For the Gagosian Gallery New York's exhibit of Philip Taaffe's works on paper, Mucca designed a cracker-jack catalog. Taaffe employs a near-encyclopedic attention to symbols & elements in his constructions, and the choice of typography echoes this with a pleasant hodgepodge of designs, including Argent, Gardner, and Freight. The cover sports a dust jacket that unfolds into a poster for the show.
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For nearly a century the design of this Meredith publication has been of the “show me, don’t tell me” variety, and in this incarnation, crafted by Maryjane Fahey, nothing has changed. Everything from seed germination to color theory can be found in its pages, with informational typography aided by several families in the Freight series. On a personal note, it was wonderful to hear about this redesign, as about half of the meals I ate as a child were from my mother’s trusty BH&G cookbook.
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Nearly everyone has seen Reader’s Digest, but I was surprised to learn that there are more than 50 editions throughout the world. On the technical side of typography, this fact highlighted for us the vital need for backward compatibility: we were able to supply Freight with a variety of 8-bit encodings for reliable localized typesetting. The new look extends to the Large Print versions.
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Esterson Associates contacted us to refine the Harpers Wine & Spirit mark, based on Freight Big Black. This project was straightforward enough that we were able to complete it well under the usual budget, with special versions for web and interior applications. This redesign benefited from a continuous typographic texture from cover to cover, fostered by using Freight Big, Display, and Sans together throughout.
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This small project kicked off our expanded features for Freight. The Boston Globe Magazine commissioned fractions for the entire Freight series, which pushed us to contemplate a favorite typographic kōan: kerning the 7 / 4 fraction triplet. This magazine is printed using the gravure process, which considerably softens the hairlines of Freight Big — the Display steps in where appropriate.
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We arranged testing licenses for Anton Ioukhnovets in 2006, which resulted in these issues of Gentleman’s Quarterly, with several of our designs in text and display. GQ maintains some of the most sensitive typography in its market, so these spreads reflect a modularity appropriate to their choice of type.