Display faces

Our first Type Annual showcases excellence in international typeface design over the past year. Here are the entries that made it into our Display faces category.

Typeface: Hemingway
Design:
Alessandro Segalini
Produced by:
Steve Jackaman and Ashley Muir, International TypeFounders, Inc
Distributor
: House of Type, HouseofType.com

“I wanted this typeface to relate to the content of The Old Man and the Sea by Ernest Hemingway,” says designer Alessandro Segalini, “to carry the sharpness and harshness, and at the same time to show a stiff and a soft quality – the same qualities in which the nature of the sea is revealed in Hemingway’s novel.”

Typeface: Estrella
Design: Alexander McCracken
Foundry: Neutura, neutura.org

“Estrella was designed to be a modern classic based on traditional thick and very thin strokes,” says its designer Alexander McCracken, who also created Aperture, opposite. “The main inspir-ations are Bodoni, Didot, and fashion orientated labels. Strict attempts were made to be true to classic letterforms but with a higher geometrical x-height for the lowercase. For the final touch I went with large tear drops to give it character.”

Typeface: Daisy
Design:
Ludwig Übele, ludwiguebele.de

“There are quite a few ‘as bold as possible’ typefaces made already, but all of them are basically sans serifs or slab serifs,” says Ludwig Übele. “Daisy is an extra fat typeface, still keeping the classical forms and proportions of a serif typeface. The counter is shrunk to a white line, just thin enough to be still visible in small sizes.” There is also an italic version.

Typeface: Dez Boulder
Design:
Chris Lozos
Foundry:
Dezcom, dezcom.com
Distributor
: MyFonts, myfonts.com

Eschewing the traditional naming conventions for type styles, Chris Lozos has titled the constituent parts of his Dez Boulder family ego, id and alter. “It is a very bold face, not understated,” Lozos says. “Each of its three personalities (and their sub-personalities) have a different timbre to speak the nuance of your message in a bold voice.”

Typeface: Aperture
Design: Alexander McCracken
Foundry: Neutura, neutura.org

“Aperture started out as a logotype for a project but the client chose something else,” its designer Alexander McCracken explains. “The constructionist style it possessed was appealing and I loved the shapes. Later I went back to it and started expanding it further into numbers and so on. From there it started to build itself into a mechanical, striking version of a DIN-style face with monospacing features,” he says.

Typeface: LL Brown
Design: Aurèle Sack, a–s.ch
Distributor: Lineto, lineto.com

This typeface was originally entered into the Text category but was moved by the judges as they felt that it worked best in Display. LL Brown has its roots in a collaboration between Lex Trüb and Aurèle Sack but Sack then took it on as her own project. It has an obvious relationship to the work of Edward Johnston and Arno Drescher. Sack would like it to be seen as “a contemporary typeface, using the strengths and the shapes of Johnston enhanced with a new and modern personality”.

Typeface: Piel Script
Design: Alejandro Paul
Foundry: Sudtipos, sudtipos.com
Distributor: Veer, veer.com

The premise for Piel Script – which means ‘skin’ in Spanish – was to create a font especially for use in tattoo designs.

“I have received a lot of requests to typeset and modify tattoos using other scripts I’ve designed like Burgues Script or Adios,” says its designer Alejandro Paul. “I had worked in corporate branding for a few years before becoming a type designer and suddenly I was being asked to get involved in literally ‘personal branding’.” So Paul created this new face specifically for the task.

Typeface: Stempel Elan
Design: Frank Grießhammer, frgr.de
Foundry/Distributor: Lintoype, linotype.com

Stempel Elan is Frank Grießhammer’s revival of Elan, a script typeface by Hans Möhring released by D Stempel AG in 1937. In his 2010 version, Grießhammer employed OpenType features and a number of alternate characters to make possible vivid, connected text setting replicating Möhring’s original intentions. Stempel Elan is suitable for advertising and packaging applications, and also works well for expressive headlines.

Typeface: UNicod Sans Pro
Design: Olivier Gourvat
Design company: Mostardesign Studio, mostardesign.com

UNicod is a futuristic sans serif face designed, its creator says, for modern industries and organisations. Its square proportions are intended to make it very readable in a wide range of sizes. The family contains an alternative set with simplified letters designed especially for text and a set for titles and branding work. It is available in five weights with corresponding italics and two styles.

Judges: Coralie Bickford-Smith, senior cover designer at Penguin Books, Typographic Circle chair, fellow of the ISTD and founder of Bateson Studio, John Bateson and typographic consultant, typeface designer, lecturer and author Fiona Ross. In addition, we also enlisted the expert help of Dr Mamoun Sakkal, Miguel Sousa, Maxim Zhukov and Adi Stern in order to assess the Non-Latin category.

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