Founded in 1829, The Philadelphia Inquirer is the third-longest continuously operating daily newspaper in the US. With a mission of “asking on behalf of the people”, The Inquirer provides essential journalism for the diverse communities of the Philadelphia region and has won 20 Pulitzer Prizes. To help reach a growing audience, Pentagram has redesigned The Philadelphia Inquirer, improving the reader experience and modernising the paper’s processes. This major update — the first in nearly 30 years — is part of the Inquirer’s new editorial, design, and operations strategy across its multiple brand platforms. Read full case study here: https://www.pentagram.com/work/the-philadelphia-inquirer/story

The new system of signs, pictograms, and typography has a lighter typographic voice than the signs from the 60’s and is far more readable than the current dark blue signs with reversed out type. The design process was one of collaboration; Margaret Calvert would draw by hand, and we would work on-screen. With input from Network Rail, Spaceagency, and station architect WestonWilliamson+Partners, we arrived at Rail Alphabet 2, a highly legible and modern typeface with a clear historical lineage.

Rail Alphabet 2 is a comprehensive typeface consisting of 7 fonts: a special weight designed for signs, with three font styles, including Italics, crafted for print, online, and mobile. Rail Alphabet 2 has sharp junctions and slightly narrower proportions than the original Rail Alphabet. The project was featured in the exhibition ‘Margaret Calvert: Woman at Work’ at the Design Museum, 21 October 2020 – 22 August 2021. All images © A2-TYPE + Spaceagency. ‘Certificate of Typographic Excellence’ in the 24th Annual Type Directors Club, NYC Typeface Design Competition.

The Inline typeface is complimented by our Regular Slab Bold typeface, used by The Athletic across their entire brand. Read full case study here. All images © Gretel NYC. About the client: The Athletic is a subscription-based sports website that provides ad-free national and local coverage in 47 North American cities as well as the United Kingdom.

The font is now available for commercial licensing. Please enquire for a license.

We are proud to reveal our new font system for Weekendavisen – drawing inspiration from Danish typographic history (Knud Valdemar Engelhardt and Gunnar Biilmann Petersen), we designed WEA Display, Sans, and Serifs fonts for all aspects of the newspaper.

We also redesigned the Masthead and faithfully restored the Berlingske crest, after Biilmann Petersen’s original design, in collaboration with Martin Mörch (master engraver). The newspaper is expertly and beautifully art directed by Design Director Katinka Bukh and her talented in-house design team. Here is a great introduction and explanation of the redesign by Bukh (if you read Danish). Editor-in-chief Martin Krasnik gives a great introduction to the redesign here! (please use Google translate if you want to read it in English). Our custom fonts won a Tokyo Type Directors Club Prize in 2021, and the newspaper was named World’s Best Designed in the 42nd best of Print News Design Competition 2021 by SND. The fonts are now available for commercial licensing. Please enquire (email us directly).

The two logo’s will occupy their own space. The ‘monogram’ version will be used for HM the Queen’s private celebrations at the castle. The ‘fireworks’ version of the logo, along with the associated portrait of HM the Queen, will be used for all media purposes.

Client: Wonderful Copenhagen

Director of Communications: Tine Kastrup-Misir

Agency: Punktum Design

Design: Søren Varming & Henrik Kubel

Typeface: Custom version of Biilmann from A2-TYPE

Portrait photo by Per Morten Abrahamsen

kongehuset.dk

A2-TYPE delivered a suite of custom fonts comprising of a sans in 3 weights: Regular, Medium, and Bold, with accompanying Italics, plus a set of unique Stencil fonts. The origins of Gruppo Banca Sella has its roots in 1886, when Gaudenzio Sella, inspired by the principles of his uncle Quintino Sella, along with six other brothers and cousins, founded in Biella the Gaudenzio Sella & C.

Qualcomm is an American multinational semiconductor and telecommunications equipment company that designs and markets wireless telecommunications products and services. The company headquarters is located in San Diego, California, United States, and has 224 worldwide locations. Qualcomm’s wholly owned subsidiary, Qualcomm Technologies, Inc. (QTI), operates substantially all of Qualcomm’s R&D activities, as well as its product and services businesses, including its semiconductor business, Qualcomm CDMA Technologies.

