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Klim / Financier Display

Klim

New York Magazine / Spring 2014 Domaine Sans Fine

A sampling of spreads from the spring 2014 fashion issue

New York Magazine used a pre-release version of Domaine Sans in their Spring 2014 Fashion special issue.

Gabrielle Semillon Domaine Sans Display

Domaine Sans Display in use on this elegant label by Cornershop Design

Australian firm Cornershop is behind this elegant design, they quote Coco Chanel while describing their work for Gabrielle. ‘Fashion changes – style endures. A new brand created for Teusner Wines inspired by Gabrielle Bonheur ‘Coco’ Chanel.

Financier Type Specimen Financier Display

A series of three posters designed by the Alt Group in Auckland, New Zealand. Each poster is two-color (FT’s famous salmon pink and black). They measure 600 × 950mm flat.

New York Magazine / Spring 2014 Domaine Sans Text

A sampling of spreads from the spring 2014 fashion issue

New York Magazine used a pre-release version of Domaine Sans in their Spring 2014 Fashion special issue.

The Queen’s House Founders Grotesk Mono

QK–RM used Pitch & Founders Grotesk Mono in their programme for the Queen’s House

London-based design firm, QK-RM designed the environmental graphics programme for the Queen’s House. They write: ‘Commissioned in 1616, the Queen’s House is one of the most important buildings in British architectural history, being the first consciously classical building to have been constructed in Britain. It was Inigo Jones’s first major commission after returning from his 1613–1615 grand tour of Roman, Renaissance and Palladian architecture in Italy. The building reflects Renaissance ideals of mathematical, classical proportion and harmony which would have appeared revolutionary to English eyes in its day.’

The design programme uses Pitch and Founders Grotesk Mono with with great sensitivity

QK-RM writes: ‘We were commissioned at the start of a two year master plan to review a new environmental graphics and way-finding scheme. The first step was to remove the myriad of municipal design languages that have crept in to the building in recent years. The new design idea carefully observes the historical legacy of the house whilst acknowledging the contemporary context within which it exists.’

Financier Text & Display Specimen Pages Financier Text

Two A4-sized printed pages featuring Kris Sowersby’s Financier typeface family. Printed on Strathmore Impress in black ink. Hole punched to fit in an A4 binder.

Financier is a new typeface family drawn by Kris Sowersby for the redesign of the Financial Times, and launched in September 2014. It comprises two complementary sets of styles: Financier Display and Financier Text. Newsprint is a brutish environment for typefaces: outlines get distorted, small gaps get filled in, and black ink turns grey and bleeds all over the shop. Financier eschews the standard news type ink trap in favour of sharp, deep joints, designed to anticipate the ink.

This specimen is available for sale and ships free to clients who license Financier Text or Display.

Alquimie magazine, No. 1 Domaine Text

DOMAINE TEXT & DOMAINE DISPLAY IN USE BY THOUGHTASSEMBLY IN ALQUIMIE MAGAZINE

Australian design firm ThoughtAssembly writes: ‘Released quarterly as a printed magazine, Alquimie is a written emulsion of alcoholic and non-alcoholic drinks.

Domaine Display & Domaine Text are paired throughout with Lettera-Txt by Kobi Benezri

‘Covering wine, beer, spirits, bitters, coffees and other solutions of interest; Alquimie explores the liquids themselves — their origins and stories. Working with photographer James Morgan, the inaugural edition of Alquimie included over 160 images across 152 pages.’

Domaine Display & Domaine Text are paired throughout with Lettera-Txt by Kobi Benezri

‘ThoughtAssembly was involved from the inception of the publication — from naming, through to the identity design, publication design and art direction of the imagery.’

ba.ro.co Tiempos Text

Tiempos Text and Headline make up the identity for this Bavarian coffee company

Stefan Hoppe designed the identity programme for The Bavarian Roasting Company, a small manufacturer of premium coffee. He writes: ‘Baroco started with just three coffees because they think it’s better to create less, but do it perfectly. They not only offer an exceptional coffee experience to other businesses, but also to customers at their local café, located in the very center of their medieval hometown Amberg, where they are known as Café Baroco.’

‘We wanted to capture their philosophy but also play with their catchy nickname. We developed a dual system consisting of a long and a short version of their nickname. The two versions are connected by the same typeface but also, and more importantly, by three dots, one for each of the three coffees they started with. In the long version, the dots abbreviate the full company name, making the origin of the nickname obvious. In the short version, they transform into ellipses, stating: we started small, but there is a lot more to come.’

Isthmus Calibre

This beautiful three book series, along with related collateral feature Calibre

Inhouse, the Auckland-based consultancy who designed this project writes: ‘Coast, Country, Neighborhood, City stocktakes where Isthmus has come from and, most importantly, highlights the approach and attitude that they wish to take forward. The 25 projects selected illustrate the traits that the practice consider valuable: love of places, commitment to design, the power of ideas and a ‘no boundaries’ approach. The 400+ page hardback is edited by journalist Michael Barrett, features Kris Sowersby’s typeface Calibre throughout and is published by 6pt Press.’

A collection of posters, postcards and letterpress printed invitations were produced to support the launch of Coast. Country. Neighbourhood. City. Isthmus.

Archives des gravés National

National in use for Archives de gravés by Alain Vonck

French art director and designer Alain Vonck used National beautifully in this project. He writes: ‘There is a paradox. Personal data are omnipresent on the web, but at the same time invisible, stored in an immaterial place, making it hard to know their imprint on the web and their importance to us. They seem to disappear once the form in completed, unimportant and ephemeral… Yet, they pile up in databases, they are archived, analyzed… How come these data have such an impact, such perennial value for our physical and virtual identities?’

Typer / Calibre

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