Custom type solutions for the long haul

While the details may vary, the goal remains the same: to craft a tailored solution to solve a specific design problem.

Redesigning an icon: How Rolling Stone got its new logo

In 1967, a rock ’n’ roll dreamer in San Francisco sought to press his passion for music onto the page. Jann Wenner borrowed from friends and family to publish the first issue of Rolling Stone. Today, Rolling Stone is at the pinnacle of music and culture, and its new logo, designed by partner XYZ Type, recalls its history.

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The story behind Paramount’s Peak Sans

In 2020, the entertainment giant Paramount decided it was time to step into the next phase of the industry: Streaming. But they needed to look the part. Type Network foundry partners Lipton Letter Design and Plau collaborated with agency loyalkaspar to bring this classic entertainment provider into the future with fresh branding and custom type.

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An architectural brand for Rice Architecture

In 2010, the Rice University School of Architecture wanted to breathe new life into its brand. TN partner Kontour was perfectly situated to the task: Within a short timeframe the award-winning creative studio delivered a new logo, typographic palette, and color palette tailor-made to Rice’s needs. The project not only refreshed Rice Architecture’s identity but also spawned the successful Kontour typeface Axia​​​​​​​.

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Revitalizing Canal Brasil with a custom variable font

Creating custom type for a major television channel is a dream job for type designers. What better way to get millions of eyes on your work? Type Network partner Plau jumped at the chance to work with Brazilian agency Tátil to design a typeface for Canal Brasil. A unit of Grupo Globo, Canal Basil is a pay-television channel with more than 10 million subscribers.

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Carnegie Hall’s new wordmark and monogram

When rebranding the historic Carnegie Hall, Champions Design turned to Fred Shallcrass of Frere-Jones Type for the wordmark and Jesse Ragan of XYZ Type for the monogram. While the designs might look completely different, they both successfully reference the Hall’s 130-year past while bringing it into the future.

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Dressing up Scandinavia’s largest department store

To celebrate and commemorate its 150-year anniversary in 2012, Scandinavian retailer Stockmann approached creative agency Kokoro & Moi to refine and unify their visuals, a process which resulted in new packaging, graphics, and a custom typeface by foundry partner Underware. Ten years later, we’re looking back at what makes Stockmann Sans so enduring.

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MTV’s new typeface: Gravity Grotesk

During MTV’s 40th anniversary rebranding, loyalkaspar commissioned a new typeface by Type Network partners Dyana Weissman (Kerns and Cairns) and Victoria Rushton. As MTV’s needs grew, Cyrillic characters were added by CSTM Fonts and Condensed Italics by Jacques le Bailly. The typeface needed to work at the myriad sizes necessary for a contemporary media network, ranging from television to desktop and from laptops to mobile screens.

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AccuWeather’s extremely accurate typeface

AccuWeather's forecasts reach 2 billion people globally; with a reach so wide and a product so precise, brand and trust are vital. When AccuWeather worked with loyalkaspar to refresh their branding in 2019, they turned to Type Network partner foundries Type-Ø-Tones and Kerns & Cairns to design their new custom typeface, Solis. Used on screens large and small the world over, Solis proved to add clarity and efficiency to AccuWeather's vast sums of content.

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Peacock Sans

Last year, NBCUniversal launched Peacock, its much-anticipated video streaming platform, sporting a versatile brand system by loyalkaspar. The identity needed to achieve several goals at once, each relating to Peacock’s overall business goals: Stand out from the crowd of streaming services, leverage NBCU’s ultra-recognizable branding, and reference Peacock’s robust library of content.

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Branding the funny

Branding is both an art and a science. It’s also a business aimed at winning over fans—those people who keep coming back for more. Comedy Central has been successfully bringing fans back for 30 years as the top all-comedy network. Now, with the branding experience of loyalkaspar and the type design expertise of Kerns & Cairns for Type Network, Comedy Central has amplified its voice across platforms and a changing media landscape.

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Team Detroit, Ford Motor Company’s design agency, selected Miller Banner for Lincoln’s brand typeface. Then a part of the Font Bureau library, Miller Banner is the largest optical size of Miller, Matthew Carter’s interpretation of the Scotch Roman. Tracking usage and recurring or additional license fees were impractical for a global company, so Ford needed a simple solution. An enterprise license was the answer.

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The SYFY channel relaunched wearing a fresh logo and identity developed by loyalkaspar in 2017. This new identity marked a shift from an exclusive focus on SYFY’s original shows to a broader, more inclusive look at the science fiction genre. A crucial element of this rebranding was the introduction of two custom typefaces: the narrow headline face SYFY Hero and SYFY Sidekick for secondary headlines and short paragraphs.

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Coffee Company

Born of its founders’ love for artisanal coffee, the Coffeecompany opened its first Amsterdam location in 1996. Jasper Uhlenbusch, brand director and green-coffee buyer at Coffeecompany, approached Amsterdam Signpainters to paint “Sinds 1996” (translation: Since 1996) on their affiliates’ shop windows by hand to celebrate the company’s twentieth anniversary. Retype’s Ramiro Espinoza was there to help.

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Cyrus Highsmith’s Antenna had the combination of reliability and dynamism that Ford, the US-based multinational automaker, was looking for in a brand typeface. To enable the company to communicate with a global audience, Antenna’s character set needed to be expanded to include the Cyrillic and Greek alphabets, as well as all necessary accents for composing Vietnamese.

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Het Parool

In 2016, Amsterdam-based daily newspaper Het Parool launched a new design. The printed paper and accompanying website were overhauled to mark the organization’s seventy-fifth anniversary. One of the most striking changes was the new logo and masthead, expertly lettered by Spanish type and graphic designer Laura Meseguer of Type-Ø-Tones. The final mark adorns not only the newspaper and website but also all expressions of Het Parool’s identity.

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VRT News

When the Belgian Dutch-language public broadcaster VRT initiated its company-wide rebranding effort in early 2017, the typography became a crucial unifying element in its visual identity. In its search for a new corporate typeface, branding agency Today discovered the perfect option: Forma DJR. At Today’s request, designer David Ross added a bolder Black weight for highlighting headlines and news flashes.

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Washington Post

The story of Postoni illustrates how commissioning a custom typeface can become a long-lasting relationship between the client and the typeface. What started out as a modest four-style family has grown into a twenty-four-style custom headline family.

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Type and typography by Roger Black

Roger Black’s eye for typography and grounding in type history has lead companies the world over to seek out his expertise. A common thread is that Black has always found a solution that benefited the client, raising their profile and often saving them money by advising them on licensing. This is a portrait of an expert deeply enamored of everything typographic.

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