Financier, designed by Kris Sowersby, is a new typeface family drawn for the redesign of the Financial Times (FT), which was launched in September 2014. It comprises two complementary sets of styles: Financier Display and Financier Text. Kevin Wilson and Mark Leeds provided design direction over the course of several months.
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.
The Designers Institute in New Zealand hosts the Best Awards, and every year one recipient is given The John Britten Black Pin. This is the highest award given by the Designers Institute and celebrates an individual who has achieved significant success in the field of design both nationally and internationally.
Mark Simonson writes: I’m astonished by how quickly Kris Sowersby went from being a young wannabe on Typophile (where I first became aware of him a little over ten years ago) to becoming one of the most talented type designers working today. Domaine Sans is the latest in his growing list of handsome and well-made fonts.
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…
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.