Feliciano / Eudald News

Eye Magazine: A2-TypeMarch 15, 2008

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‘A2’s bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark’s Design School from 1992-97. Though he had drawn letters since he was twelve, it was the discovery of Fontographer that sparked his passion for type design. “At that time there were no schools that were teaching type design,” says Kubel. “Now we have Reading, and the courses in Holland. But we were young, and embracing everything! It was a way of claiming your identity.”’

Read more on Eye magazine’s blog

Typographica's Best of 2007: NationalMarch 9, 2008

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Duncan Forbes reviews National

National is the second typeface released by klim within a year and has been termed a revival of the 19th century English and American grotesks.

While there is a hint of grotesk, it does not simply copy but is truly a reflection of the present — type made in and for the digital age (of course!).

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Typographica on GiorgioMarch 5, 2008

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Ben Kiel reviews Giorgio

It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. Commissioned from Christian Schwartz and used by Chris Martinez and his staff at T, Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page. Now that Giorgio is for sale to the general public, any designer can discover if they can can use such a demandingly beautiful thing as well as T did.

Read more at Typographica

Typographica on FeijoaMarch 5, 2008

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Yves Peters reviews Feijoa

It’s been fascinating to witness the blooming of Latin type designers these past few years. There is some amazing stuff happening in Spain, Portugal and their once colonies across the Atlantic, as if a whole generation of type designers has come of age during the last decade. One thing their serif and script designs share is a pronounced sensuality.

So it was quite surprising to discover Feijoa, a new text face hailing from the other side of the world that displayed that same trait in its forms. Its most distinctive feature is the almost complete absence of straight lines, which makes for a warm and sensuous design. Those gently curved straights and rounded corners lend the design a beautiful organic, almost calligraphic quality. Yet there is nothing frivolous to the typeface, it all is functional and looks very self-assured.

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TDC2 2008: NationalFebruary 27, 2008

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National was a winning entry in the category of Type System / Superfamily. It also received the distinction of Judge’s Choice, chosen by esteemed type designer, Sara Soskolne.


Prix Charles Peignot: Christian SchwartzOctober 29, 2007

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Every four or five years, ATypI awards the Prix Charles Peignot for Excellence in Type Design to a designer under the age of 35 who has made an oustanding contribution to type design.

Christian Schwartz was born in 1977 and grew up in a small town in New Hampshire. He graduated from Carnegie Mellon University in 1999 with a degree in Communication Design, and then spent 3 months as the in-house type designer at MetaDesign Berlin. After a year spent at The Font Bureau, he moved to New York and established Orange Italic with Chicago-based designer Dino Sanchez. The extensive Guardian Egyptian family for the Guardian newspaper’s dramatic relaunch in 2005 — developed with Paul Barnes — won a black pencil from D&AD in 2006, while his work with Erik Spiekermann on Deutsche Bahn was given a gold medal by the German Design Council in 2007. Since his first published typeface at age 14, Christian has worked on or created 26 typeface families for display and text setting.

Read more on ATYPI…

New Release: Stag SansOctober 15, 2007

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Looking back at the process that lead to Stag, I can see that Stag Sans was inevitable. Esquire had a lot of trouble finding a sans to complement Stag and Hoefler & Frere-Jones’s Mercury to complete their typographic palette, and had settled on Apex Sans — a perfectly good sans serif, but its narrow proportions and long ascenders and descenders were drastically different from Mercury and Stag, making them difficult to mix in a single headline or as emphasis in a block of copy. We combed through every contemporary sans serif we could find, but nothing was quite the right fit — rounded corners were overly friendly; none of the existing geometric sans serifs looked right with Stag; most humanist sans serifs were far too narrow, too calligraphic, or too straightlaced. Paul Barnes reminded me that the most obvious solution was probably the right one: ‘You know what you have to do, right? Make a sans serif version of Stag.’

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New Release: StagJuly 14, 2007

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Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects.

Welcome: KlimJuly 14, 2007

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Klim type foundry joins Village, lauching with Kris Sowersby’s debut typeface, Feijoa!

Feijoa was conceived by the principle that a straight line is a dead line, explaining the warm, curvaceous nature of the individual letterforms. This design principle humanises the overall impression of Feijoa, relieving it from the sharp points and angles that can be detrimental to digital typefaces.