Our Redaction fonts (and an essay about the creative process) have been included in a book about Titus Kaphar and Dwayne Betts’ incredible collaboration. The beautiful book was designed by James Goggin / Practise.
See more in this article on Fast Company
We worked with Bon Appétit to create a new logo and custom typeface for the magazine. We were inspired by the team’s bold and iconic image-driven approach to cover design and the nostalgic wink of the 50s & 60s cookbook photography style.
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We worked with Wolff Olins to create a custom typeface and logo for Sage, the UK-based accounting and financial services application.
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92NY is a cultural organization in New York City which provices a wide variety of community services and arts initiatives.
To rebrand 92NY, we partnered with Pentagram to create a custom typeface and logo in the Didot style.
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As longtime Sweetgreen fans it was a blast to imagine a new logo and custom typeface for this incredible company. We worked with our friends at Collins to customize our Owners typeface for the brand.
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As designers and Angelenos, it's an honor and a privilege to create the custom fonts for the Los Angeles 2028 Olympics and Paralympics. In collaboration with Public Address.
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We created a new logo and family of custom fonts for Electronic Arts, the legendary video game publisher and distributor. In collaboration with Skylight Collective.
We’re thrilled to help out Emily Oberman’s team at Pentagram on the redesign of the Warner Bros. identity. We drew a new shield, wordmark, and custom typeface.
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In collaboration with Peter Mendelsund and Oliver Munday, we created a new logo for The Atlantic. We also created a custom typeface, Atlantic Condensed, inspired by the original nameplate from the first issues of the magazine.
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MCKL collaborated with Emily Oberman’s team at Pentagram on a new logo and custom typeface for Fisher Price.
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Redaction is a custom typeface commissioned for Titus Kaphar and Reginald Dwayne Betts’ The Redaction exhibition at MoMA PS1. As part of a timely conversation at the intersection of history, the legal system and social justice, the fonts will be free for personal use. Designed in collaboration with creative director Forest Young.
Download the fonts for personal use at redaction.us.
Pizza! Pizza! We had the thrill of collaborating with our friends Arley and Morgan at Ladyfingers Letterpress on a custom font for Little Caesars. LC Script is based on Arley’s handlettering, and has lots of alternates to make it feel analog and delicious. Design direction by Turner Duckworth.
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We drew a new logo and custom typefaces for Uber, in collaboration with Wolff Olins. Uber Move is inspired by early 20th-century sans serifs like Futura and Neuzeit Grotesk, reimagined through the lens of transportation fonts from around the world.
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We've been working with adidas over the last few years developing variable fonts. Adineue CHOP is an octagonal sans, in a WIDE range of widths and weights. adidas is one of the first companies to embrace variable fonts for print and product usage, not just on the web.
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MCKL collaborated with Collins to create a new logo and family of custom typefaces for Ogilvy, one of the biggest advertising agencies in the world.
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Expedia Group is the parent company of Expedia, Hotels.com, Orbitz, Hotwire, and a bunch of other popular travel-related websites. We worked with Paula Scher's team at Pentagram to craft a custom wordmark and typeface for Expedia Group.
Read more at Pentagram.
Harry Beast is the brand font of J. K. Rowling's Wizarding World, the parent company of Harry Potter and Fantastic Beasts. Each uppercase letter and number has 'beast' alternates, expressive versions that take on the personality of her rich fantasy worlds.
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Justice League Super Condensed is a custom typeface produced for the Justice League movie. Designed in collaboration with Pentagram, Emily Oberman and Tim Cohan.
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