Rather than being modern interpretations where the designer leaves an obvious mark, the Commercial Classics are careful reconstructions, made not for yesterday, but for today’s users. They take the old forms, and expand them in new directions, whilst retaining the charm and beauty of the originals. This talk took place on July 8, 2019, at The Cooper Union as part of Type@Cooper's Herb Lubalin Lecture Series.
James Edmonson of OHNO type company, has a new (work in progress) release via Future Fonts. Its incredibly fun and you can grab it now for just $9 USD. “This counterless semi-connecting script is an ode to unbridled enthusiasm and a complete disregard for the ruler tool.” James explains most of his work is scaffolded by the idea of “counterspace equals letterspace”, but when the counters get removed things feel more abstract, and with the unfamiliarity comes a different sort of impact.
Dan Reynolds shares some context around the development of his dissertation published in the latest footnotes magazine on the history of the H. Berthold AG and Ferd. Theinhardt type foundries, as well as the histories of the Akzidenz-Grotesk and Royal-Grotesk typefaces.
Commercial Classics, like Commercial Type, is a joint venture between Paul Barnes and Christian Schwartz, whose “intention is for these historical forms to escape the past and come to life again.” The classics draw heavily from resources in the St Bride collection, and for each purchase the foundry will make a donation to help support the library.
Hightype is a type foundry strictly for three-dimensions, founded by Manuel Rossner in Berlin last month. At the moment, its two main purposes consist of lowpoly-models for games and websites as well as smoother versions for print and video. Manuel tells It’s Nice That: “Its possible applications are promising, ranging from VR typography games to augmented reality to interactive websites and high-resolution brand imagery.”
“Our mission is to develop typefaces that push ourselves, and that push boundaries,” says Simon Bent of Melbourne-based type foundry Metis. From the heavy Dot19 to shape-tastic Geometer Regular, Metis’ typefaces blur the lines between creative expression and practicality. “You have to be creative with how you apply some of them in practice because of how far we push the limits of legibility, but that’s something we can live with,” Simon tells It’s Nice That.
“Specimen VI is a refined hand by artist Aileen Fretz of Plume Calligraphy: thoroughly modern yet absolutely timeless.” It is impressively natural, legible and remarkably robust. At 2,580 characters, with “Rubix-cube-inspired feature code” Specimen VI provides beautiful opentype alternates to ensure the text looks like it has flown from the nib.
As the largest foundry, and distributor of typefaces today (and a typographic pedigree which dates back hundreds of years) Monotype has huge influence in all things type (and design), whether you love them or hate them (as the organisation does polarise people) they shape our industry and so it is huge news that they are doing due diligence on a potential buy out.
Designer Jeremy Tankard describes his latest release as ‘expressive, emotive and explosive’. The Brucker family has 4 weights in 2 styles, and is designed as a ‘restless typeface’ which adds drama and energy to text through the use of interrupted curves, a dynamic rhythm and disjointed baseline. The forms are commanding, and I was captivated so I caught up with Jeremy to learn more…
In this video they profile Briefcase Type… a foundry offering a wide range of unique and original Czech fonts by authors, who may not wish to set up their own type foundry. It profiles itself as an independent type foundry. Briefcase digitizes original font designs, offer fonts by young authors and help publish older, previously unreleased fonts. The project is a logical extension of the Suitcase Type Foundry.