Crisol is a stencil display typeface designed following the same basic design principles as Futura Black (Paul Renner, 1929) and Braggadocio (W.A. Woolley, 1930), both based on Art Deco lettering. Crisol uses the same idea but takes it to a different level by adding a five-width range and a more rational design approach.
Two A4-sized printed pages featuring Mário Feliciano’s, Marcin Antique. Printed on Strathmore Premium Wove in black and white ink. Hole punched to fit in an A4 binder.
Feliciano Type Foundry’s first retail release in quite a while has gone through many names and incarnations — the first ones dating back to 2010 — before settling on Marcin Antique. Inspired by late 19th-century French types produced by the Fonderie Gustave Mayeur in Paris, the sans serif family is a fresh interpretation of France’s long tradition of grotesque faces.
The Mayeur Type Foundry, based in Paris, was active from the 1870s through the 1910s, publishing a remarkable collection of magnificent specimens showing intricate ornaments and borders, flamboyant initial capitals, and a wide range of typefaces for text and display use. In designing the Marcin types, we referred to the ‘Antiques’ or grotesques; especially those shown in the later 1894 and 1912 editions of the Spécimen-album de la Fonderie Gve. Mayeur, Allain Guillaume & Cie.
Two A4-sized printed pages featuring Mário Feliciano’s, Marcin Typewriter. Printed on Mohawk Superfine in fluorescent red, black and grey. Hole punched to fit in an A4 binder.
Marcin Antique and its monospaced companion, Marcin Typewriter, were inspired by late 19th-century French types produced by the Fonderie Gustave Mayeur in Paris. Mário Feliciano has given us a fresh perspective on France’s long tradition of grotesque types. Marcin purposefully shuns mechanical precision and incorporates modulation in contrast, yet doesn’t over-emphasise the quirks of its vintage source material. The result is “modernisme animé”.
‘The first South by Southwest Music Conference and Festival SXSW was held in 1987 in Austin, Texas. Despite the fact that Austin was not a Top 20 major market at the time, the background and character of the city made it a perfect location for the conference. Austin was considered a fairly cosmopolitan town for its size because of the University of Texas, which draws people from all over the world.
SXSW’s original goal was to create an event that would act as a tool for creative people and the companies they work with to develop their careers, to bring together people from a wide area to meet and share ideas. That continues to be the goal today whether it is music, film or interactive technologies.’
Modern Practice, the designers, write: ‘Duvel is one of Belgium’s most famous special beer. They asked us to work on a proposal to create a specific identity for their sponsoring branch. The aim of ‘Duvel Sponsoring’ would be to increase Duvel’s presence and visibility into new markets, to build and support a positive brand image that will reach a larger target market.’
Eudald News in use for Pentagram’s identity programme for The Printing House, a former printing factory originally built in 1910, The Printing House in New York’s far West Village is an iconic landmark of the area’s industrial past. First converted to condominiums in the 1980s, the building has relaunched this year with a new renovation that transforms many of its units into luxury loft-style residences.
Pentagram’s Luke Hayman and team have created a brand identity and marketing campaign for The Printing House that plays off its origins to position it as a chic, contemporary place to live in one of the city’s most desirable neighborhoods.
Modern Practice writes: ‘This Is’, is the brand we created for Nicolas Roberti, an art director working for a wide range of clients. In order to be able to speak through different voices, we created a flexible identity based on typography and language with a strong sense of unity within the visual style.
Every message or sentence begins with the brands’ name, which acts as the core element of the identity. In order to add an aspect of surprise to the typographic system, the message is hidden behind three rectangular shapes, which lengths vary according to the sentence. When applied on printed matter, these rectangles can be scratched away, allowing the viewer to discover the whole message.’
Ferrand, Bicker e Associados writes: ‘The client requested a logo, corresponding stationary and line of merchandising to celebrate the centennial of the Faculty of Humanities of the University of Lisbon, Portugal.
The solution we set out to achieve had to be colorful, playful and celebratory, uniting all students, courses and staff members. The Portuguese expression for Faculty of Humanities is Faculdade de Letras which, could be literally translated as Faculty of Letters, and that dictated the typographic approach. A combination of several letter types and colors symbolizing the different courses of the faculty.’
Every new issue of Eye since the redesign of Summer 2009 features different ‘guest’ typefaces. Eye 80 employs two contrasting typefaces — Grotzec and Sueca — from Mário Feliciano’s foundry, based in Lisbon, Portugal.