Specter, designed by Jeremy Mickel with Douglas Hayes, is a constructed geometric sans with 90° sheared terminals and true italics. It is available in seven weights with roman and italic styles, including special inline display styles.
One day in the fall of 2009, my new friend Arley-Rose Torsone came by my studio in Providence. She was interested in learning to make fonts and I had promised to show her the basics of FontLab. In that initial session, I showed her how to draw beziers and set sidebearings. I drew a few glyphs, and we talked about the qualities of the control characters: what should the shoulders of the n look like? How round should the O be? It didn’t occur to me at that moment that I would eventually expand this font into 48 styles — I was just having fun with a friend.
Superior Title is a high contrast Transitional typeface, a kind of missing link between Bodoni and Times. The Display styles are suitable for editorial usage, particularly for fashion and lifestyle publications.
Friendly neutrality: Jeremy Mickel’s background as a graphic designer can be quite advantageous as a typeface designer: If existing fonts aren’t quite right, he can draw one himself. In the case of Fort, Gotham might have been too round and DIN too strict. The result is a contemporary sans serif with slightly squared shoulders; neutral enough to stay discreet where necessary, yet warm and friendly to avoid being impersonal.
Fort is a contemporary grotesk, inspired by years of working as a graphic designer and the constant need for sans serifs with a flexible voice and durable performance. Its unique features are the squared shoulders and counterforms in round characters, subtly redrawn slanted italics, and consistent texture across all weights. Neutral enough to take on information design, corporate identity, and small text sizes, Fort’s refined details and personality shine in display.
Six leading and emerging voices in the field of type design talk about problems central to their work. Each speaker will address a burning question concerning the design, use, culture, technology, or business of fonts and typefaces. The event is moderated by Ellen Lupton & Cara Di Edwardo.
Shift is inspired by American slab-serifs from the late 19th century. In its lighter weights, it takes on the personality of a typewriter face, with flared terminals and prominent serifs. In the heavier weights, it acts as a titling Egyptian, with thin spaces between characters and small counters. Designed as a display face, it also works well for text.
We’re pleased to welcome Jeremy Mickel to a foundry slot.
I was very honored for Router to be included in the Walker Art Center / Cooper-Hewitt National Design Museum’s [Graphic Design: Now In Production] show (http://www.walkerart.org/calendar/2011/graphic-design-now-in-production). And even more thrilled to be right next to my friends Henrik Kubel (FM) and Eric Olson (Anchor). And having Matthew Carter there wasn’t so bad either (Vanlanen).
I remember clearly the day I was waiting for the 6 train at 33rd Street and Park Avenue in New York. I had taken pictures of type on the street for some time, but there was something here that caught my eye.