Qantas Airways is the flag carrier of Australia and its largest airline by fleet size, international flights, and international destinations. It is the third oldest airline in the world, after KLM and Avianca, having been founded in November 1920; it began international passenger flights in May 1935. The Qantas name comes from “QANTAS”, an acronym for its original name, “Queensland and Northern Territory Aerial Services”, and it is nicknamed “The Flying Kangaroo”.

A2-TYPE restored the original capital letters, added a sympathetic lowercase style, expanded the overall character set, and added extra weights. The typeface features on all communications across all platforms, analogue and digital, and is exclusive to the Arne Jacobsen brand. The project was commissioned by the Board of Arne Jacobsen and Arne Jacobsen’s Grandson, Tobias Jacobsen, as a separate integrated design tool of the overall brand design by Danish agency AM. Read more about Arne Jacobsen here.

The bespoke font system named ‘Standard’ comprises Serif Text, Serif Display, Sans, Sans Condensed, and Sans X Condensed, with a special Serif Headline font for use on the front page. 43 font styles in total! Quote from Editor, George Osborne: “… the average age of the Standard print reader is 36 – which is many decades younger than most newspapers these days”. A paper, he says, is “still a very convenient, easy to digest and with this redesign easy to navigate way of receiving information about politics and business and culture and celebrities”… Read full interview about the redesign here. The Evening Standard’s daily print run is around 850,000 copies. The paper is distributed for free on all London streets and UK Rail networks. Additional design credit: The new Eros figurine in the Masthead was drawn by Illustrator Christian Adams. The fonts are now available for commercial licensing. Please enquire (email us directly).

A mono-width font crafted to work only when stacked! Read the background story about the design and thinking of the whole issue on FormFiftyFive and on Magculture. The typeface won the prestigious 2018 TDC Prize from Tokyo Type Directors Club! The font is now commercially available.

Additional credits:
Editor in chief: Jake Silverstein
Design director: Gail Bichler
Art director: Matt Willey
Director of photography: Kathy Ryan
Contributing Photo Editor: Kristen Geisler

The font system comprises a unique condensed Headline font in 3 solid and matching outline styles. The fonts support both Latin and Cyrillic scripts. Animation / Film by DixonBaxi. Read about the project at Creative Review blog. Images courtesy of DixonBaxi and Eurosport. The project was awarded a Gold Clio, 2018.

Avex Inc. is an entertainment conglomerate led by founder Max Matsuura and is headquartered in Tokyo, Japan. Avex (short for audio visual expert) became the leading dance music company during the 1990s and continues to produce and manage some of Japan’s highest selling solo J-pop talents. It is the biggest holistic entertainment company in Japan and although driven mainly by producing music, they have also shifted into other business domains like anime, video games and live music events like partnering with Ultra Music Festival and hosting the annual A-nation.

Sans, Slab & Serif – each font category has a different starting point and set of references. The starting point for the Serif font is the Stephenson Blake Garamond-like metal typeface Mazarin, also known as ‘Astree’ from French foundry Deberny & Peignot. Another influence was The New York Times Magazine original masthead, although this is a Blackletter type, its sharpness and contrast have infused our design, most noticeably in the Display and Headline fonts. The Serif fonts designed for text settings share some of these features, although the proportions, contrast, and details have been crafted anew to aid legibility in smaller point sizes. The Slab fonts used in the magazine for pull quotes and headlines are a continuation of their existing Stymie font, but in a condensed form and with added typographic personality. The Sans fonts are linked to the Industrial Grotesque types, with metal type versions of Futura and Akzidenz as loose models for inspiration, all reinterpreted and designed to suit the magazine. The fonts are now available for commercial licensing. Please enquire (email us directly).

The custom font and pictogram system was art directed and designed by A2–TYPE, Scott Williams & Henrik Kubel, with Margaret Calvert as type and pictogram consultant. Cyrillic script designed in collaboration with Ilya Ruderman. The project was commissioned by City ID and Moscow Department of Transport, DOT. The wayfinding system was designed by City ID. View more images here

View the fonts in full effect on the CNN STYLE’s beautifully designed RIBA, Royal Institute of British Architects International Prize website: RIBA, International Prize showcasing 6 spectacular buildings from 6 countries. The fonts are now available for licensing. Please enquire (email us directly).

The Sunday Times magazine expertly mixes the delicate serif font used for headlines and text matter with another of our fonts, the robust and friendly-looking New Grotesk Round. Commissioned by Esterson Associates and The Sunday Times Magazine as part of their extensive redesign and editorial reimagining of the title in the summer of 2016.

Custom font in 2 weights designed for the world’s largest domain name registrar; with 14+ million customers, and more than 5,000 employees. Commissioned by TBWA\Chiat\Day, New York.

The November issue of Creative Review includes an extensive feature on the GDS and their work. Read more here: Creative Review Blog feature. www.gov.uk

Custom fonts for ‘Expedia Sans’. The new set of brand fonts will be rolled out globally on all communications, print, and web. Commissioned by 180LA.

Our Regular typeface was also chosen for Optimum’s brand typeface and features on all their communications. Mother New York was commissioned to introduce the rebrand to the public with a series of short TV stings.

andyou
andthem
andwhynot
andtwins
androadtrips
andhugs
andweekends
andsamsung
andaudi
android
be together. not the same
View AD film featuring the fonts here

The grandson of one of the founders, Søren Varming, of Punktum Design in Copenhagen, commissioned us to co-develop a new brand identity, including the design of a suite of fonts exclusively available for the client. Read more here.

We designed a series of fourteen interconnected fonts. All the fonts have large character sets, several number systems, and stylistic features to serve all aspects of the newspaper and associated magazines and publications. Winner! Yellow Pencil from the D&AD Global Awards Scheme, 2014. The fonts are now commercially available, click here to see details. Read more on Creative Review’s Blog.

Avaunt is dedicated to adventure – in the broadest possible sense. Avaunt features acts of endeavour and endurance from the wildest, highest, deepest, coldest and hottest corners of Earth. The magazine will present stories from respected writers and thinkers, concerning adventures in technology, music, science, style and culture, alongside insights from the pioneers and innovators who are shaping our new world. The project was commissioned by Matt Willey.

Design of a condensed version of our Grot10 font family – all customised for the client. The titles were superbly redesigned by magazine art director Matt Willey.

Design and development of a serif and a typewriter font, in multiple weights, for academic arts Journal Afterall, including their One Work book series. The serif font ‘Afterall’ is now commercially available in a range of weights.

Oak, The Nordic Journal is a biannual magazine with an international reach. Oak magazine celebrates Nordic – with a focus on the lifestyle and the people involved, presenting a mix of design, lifestyle, experiential travel writing, food stories, and notable Nordic figures.

The font was created in 2 weights and commissioned by mxm, madebymany as part of their identity tool kit. See Paul’s work here

Designed in collaboration with Geetika Alok in 2011. Now commercially available.

A23D is available for use at New North Press’s letterpress workshops. Filmmaker Adrian Harrison has made a film about the project, which premiered at the V&A, as part of the London Design Festival. A23D won a coveted TDC Typeface design award from New York Type Directors Club. Watch the movie here.

The logo was redrawn and carefully crafted by A2-TYPE to work on all of the Museum’s touch points and media.

Art directed and originated by Studio Oswald in London. Designed and crafted in collaboration with A2-TYPE.

Amplify, a new business dedicated to reimagining K-12 education by creating digital products and services that empower teachers, students and parents in new ways. The fonts were accepted into the prestigious Communication Arts 2014 Typography Annual. The fonts were also awarded a typeface design award from TDC, Type Directors Club, 2014.

The book covers designed by A2/SW/HK were awarded a D&AD ‘in Book’ prize at the annual awards in 2009. The fonts are now available for commercial licensing with a special ‘rounded’ version as a complimentary style.