Huf·vud·stads·bla·det is probably my favorite proper noun in any language. The newspaper itself (headquartered in Helsinki & published in Swedish) more than exceeds any expectations inspired by its name, with sensitivity and modernity as unifying themes in an otherwise diverse design system. We worked with Kristofer Pananen on this Barn supplement, which features vivid color on uncoated paper, and uses nearly every weight of Omnes as a foil to Miller Daily.

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.

Emoticons gone wild: Omnes in Eben Keun’s logo for a South African college canteen.

Wright may well be the coolest auction house on the planet, so it’s no surprise that the best elements of 20th-century design, ’90s experimentation and ’00s gravitas coalesce in their catalogues — these ones remind of me of how appealing print design can be. Guided by the steady hands of Rick Valicenti at Thirst and James Potsch & Jennifer Mahanay at Wright, these designs are striking, balanced, and joyous, incorporating Omnes & Freight Micro where noted, alongside FF Bau, probably my favorite of Christian’s designs.

The studio got its start on the third floor of Eddie’s brownstone, and I drew a good deal of Omnes while watching back-to-back Law & Order on his sofa. An ex-landlord who keeps on giving, he’s been guiding the Studio Museum in Harlem toward a unified identity, using retail and pre-release fonts of ours. Studio is the museum’s flagship publication; this issue was designed by Eddie Opara and Salvador Orara.

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.