to set quite small type.

The story’s main text is set in Chronicle – the drop cap is once again set in Beastly

Count down title cards, set in Right Grotesk Tight

The Grand America Hotel is the largest Forbes and AAA rated hotel in Salt Lake City, Utah. They are known for their luxury convention facilities, gracious accommodations, attention to detail and personalized service. All rooms and suites in their 24-story hotel feature handcrafted Richelieu furniture, original works of art, inviting balconies, and large Italian marble bathrooms. Floor-to-ceiling windows showcase breathtaking views of Salt Lake City and beautifully landscaped gardens.

Hint helped identify that their gracious accommodations, attention to detail and personalized service were not translating in their site experience. Our approach was based on three areas of focus: 1. Develop a strategic brand platform that embodied their luxurious in-person experience 2. Refresh their brand image through large impactful imagery. 3. Rebuild the website from the ground up with a responsive design.

Chronicle (Display and Text) and Brandon Grotesque work together to ground the clean design in classic sophistication. The page layout templates were created to adapt and update, yielding a lasting design for years to come.

Secret Societies examines the early development of the Sicilian-American criminal network through the rise and fall of the first US Mafia boss of bosses, Giuseppe Morello, and his powerful brother-in-law Ignazio Lupo. It does so through research from primary sources, richly illuminating the period of the 1890s–1920s using photos, documents, contemporary typography and illustrations. From publisher Gang Rule:

Through a combination of period photographs, government records, news clippings, Secret Societies permits the reader to witness the important moments and trends in the development of Sicilian-American organized crime in the United States.

Designed by Jon Black, using Gotham and Chronicle Text (both from Hoefler & Co) for headers. Body text is set in Ideal Sans, another Hoefler & Co. typeface family. Minion Caption is used for captions. The typography is enriched with source material typography on mug shots, newspaper headlines etcetera.

176 pages, A4 format, exposed smyth sewn binding

Let's make your space vibrate. Quite Nice is an interior design studio and shop located in Oakland, California. The shop curates a selection of vintage curiosities, with an emphasis on glass work that is both elegant, mesmerizing and at times kitschy. Quite Nice needed a brand identity that embodied the beauty of the objects and transformative joy of making a space ‘quite nice’. The logo is dynamic and textural acting both as a mark and a window into the reality of the studio.

The logotype has been customized based off of Chronicle Display Compressed, which is also used in large scale messaging as seen on the poster series. Where as, on the business card the font has been distorted and stretched to fit the space. The brand has an overall bold, Illusionist aesthetic taking inspiration from the glass work and weed culture. On the business card to elevate the elegance, while keeping to the modern look and feel Cardinal Italic is used contrasted by the bold, straightforward Neue Haas Grotesk.

View the entire project on Behance.

Andrés Requena developed this flexible type system for the Barcelona-based Casa de té, Sans & Sans. Though “Sans” is in the name (twice), Brandon Text is only employed as an all-caps supporting typeface, with Chronicle Display (usually the Condensed Light style) doing the heavy lifting. Courier is a tertiary font option for when small informational text is needed.

El cava elaborado en Requena is a compendium of more than 200 pages, celebrating 40 years of Cava production in Requena, written by José V. Guillem and illustrated by Miriam Ortega.

Our typeface selection was focused on getting a nice contrast between two classical fonts on the book block and an extra touch in the section titles. The pairing of Suisse Int’l and Chronicle (Text G1) along the text was OK for us, flexible to include a huge amount of text and consistent to keep a fresh visual identity we wanted to show. The use of Ogg Display Regular in a big size gave us this extra soft touch, some kind of chic façade if you want.

Printed in Gráficas River, Valencia, on different paper stock: Popset by Arjo Wiggins, Arena Rough by Fedrigoni, Matt 93 by Gmund Paper and Royal Blue by Colorplan.

F37 Bella by F37 Foundry is used in the “Rebalance” confectionery collection by Selfridges, the chain of high-end department stores in the United Kingdom.

From Selfridges:

The perfect complement to your active lifestyle, our Rebalance hamper is packed full of naturally sourced goodness. A health-conscious selection, you can enjoy all the benefits from our brand new super food range; from buckwheat granola to pumpkin seed butter and raw cacao biscuits to beet bars, these staples and snacks are full of nourishing properties with no shortage of flavour.

F37 Bella is used in all caps for the product names and also appears for the declaration of weight. It’s paired with Chronicle Italic for the formulas. The Rebalance wordmark is in caps from Brandon Grotesque Black.

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.

Sojourners’ recent extreme redesign – done by Metaleap Creative – is a bold step closer to representing the magazine’s true intent. A wide range of typefaces are utilized, including Chronicle for body text and Morion for headlines. As Metaleap puts it, the design is a step closer to Sojourners’ radical roots as a faith-based social justice magazine:

We were excited to uncover the design possibilities for this magazine, and to help Sojourners highlight their organization’s rich history, the variety of topics they cover, and the voice they have in Christian America. The magazine’s staff, a few of whom have been there since the very beginning, remarked that the Sojourners community is gritty, honest, and without frills. They aren’t afraid to put up a fight, stage a protest, or advocate for the unheard victim. The redesigned Sojourners Magazine looks raw and revolutionary, reminiscent of the magazine’s grassroots origins.

The bold wide grotesk used for the logo is unidentified, or custom. Additional typefaces include Mier A, which echoes the M with splayed legs as found in Morion, and ITC American Typewriter. The mix is spiced up with some Seladór.

Mobile view of the website, featuring Mier for the big section titles and, smaller, the author lines. ITC American Typewriter is used for the date, and Chronicle for text. Headings are rendered in American Typewriter Bold Condensed and Morion.

Reversed Seladór on a tote bag.

This is a project that design studio Pino took as a personal project. An exploration deep inside the intimacy of a family, a Sicilian family, to find the beauty of a way of life: quietness, purity and flavor. A restaurant in Barcelona that can speak by itself as a perfect circle.

All started some time ago. Once she retired as chef and closed her own Sicilian Restaurant Z'alia in San Giuseppe Jato near Palermo, Maria Brusca decided to come to Barcelona to open a new restaurant with her son, Peppe Palo. It was a kind of back to the past, as he started to learn cooking in that Sicilian restaurant when he was fifteen. After a bunch of years, they have opened this new adventure that Pino catalogued as “Another Story”; read in Sicilian is “Un’Altra Storia”, pretty similar to what we said in Catalán, “Una Altra Historia”.

Once the naming was clear, we started to think about where the stories are placed. Obviously, in the books. Then, we thought this new story, this ‘another story’ had to be written in a book. But, what story does make a restaurant? This was pretty obvious as well: the menu. We went to visit a pair of old bookshops to find some old Italian books, disassemble them and make new books combining blank pages with those pages extracted from the old books. Once we had those “new” books, the last part consisted in making some super-stamps in the Vostok Printing Shop with the current menu. This is the part we like the most; every time Maria and Peppe are changing the menu, we have to print a new stamp, take the books, look for a blank page on them and stamp the new menu that, years after years will write the authentic new “Another Story”; the history of the restaurant, The history and story of them.

Why did we choose Neuzeit S and Chronicle?

The first one was a pretty personal election: we wanted a neutral, kind-of geometric-humanistic font that had a contemporary character but not too trendy. Then we found the Siemens corporate typeface that recalled us to Circular by Lineto. And it was absolutely working for us.

About Chronicle Text G1, printing stamps was a mandatory, and small sizes were going to be recurrent. We had to think in a typeface ready for be printed in hard conditions and easy to be read in small sizes. In addition, we needed this typeface to be hight contrasted between weights so we could use only two of them (plus italics) and this would be enough to explain whatever is necessary in a daily menu. Let’s say, we need a 4×4 typeface. And we found it.

