It looks like Helvetica - it feels like Helvetica - but it has a larger x-height and refined glyphs which reads and performs so much better than anything previously in the family (or broader genre). "Helvetica Now solves the legibility and style challenges that brands using Helvetica have consciously and unconsciously faced for years. The design introduces a new chapter in the Helvetica story—expanding its look and utility, while reinvigorating its heritage."
“Veronika Burian describes her discovery of type as being similar to falling in love. The budding industrial designer would ride the bus to work every morning in Milan, bent over a book recommended to her by a type-obsessed friend, underlining passages. The book was Robert Bringhurst’s The Elements of Typographic Style, the gateway drug for many people just starting to learn about the dense, detailed world of letterforms.”
Tasman‘s shape grammar has gravity and power that speaks to truth, reliability or perhaps more aptly trustworthiness. These are fundamental qualities in the delivery of information in an "alternative fact" age.
After completing Kontiki to much celebration and admiration from our community, Felix set to work expanding the family by developing the characters that informed his woodcuts. The resulting font is Pulpo, a friendly and comfortable looking slab serif inspired by Century Schoolbook and Clarendon.
“Typefaces speak of where culture is, its priorities and aspirations,” says the Wellington-based Klim Type Foundry. Jess Sowersby tells its nice that about the unique design scene in New Zealand and the pros and cons of its cultural landscape. She remarks on the importance of design in reflecting the collective expression of a country and as a result, how Klim is creating work like no one else in any part of the world.
NM types latest project Movement was born as a collaboration with Design Indaba, and draws inspiration from the perfomance of contemporary dance. Movement’s letterforms express the shifting form and weight in a South African dancer, Andile Vellem’s body.
I spoke with Matthieu about the typographic innovation coming out of France, His innovative new comic-esque type specimen, the foundries latest release and future trajectory.
A letterpress specimen of Bifur wood type, designed and printed by Amelia Hugill-Fontanel, Associate Curator of the Cary Graphic Arts Collection at RIT. Amelia’s master’s thesis focused on Deberny et Peignot, the French foundry that originally produced Bifur. The colophon text is printed from vintage Peignot metal type—another classic typeface designed by A.M. Cassandre. This 12" x 19" specimen print is hand-printed in four colors, with five press runs, in a strictly limited edition of 42 copies. And, for the month of March, they are offering the digital versions of P22 Bifur at 50% off!
Frank Fonts is the new independent type foundry of Béla Frank, a British-Hungarian type and graphic designer who has been releasing fonts since 2010, mostly through Faberfonts. His new foundry focuses on making high-quality and affordable typefaces, of which the first retail release, Kraken, is an original slab with strong personality, drawing its inspiration from the raw, yet lively look of the earliest 19th century English Antique faces. (Link and text via Noemi Stauffer’s excellent freshfonts newsletter)
Based in Bangkok, Thailand Dave is prolifically producing typefaces and retails via MyFonts. Dave says Schizotype is a foundry with a multiple personality disorder, making mainly display fonts in a wide variety of genres.