Swiss styling collides with the unexpected construction and wonky imperfectionism of 20th century American wood type in Lucas Sharp’s monument to Adrian Frutiger: Sharp Grotesk. With its exuberant personality, ink traps, and incredible range of moods, Sharp Grotesk is a brand new and uniquely American perspective on the genre of the multi-width grotesk. Originally beginning as hand drawn poster lettering in 2011, Sharp Grotesk eventually grew to encompass a massive range of 21 widths in 7 weights of roman & italic, for a total of 249 fonts.
Read on, and take a look at Sharp Grotesk‘s design, features & details here…
Fabriga, designed by LuxTypo., speaks a familiar language in a distinctive voice. All emblematic decisions were informed by ideas around clarity and tone. Fabriga’s structure and warmth is influenced by how it’s character set is approached as an ensemble while still exploring individual ‘creative’ opportunities as they posed themselves throughout the process. Fabriga sets out to take a supportive role as a font family, understanding that one of its great strengths is through its diversity in application and composition.
Fabriga has five feature-rich styles with built-in Stylistic Alternates and extensive language support
Since the publication of his Sharp Sans No.1 type family through the Village Incubator, designer Lucas Sharp has gone from strength to strength, releasing 3 more families through the Incubator and taking on some significant custom type projects. Sharp Sans has been wonderfully embraced by designers around the world, including Michael Bierut at Pentagram, who used the typeface in his identity for Hillary Clinton’s 2016 Presidential campaign. (See more about that project here.)
We are proud to announce that Lucas’s new company with his partner, Chantra Malee, Sharp Type Co. is moving into its own slot at Village. We look forward to bringing you more — a LOT more — type from Lucas in the coming months and years.
In 2015, Lucas Sharp was commissioned by the Hillary Clinton for President campaign to create a custom version of his Sharp Sans Display typeface. Lucas worked closely with Jennifer Kinon, the creative director at the campaign; the Sharp Unity typeface incorporated many ideas Lucas had been developing for his “ur” version of the Sharp Sans typeface.
While the Sharp Unity typeface has details unique for the Hillary Clinton campaign, the Sharp Sans family distills the essence of what has made the Display versions so successful into a set of fonts aimed at text setting.
Lucas Sharp created two typefaces for Hillary Clinton’s 2016 campaign for the Presidency of the United States: Sharp Sans and Sharp Slab (both pictured above.)
The newest iteration of Sharp Sans was conceived for the 2016 Presidential bid by former Secretary of State Hillary Clinton. Michael Bierut and his Pentagram team chose Sharp Sans Display No.1 as the main typeface for the campaign identity, but such a monumental project required a sturdier and more utilitarian typeface.
The new Sharp Sans is completely redrawn and shaped by the rigorous typographic demands of modern visual communication. Setting the new Sharp Sans apart from its predecessors are a larger x-height and more open counters, lending the types improved utility in extended text setting, while still working as a headline face. This versatility was not the primary objective of the two Sharp Sans Display typeface families.
Jennifer Kinon, a founding partner of New York City design firm OCD, has taken an extended leave from her studio to serve as Design Director for Hillary for America. Kinon art directed the revisions to the new Sharp Sans while expanding the campaign’s identity and teaching each campaign office how to use it.
Kris Sowersby of Klim has an impressive installation of his work in Beauty—Cooper Hewitt Design Triennial. An impressive and well-earned achievement.
Beauty—Cooper Hewitt Design Triennial is the fifth installment of the museum’s signature contemporary design exhibition series. With a focus on aesthetic innovation, Beauty celebrates design as a creative endeavor that engages the mind, body, and senses. Curated by Andrea Lipps, Assistant Curator, and Ellen Lupton, Senior Curator of Contemporary Design, the exhibition features more than 250 works by 63 designers and teams from around the globe, and is organized around seven themes: extravagant, intricate, ethereal, transgressive, emergent, elemental, and transformative.
The exhibition is installed on the first and third floors of the museum and offers an immersive, multisensory experience that guides the visitor through a dramatic procession of the individual works. With projects ranging from experimental prototypes and interactive games to fashion ensembles and architectural interventions, Beauty presents works of astonishing form and surprising function while examining the essential question: “Why beauty now?”
Village partner, Chester Jenkins of Constellation foundry, was invited to design a stencil typeface for Slanted Magazine.
Slated writes: ‘On the occasion of the release of Slanted Magazine #26 – New York, we published the limited NYC Special which is exclusively available in the Slanted Shop. The edition contains a Photo Essay by Jochen Sand and a limited type-stencil-set with typefaces by Commercial Type, Village and XYZ Type from New York City.’