Formed in 1929, the Lansing Symphony Orchestra (LSO) is widely recognized as a cultural cornerstone of Mid-Michigan. The orchestra curates and performs a wide selection of music, including their MasterWorks Series, Pops Series, Chamber Ensembles, and Jazz Ensembles. The 87th season marked Timothy Muffitt’s tenth year as music director of the LSO. Under his leadership, the organization has focused on performing contemporary selections while maintaining a robust program of classical masterpieces.

For the 87th annual season, Traction's creative team set out to determine a basic creative theme that would ultimately act as the bedrock for each of the following season's creative campaigns: Contemporary vs. Classical. Part of the direction was largely based on the director for the LSO, Timothy Muffet. During his tenure as conductor and music director, he had taken an ensemble that almost exclusively played Classical compositions and implemented a contemporary mix of modern-day selections. Now, the creative would reflect the ambitions of the organization.

In this first year of repositioning, brand typography was chosen to juxtapose one another in the same way our idea had – Champion and Gotham represented the contemporary side while Chronicle represented the classical aspect.

The palette would consist of black and white, which the brand would retain each year, and a rotating color. Black and white were chosen because of their relationship to both sides of the theme. As for the rotating color, we decided on the use of gold. Not only is gold reminiscent of brass instruments and strings but of class and style.

Through the use of brochures, program books, posters, direct mail, and more, the creative was more consistent than ever. Regardless of the concert being advertised, there was no question it was brought to you by the Lansing Symphony Orchestra.

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.

An autobiography book by Dato' Khoo Keat Siew.

In 2015, Sandeman celebrated its 225th Anniversary. Their pioneering spirit in the wine business has been unprecedented, with a permanent attitude of innovation and creativity towards its products and the business itself. Always true to its history, heritage and legacy, Sandeman is now not only 225 years old, but also 225 years strong.

Selling no less than an average of 18 bottles per minute, Sandeman is one of the biggest producers in the Porto wine business, constantly thriving to improve its premium perception, with exclusive products that are a testament to its quality.

When they called VOLTA to help them celebrate their anniversary, they asked not only for a premium perception in every material produced but also for us to develop a concept that truly explained the brand’s history and attitude. In close collaboration, we decided to create 6 stories, that together tell the story of The House of Sandeman’s 225-year-old success and commitment to quality.

See more on VOLTA’s website and on the official anniversary site.

The anniversary collection comprises six chapters: “The Word”, “The Spirit”, “The Journey”, “The Craft”, “The Pioneer”, and “The Hat and Cape”.

Profile of Carla Gugino for Details magazine. Customized version of Chronicle Display altered to mimic the Baroque picture frame motif in the photograph for the drop cap. Photographed by Maciek Kobielski.

Man Repeller home

Founded in 2010 by Leandra Medine, Man Repeller covers style, feminism, culture, beauty, wellness, relationships and careers. For the 2017 redesign, we wanted to leverage the eclecticism that makes the brand great while elevating the overall site typography.

Previous versions of the site had used Hoefler & Co.’s Knockout as a defacto brand font, so early on we decided to combine its heft and impact with an equally weighty serif from the foundry, Chronicle.

We ended up using a few different weights of Chronicle Condensed for titles while relying on Chronicle Deck for the body copy. Knockout is interspersed throughout, acting as brand labeling as well as nifty type objects, such as a pullquote that becomes 3-dimensional as the user scrolls past.

The type application throughout the site is a little bit oversized, a little bit opinionated — just like Man Repeller itself.

Article with Portrait lead image

Feature Article Page

Example of large title/drop cap

Example of scroll-triggered dimensional pullquote (mobile)

LSTW is a Montreal-based queer magazine that has a mandate to broaden access to LGBTQ+ communities through art, culture and politics. With that in mind, we aim to celebrate role models, promote diversity and shine a spotlight on pan-Canadian lesbian culture in a new way.

There are now ten separate anthologies in the annual Best American series, which began in 1986. Most, but not all, of this year’s titles show similar cover treatments, using types by Hoefler & Co.

For many years, the series featured a different cover format designed by Carin Goldberg, which used Schneidler Initials. That face is still used as a series logo, as shown in the last slide.