Klim / Tiempos Fine


New Type: Domaine Sans SupersetNovember 9, 2014

The Domaine Sans Superset, designed by Kris Sowersby of Klim, is a trio of contrast sans serif typefaces. Kris Sowersby writes: ‘Domaine delved into the unpopular Latin typeface genre. Domaine Sans is an exploration into another unpopular genre of typefaces: sans serifs with contrast.

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Typographica’s Best of 2013: DomaineMarch 13, 2014

John Boardley writes: Kris Sowersby’s Domaine family has its origins in a logotype for the Australian wine company, Hardys. I am an unabashed fan of Sowersby’s work. He is an exceptional type designer, one who has a particularly acute sense of what good type should look like.

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Designing NewsNovember 26, 2013

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.

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New release: Domaine supersetSeptember 30, 2013

Kris Sowersby developed the Domaine superset for Parallax Design Studio in Adelaide Australia. Parallax was charged to rebrand The Hardy Wine Company. ‘The new brand identity for Hardys takes inspiration from trade-cuts and early letterheads held within the company’s archives’ dating back from the company’s origins in 1853.

See Domaine here

New Release: Founders Grotesk TextJanuary 23, 2013

Founders Grotesk was initially designed for headlines, but upon its first outing—in a newspaper—it was used at text sizes and performed rather poorly. The lighter weights were serviceable at best, but far from ideal. The bolder weights veer pretty close to disaster, almost clogging up completely. Perhaps with a bit of letterspacing and better printing it would only just be passable.

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New Type: PitchApril 1, 2012

With a legacy of functionality, romance and literary seriousness, writers and journalists used typewriters to great effect. No formatting, no typographic styling: just the writer and their words. It’s a humble, beautiful object, a representation of mechanical refinement and industrial design. It is an honest machine, it does exactly what you tell it.

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New Type: Metric & CalibreMay 19, 2011

Metric & Calibre are a pair of typefaces that share a fundamental geometry yet differ in the finish of key letterforms. Metric is a geometric humanist, sired by West Berlin street signs.

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Eye Magazine: Kris SowersbyApril 15, 2011

In the past few years the Klim Type Foundry has released a succession of finely crafted typefaces that have been as notable for their range and engagement with typographic history as for their immaculate execution. Klim is the work of one man, Kris Sowersby, a young New Zealander with a prodigious talent for drawing letters.

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Eye Magazine: Sentimental Journey reviewApril 4, 2011

Exquisite discourse: Poet meets graphic artist meets type designer, and the consequence is…

A graphic artist and a typeface designer, working blind to each other, design two-word typographic postcards illustrating a poet’s turn of phrase, writes Hamish Thompson.

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New Type: Tiempos Text & HeadlineMay 10, 2010

Tiempos was initiated as an optimisation of Galaxie Copernicus for a Spanish newspaper redesign. Although it began as an offshoot of Galaxie Copernicus, Tiempos evolved far enough that it became its own standalone family. Copernicus is based on Plantin, it’s broad proportions are designed to harmonise with Chester Jenkins’ Galaxie system. Over the last century, Plantin has influenced many typefaces, the most notable example is Stanley Morison’s Times New Roman.

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New Type: Founders Grotesk TextMay 3, 2010

The impetus for Founders Grotesk originally came from Duncan Forbes of The International Office. We had often discussed the nature and usefulness of the classic grotesks, and the possibility of creating a new one. After trawling through my 1912 Miller & Richard specimen, he became enamoured with their series of Grotesques, particularly the No.7 all-caps showing.

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FPO on Klim's Type SpecimenMarch 11, 2010

Klim’s type specimen gets a rave review on FPO:

There is probably nothing dorkier to an outside viewer than a graphic designer looking at every single page of a type specimen catalog… I mean, who in their right mind obsesses about non-sensical text laid out in a bunch of different sizes? We do. And it’s awesome. Especially when it’s well done and when the typefaces are fabulous.

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New Type: Karbon & Karbon Slab StencilDecember 25, 2009

Karbon is an open, geometric sans serif with a contemporary spartan finish. It is an exploration of Paul Renner’s reductionist Futura concept channelled through the proportions of Eric Gill’s eponymous sans, with a slight nod towards Jan Tschichold’s Uhertype sans-serif.

Typographica on HardysApril 7, 2009

Duncan Forbes reviews Hardys

*This review was written before Hardys was available commercially. It has since been revised, renamed (Domaine) and expanded into the gorgeously rich Domaine Superset.

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Typographica on NewzaldApril 4, 2009

John Boardley reviews Newzald

Inspired by the very best of the Dutch types, it is however, no redrawing or revival. All too often, types with such distinguished pedigrees make recourse to bells and whistles, to incongruous embellishments, in an effort to differentiate themselves from their forebears.

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Typographica on FeijoaMarch 5, 2008

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.

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TDC2 2008: NationalFebruary 27, 2008

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.

Read more at tdc.org

Typer / Calibre

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