This month’s pick of new type designs, projects and events includes new releases from foundries Klim and Blackletra, a lovely letterpress printed newspaper and an exhibition exploring type and manual printing methods from Fraser Muggeridge…
First up, though, is Berlin type foundry and design studio Schick Toikka’s latest release, Spot Mono. Available in four weights with an extended icon set, its design is inspired by contemporary Japanese display typefaces and classic typewriter faces such as Courier.
Images via Schick Toikka
Shick Toikka has produced some great typefaces this year – including a bespoke design for the Finnish Cultural Institute in New York – and this is no exception. To promote its release, the studio has also produced a three-colour risograph printed specimen book (limited to 100 copies). Buy it at schick-toikka.com
Blackletra founder Daniel Sabino’s last font release was the angular graphic script Haltrix – featured in Gareth Hague’s article on type trends in our July issue (which you can read here). His latest type family, Gandur, is the result of an investigation into two ideas: “the intersection of geometry and calligraphy, and the morphological differences between Blackletter and Roman.”
“The design began by adhering to a strict hexagonal grid but during its development, slowly moved from a purely geometric to a more pen-based design. This is especially true in the heaviest weights,” explains Sabino.
For details, see blackletra.com
New Zealand type foundry Klim’s latest release, Domaine Sans, is an elegant family of text and display typefaces. The design began with an exploration into sans serifs with contrast and follows the release of Domaine; a Latin serif based on a custom logotype which Klim founder Kris Sowersby designed for wine brand Hardys.
“Sans-serif typefaces with contrast are not very common these days,” explains Sowersby on the Klim blog. “I suspect the spectre of Optima inhibits their use. I think Optima is a wonderful typeface—it’s the first cogent typeface with contrast, in my opinion—but anecdotal evidence suggests that amongst graphic designers it’s still quite divisive,” he adds.
Domaine Sans Display was featured before its release in New York magazine’s Spring Fashion 2014 issue, pictured below, which inspired Sowersby to work with Dave Foster on a Fine version with extra thin hairlines. It’s a beautifully crafted design and you can read more about its development here, or buy it here.
Spread from the Spring Fashion issue of New York magazine, 2014. Image via klim.co.nz
Fraser Muggeridge – Mimeographica Alphabetica
Graphic designer Fraser Muggeridge’s new exhibition at London’s Whitechapel Gallery, open until 30 November, features a striking abstract alphabet display (below), created by overlaying and duplicating stencils. The show explores manual printing techniques and is part of a collaboration with secondary school students from Welling School in Kent. Also on display are two mimeograph printing machines, vintage stencil sets and manuals from Muggeridge’s personal collection.
On October 30, Muggeridge is hosting a workshop at the exhibition, followed by a talk from designer Eric Kindel on the history of stencilled texts. For details or to book tickets, see whitechapelgallery.org
Extra Condensed is a beautifully produced letterpress newspaper from London printing studio Counter Press, described as an “occasional publication of work, musings and typographic meanderings.”
The first issue is eight pages long and printed in black and flourescent orange in an edition of 150. Each page was designed, typeset and printed by hand using wood and metal type. Buy a copy from 27 October at thecounterpress.co.uk
Gratuitous Type – issue 4
The fourth issue of Elana Schlenker’s Gratuitous Type – described as “a pamphlet of typographic smut” – features interviews with Claire Huss, Europa, Dries Wiewauters, Table of Contents, Raw Color, Letterproeftuin, Pure Magenta, Kokoro & Moi, Tim Lahan and Emmet Byrne.
As always, it features some fantastic imagery and some lovely touches, from the acetate wraparound cover with gold polka dots to a metallic debossed centrefold. To celebrate its launch, Schlenker is hosting an exhibition at KK Outlet in London until October 31 featuring prints, interactive projects and installations by creatives featured in the issue. You can also watch an interview with Schlenker and magCulture’s Jeremy Leslie from this year’s Modern Magazine Conference, where Schlenker delivered a talk on the publication, here.
Purple Creative launched a new brand identity for Scotch whisky Glenfiddich this week – the new logo features a redrawn stag made to look more “anatomically correct”. The identity system also features two new bespoke typefaces from Fontsmith: Glenfiddich Modern, a headline typeface inspired by the brand’s logotype and Founder’s Script, loosely based on Glenfiddich founder William Grant’s handwriting.
Images via Fontsmith
Fontsmith and Purple Creative worked with a graphologist to determine key traits in Grant’s handwriting, which were adapted to create a more modern typeface with a nod to the brand’s heritage. The typefaces will be rolled out across packaging and communications, and Glenfiddich Modern works well alongside the updated, streamlined logo.
Cookies – Music for Touching
Music for Touching, the debut album from Cookies (New York musician Ben Sterling), is packaged in a delightful typographic record sleeve designed by Tracy Ma, deputy creative director at Bloomberg Businessweek and Emily Keegin, an artist and creative director who studied photography at the Royal College of Art before moving to Brooklyn.
The vinyl edition comes with a companion newspaper, Tools for Touching, which features 20 images exploring “the sexuality of domestic-life through a series of sculptures fashioned from household objects, from a head massager to a spatula and a toothbrush (see below). It’s bold, playful design and a great use of type.
You can order the 12″ vinyl here.
Faile – Works on Wood
Works on Wood is a new book from urban art duo Faile (Patrick McNeil and Patrick Miller), published by Gestalten. Packed with full-page photogaphs, it’s a real visual treat and provides a comprehensive look at the pair’s work with wood; from large-scale murals to ink on wood prints and hand carved prayer wheels.
Combining traditional techniques and materials with a an aesthetic influenced by street signs, MTV and advertising, the pair’s work features some brilliant hand painted and carved type – much of which draws on signage and lettering found in Brooklyn, where they both live. “The mix of colours, typefaces and advertising verbiage. The wear and tear. The stacking of new upon old. The variety of designs … are all brilliant in their own way. It all came together to help inform the approach to language and typography throughout our work,” explain Miller and McNeill in an introduction. It’s a pleasure to read, and featured essays provide an insight into the pair’s influences and processes.
Spread showing Choose Your Pleasure, 2009 Acrylic/silkscreen ink on wood in steel frame
Spreads showing boxes stacked in studio in process for Lost in Glimmering Shadows (2003)
Spread showing Prayer Wheels from Lost in Glimmering Shadows.
Spread showing The Plant Building and Mural in Times Square, New York, 2014