With six weights, this will certainly find applications outside of high fashion. They work beautifully to punctuate, to let in a little extra light. The titling alternates (though there are just a few - rounded forms of C, D, G, O, Q and a higher contrast G & Q) really give the face extended versatility. Commissioned for the New York Times T Magazine, this one screams high fashion.I’m only hoping that fashion titles will drop their tired and overused Didones in favour of this modern, elegant, slim, clean, and tall, beautifully drawn display face. You think you’ve seen tall x-heights until you see Giorgio Sans. Who: Christian Schwartz Where: NY, NY Foundry: Commercial Type Other types: Farnham, Guardian, Stag, Stag Sans, Graphik, FF Unit Slab Accolades: In 2007, Schwartz was awarded the prestigious Prix Charles Peignot. Rather it is intended to show that types can be used and mixed together in unexpected ways and in so doing very different levels of visual interest can be achieved. The aim of the project was not to dictate how the types should be used, and certainly not which types should be mixed together. In the meantime there’s a great write-up in the PDF Footnote 11. If Jeremy is reading this, yes, that’s a hint. This really is a super suite of fonts and I’m beginning to think that Trilogy deserves a post of its own. I particularly like the lowercase in Trilogy Egyptian with its deep cuts - a nice solution to the overweight junctions that plague so many of the Egyptians (see figure opposite). Trilogy comprises … wait for it … one-hundred and three fonts: 80 for Trilogy sans (40 roman & 40 italic), 18 for Trilogy Egyptian, & five italic fonts for Trilogy Fat Face. A wonderful undertaking and exploration of the century that gave birth to the Grotesque, the Egyptian, and the Fat Face. Where do I begin with this one! Super-family is inadequate to describe Trilogy, so I’ll go with über-super-family. Who: Jeremy Tankard Where: Cambridge, UK Foundry: Jeremy Tankard Typography Other types: Bliss, Enigma, The Shire Types, Shaker. And don’t forget, it would be a fine choice for a modern logotype (though make sure you license it first). I think it would also play nicely with some of the broader Japanese ‘Gothics’. Xavier Dupré, writing about Allumi PTF for the French Le Typographe blog, suggests that it would be the perfect typeface for architecture and design magazines. I wouldn’t be surprised to see it taken up by tech titles: magazines like dot net, perhaps, or for identity for tech and engineering companies. The broad geometric forms of Eurostile with a dash of the warmer, more friendly Frutiger and though not designed expressly for extended texts, it’s better suited to it than Eurostile. He describes it as Eurostile meets Frutiger, and that captures exactly what this typeface is about. It’s certainly very different to anything Jean François has ever drawn. For Allumi those were: modern, tech, and tensile. When looking at any typeface for the first time, I try to think of three words that sum up what the face is about. Who: Jean François Porchez Where: Paris Other types: Sabon Next, Le Monde Livre PTF, Le Monde Courrier PTF, Anisette, Ambroise, Parisine PTF, Le Monde Sans PTF. Trilby, in toning done the excesses, lets the best and most useful of the French Clarendon shine through. His as yet unreleased and delicious Manicotti is an ultra reversed-stress display face that was awarded the Certificate of Excellence in Type Design by the Type Directors Club. In reducing the contrast, this French Clarendon eschews Cowboys and Indians, and emancipates itself from the circus (the French Clarendon has been dubbed the «circus type»).ĭavid obviously has something for reverse-stress types. Though Trilby most certainly doesn’t hide its roots in types like P.T. The French Clarendon is a twist on the (English) Clarendon - quite literally, a twist or rotation of the stress (see figure opposite). It toned down some of the extremes and the gargantuan slab serifs, introducing a little modesty in the process making it suitable for settings beyond gaudy display. Out of the clumsiness and inelegance of the Egyptians and Fat Faces, came, in 1845, the Clarendon. Who: David Jonathan Ross Where: Boston Foundry: Font Bureau Other types: Manicotti Climax. Perhaps some of your favorites from 2009 coincide with mine perhaps they don’t - I’d love to hear about them in the comments below. There are, then, many other typefaces that should be in this list, but aren’t. Perhaps the most difficult part of compiling this list is not what to include, but what to leave out.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |