Christoph Koeberlin of Typefacts included five Village releases in his Best of 2013 list.
He writes: A Best-Of list is just like a football team. You shouldn’t only take into account the best players as individuals, but the best team; the players that harmonize best. In my list of the best typefaces of the year, I have taken this into stride and tried to compile a well-balanced, harmonic yet diversified overview.
Outsiders, designed by Henrik Kubel of A2-Type, is a stylish slab-serif face with an accompanying italic that is ideal for use on packaging, editorial design, online content, signage & advertising campaigns. A family with plenty of of flavour.
We can’t wait to get our hands on a copy of this book! In addition to featuring Kris Sowersby’s Domaine throughout, Designing News showcases and analyses some of the best news publication going today.
Francesco Franchi details his extraordinary work for Il Sole 24 Ore, where he’s been the Art Director since 2008. Mr. Franchi has worked with village members, Kris Sowersby and Christian Schwartz on the logotype and typographic programme for IL magazine.
As Mr Franchi’s site notes, ‘In Designing News, award-winning editorial and infographics designer Francesco Franchi conveys his vision for the future of the news and media industries. He evaluates the fundamental changes that are taking place in our digital age in terms of consumer expectations and the way media is being used. The book then outlines the challenges that result and proposes strategies for traditional publishing houses, broadcasting companies, journalists, and designers to address them.’
Odesta, designed by Ondrej Jób of Urtd, is a decorative script typeface with detached strokes and pronounced ball terminals. It comes in 7 weights with small capitals, swash capitals, plenty of ligatures, and initial & final forms for each of the lowercase letters.
Inspired by the hand lettering of 20th century book designer and calligrapher Oscar Ogg, Ogg captures the unique mix of calligraphic and typographic form he achieved through his use of hand carved pen nibs. Summoning a renaissance flavor while still managing to feel fresh and contemporary, Ogg begs for employment in magazine spreads, book covers, and all kinds of editorial applications. Designed by Lucas Sharp in 2013.
You can find more design information, character sets & samples here…
Creative Review has written-up the excellent redesign of UK newspaper, The Independent. They write: ‘The Independent revealed a new look today, the result of a three month-long project from designer Matt Willey and the newspaper’s in-house design team.’
‘“We knew quite quickly what we wanted the paper to look like, it was very organic,” says Barber. “We looked at the Antwerp face in the early stages then talked to Henrik; he started pushing it around and customising it. It’s the first time we’d actually talked about getting a whole family of fonts custom made — and taking everything back to a family of fonts became essential. The majority of the identity for this comes from the typeface. We started from a very basic framework and built in the details and flourishes of interest.”
‘The changes themselves are less a redesign and more a complete overhaul, thanks in part to the new set of typefaces designed by Henrik Kubel of A2/SW/HK and A2-Type, that are worked through the newspaper. Designing from the type up has meant that the way each page works has been rethought, restructured, and, in particular, de-cluttered and simplified.’
‘For the type, Kubel has produced a set of custom drawn typefaces for use across the whole newspaper — an Indy Serif with italics (light, medium and bold); an Indy Sans (light, bold and heavy), an Indy Sans Condensed face (light, medium and bold) and an Indy Hairline, a version of which is used in the masthead.
‘“The fonts have been designed to deliver everything from delicate headlines, to hardworking text settings, down to very small point sizes for factual information and listings,” says Kubel.
‘The final font set comprises 14 fonts in total, divided into four sub-sets and a special Numbers-only font. Each of the fonts share the same underlying structure and basic framework which means that, although they differ in look, style and weight, they do feel the same — a real family.’
Henrik Kubel will give a lecture on recent fonts at TDC, Type Directors Club in NYC. The talk will focus on his work as a partner of London based design and typography studio A2/SW/HK + A2-TYPE — specifically the history of Transport Alphabet and Kubel’s close collaboration with Margaret Calvert on the design of New Transport™. Henrik will also discuss the custom type programme A2-Type just completed for the redesign of UK newspaper, The Independent.
The development of Josh Finklea’s Post Grotesk began in the Spring of 2011 as a project to design a contemporary version of the traditional grotesk sans-serif. The intention was to build an amiable typeface with maximum usability and an overall sense of neutrality. Post Grotesk reduces the typical rigidness of a grotesk through subtle additions of personality and uniqueness.