The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communications. What sets the new Sharp Sans apart is a raised x-height, and newly opened counters that give it utility for both text and display layouts; a new, more versatile approach, of which the two Display versions were not previously designed for.
Jennifer Kinon, a founding partner of New York City design firm, OCD, took an extended leave from her studio to serve as the Design Director for Hillary of America. Kinon art directed the revisions to the new Sharp Sans while expanding the campaign’s identity and teaching each campaign office how to use it.
Frauen, designed by Lucas Sharp, in use in YODO (#YouOnlyDesignOnce), a new column devoted to graphic design, published every month in IL magazine. IL is designed & art directed by Francesco Franchi. Frauen appeared in issue no.75 of IL magazine, November 2015.
New Directions, the publisher of this reissued set of Muriel Spark’s fiction writes: ‘Muriel Spark (1918–2006) began a prolific forty year career as a poet, essayist and novelist some time after marrying and living in Rhodesia, divorcing, moving to London, working for UK intelligence during World War II, and editing The Poetry Review. Of Scottish origin, Spark is remembered for the rare artistry of her audacious and often self-reflective fictions (The Prime of Miss Jean Brodie, Memento Mori, The Comforters, etc).’
The series was designed by Paul Sahre and Erik Carter for The Office of Paul Sahre. The series is tied together with beautiful collages of the author, overlaid with bright colors and a light weight of Sharp Sans Display No.2 set in All Caps with the Herb Lublin-inspired ligatures and leaning alternates in use.
Pentagram writes: ‘There’s nothing quite like experiencing New York City on a bike, especially on a beautiful spring day surrounded by thousands of fellow riders. On Sunday, May 4, over 32,000 cyclists will bike 40 miles of traffic-free streets in the annual TD Five Boro Bike Tour, presented by the non-profit organization Bike New York. Pentagram’s Emily Oberman and team have designed the graphics for this year’s Tour, as well as the promotional campaign for Bike Expo New York, a two-day event that leads up to the big ride.’
The New York office of Base Design this strikingly elegant packaging for Roy Shvartzapel’s retail launch of his luxury baked goods. The design features Lucas Sharps’s Ogg typeset beautifully, centered on a stark white box.
For 15 years, Roy Shvartzapel has traveled the globe, working for and learning from the most important gastronomic figures of our time, including Pierre Hermé, Ferran Adria, and Thomas Keller. After conceiving and launching his own standout bakery, Common Bond in Houston, Roy has now embarked on his next endeavor, From Roy, a luxury bakery on a quest to deliver the finest products in the world.
Fast Co. writes: ‘Base’s concept is minimalist, and emphasizes the product and storytelling behind the brand. Min Lew, Partner and Creative Director of Base Design New York, says, “The bakery is really about Roy and his philosophy, rigor, and passion. We wanted to see how we could portray and capture his dedication.” The website and packaging are rendered in crisp black and white. Each box features a ‘letter’ to customers about what the brand embodies—tradition, invention, and quality ingredients—and is emblazoned with From Roy’s logo, a wordmark in a custom font that riffs on a signature.’
The identity revamp for the eponymous ‘Tonight Show’ was led by Pentagram partner, Emily Oberman and her team.
Pentagram writes: ‘This week Jimmy Fallon takes over hosting duties for “The Tonight Show,” the long-running NBC late-night talk show that celebrates its 60th anniversary this year. Pentagram’s Emily Oberman and team have designed the new identity for the series, updating the classic “Tonight Show” crescent moon with a full moon that signals Jimmy’s fresh take on the program, which has moved back to New York after more than 40 years in Los Angeles.
The crescent moon has been part of the “The Tonight Show” logo for much of the program’s history, starting with Johnny Carson’s three-decade tenure (1962-1992), into the Jay Leno years (1992-2009, 2010-2014), and even the brief Conan O’Brien interlude (2009-2010). With Jimmy’s arrival, we thought it was time to really bring the moon front and center. And so, the moon becomes the holding shape for the entire logo, creating a circular emblem that can be used as a photograph or a flat graphic.’
Read on and see more background and in use examples here…
Lucas Sharp’s Ogg in use in the identity and packaging programme for the new skincare and makeup company, Onomie.
‘Onomie was created to simplify beauty and maximize the benefits of individual beauty products, for women who recognize that beauty should not be complicated. We combine advanced skincare and makeup technology to create multi-benefit products that save time and deliver visible results.’
‘We sell directly to consumers and cut out the middle-man to deliver the highest-grade beauty products at a more accessible price. We name our shades after female geniuses from history to honor the unsung women heroes of the past and inspire female leaders of the future.’
Creative Review has interviewed NME’s art director, Mark Neil, who is behind the redesign.
Q: What were your main sources of inspiration?
You have to look back to go forward — working for a historic brand such as the NME, my first stop was the archive cupboard. My favourite time in NME’s history is the Barney Bubbles era — I’m a big fan of his original stencil treatment to the masthead and his illustrative attitude towards the paper during a time when production was so limited.
I then started to look at old magazines that represented that timeless, iconic, being part of a club look, along with other graphic design that connects in the same way — classic album covers and posters for example. I’m a massive follower of Bob Newman’s blog and one of my favourite inclusions was covers of NY Rocker from the late seventies/early eighties. This was the kind of thing I needed to inject into this project — a cut and paste illustrative fanzine kind of feel that can be produced effectively in a modern, weekly publication.
Q: What particular features did you set out to address with the re-design?
NME had become a little confused in its visual language. It was still using a very text heavy, newspaper-like design and readers in focus groups said it was bland. My mission was to inject a bit of energy into it and connect the visual language with the editorial — something magazines like Bloomberg do fantastically well.
The new display font is Lucas Sharp’s Sharp Sans, the sans serif is Calibre by Klim’s Kris Sowersby and the serif is Sowersby’s Tiempos Text. The typefaces are all modern font designs that celebrate old classic neo-grotesque/geometric aesthetics. Sharp Sans was perfect for the main display font as it has a fun retro character but used in bold, it adds a maturity that can be applied well to features.