For the launch of Pulse, a new supplement of the Sunday New York Post, Al Trivino chose Zydeco, a headline series in six weights. Al used the series to set a ‘super-masculine’ tone on the cover, and for signpost heads throughout. At about the same time, Page Six Magazine appeared, using several Freight series as part of the display ensemble.

In its latest incarnation, creative director David Gray and his team have maintained Out’s sexy, intelligent voice. We supplied pre-release versions of Jubilat for this redesign, which is complemented by Freight and Mario Feliciano’s Rongel in text.

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.

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.

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.

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.

Cookie was among our first magazine projects, in late 2005. In addition to an invisible redesign of a nameplate which had tested well in focus groups, we contributed a proprietary system of display numerals for folios, supplemented by Freight Text and Freight Sans, providing a crisp counterpoint to the vivid photos toward the front of the book, and a quiet imperative to info-heavy listings and service pages.

Kirby Rodriguez & Alex Grossman pushed Freight Sans to its limits; a few months after the launch, they commissioned the Semibold and Hairline weights for four-color knockouts and fine display, respectively.