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Sharp SlabSeptember 17, 2018

Sharp Slab, designed by Lucas Sharp with Connor Davenport, is the Egyptian-slab serif companion to Sharp Sans. Drawn at the behest of campaign design director Jennifer Kinon, Shap Slab originated as a typographic palate expansion for the Hillary 2016 campaign. Sharp Slab served as a strong and approachable voice, delivering iconic slogans in crisp, ebullient typography. As the complimentary slab-serif to our flagship multipurpose geometric, Sharp Slab performs admirably at a range of optical sizes, from caption to display settings.

See Sharp Slab here.

SpecterMay 21, 2018

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.

Specter takes a novel approach by ignoring calligraphy, resulting in shapes that are almost like cut paper laying on top of each other. Flat terminals allow for tight typesetting, and a friendly lowercase and unique italic create a charming and refined personality. And Specter Inline is ready when you need a dramatic display face.

See Specter here.

Gustan Display SuiteMay 1, 2018

Gustan is an orderly type family for a wide range of applications. During the design process, all idiosyncratic decisions were informed by ideas around structure and utility. The fact that certain character combinations align in a particular way is more about bringing order and harmony to the word as opposed to a ‘stylistic’ trait.

The fonts within the Gustan Display Suite are an extension of the original Gustan Family. They work alone, as a suite or with the original Gustan family. The Display Suite contains three distinct designs: Gustan Densa & Densa Condensed, Gustan Forma and Gustan Signa.

See Gustan Display here.

The Centra SeriesFebruary 1, 2018

Josh Finklea’s newest release, the Centra Series, is a study in utility and restraint. In keeping with his approach of iteration and improvement to the traditional typographic tools of graphic design, Finklea’s latest work tackles one of typography’s most popular genres, the geometric sans.

The Centra Series is divided into two parts, both sharing a foundational geometric structure. While Centra No.2 leans into its modernist roots, Centra No.1 finds a more humanist voice, drawing inspiration from the great British contributions to the genre like Johnston and Gill Sans. The construction differences between the two families, as well as their intricate system of stylistic alternates, comprise an interesting stylistic axis, between the geometric and the mildly humanist, and provide designers with a robust set of tools for navigating this axis.

See Centra No.1 here and Centra No.2 here.

Marcin Antique & Marcin TypewriterOctober 22, 2017

Our first retail release in quite a while has gone through many names and incarnations — the first ones dating back to 2010 — before settling on Marcin Antique. Inspired by late 19th-century French types produced by the Fonderie Gustave Mayeur in Paris, the sans serif family is a fresh interpretation of France’s long tradition of grotesque faces.

The Mayeur Type Foundry, based in Paris, was active from the 1870s through the 1910s, publishing a remarkable collection of magnificent specimens showing intricate ornaments and borders, flamboyant initial capitals, and a wide range of typefaces for text and display use. In designing the Marcin types, we referred to the ‘Antiques’ or grotesques; especially those shown in the later 1894 and 1912 editions of the Spécimen-album de la Fonderie Gve. Mayeur, Allain Guillaume & Cie.

Marcin Typewriter is the monospaced interpretation of Marcin Antique, our contemporary reimagining of French gothic types produced in the late nineteenth century by the Fonderie Gustave Mayeur.

Read on and take a closer look at each Marcin typefamily here:
Marcin Antique
Marcin Typewriter

Financier Text & DisplayJuly 1, 2017

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.

The brief was to produce a sharper, more modern newspaper that shows off the FT’s strengths in reporting, analysis and visual journalism. The newspaper needed to be more than just a snapshot of the website at a particular point in the day, but an edited selection of the best the FT has to offer. It needed to complement FT.com and provide a competitive ‘finite’ read of ‘what you need to know’ each day.

Read on and see more of Financier Text & Display

Post Grotesk V2May 1, 2017

Post Grotesk, designed by Josh Finklea, was originally published in 2013 through our Incubator. At the time it had four weights in roman & italic—light through bold. In 2016 Pentagram hired Josh to customize Post Grotesk for their client The Minneapolis Institute of Art (Mia).

Mia Grotesk, the museum’s proprietary typeface, was created in collaboration with Josh Finklea. It is a customized version of Post Grotesk that has been significantly modified to relate to the logo and give the font a stronger presence. Changes included squaring off the dots on the i, the terminals, and all circular punctuation, and widening the M and N. The weights of the typeface were also reconsidered, combining the book and medium weights to make a regular and adding a black weight, resulting in four custom weights—light, regular, bold and black.

In the spring of 2017, Josh Finklea and Sharp Type joined forces and an updated Post Grotesk, with new thin and black weights is now published by Sharp Type.

See Post Grotesk here

Neon Signs and Fear of FailureMarch 28, 2017

I’m really good at getting typefaces halfway done and then not finishing them. Or so claims type designer Tal Leming when asked about designing the typeface Ohm in 2009. Since the 2017 Typographics branding makes prominent use of Ohm, we decided to ask Leming about the origins of the design and the motivation behind it.

After moving to Baltimore, Maryland Leming would walk down the street near his house and pass a closed meat market that had a 1970s neon sign in the window. I don’t remember the name of the shop, but I remember the S. The S was amazing.

Around the same time, Erik Van Blokland was working on a pre-webfont online type-testing tool to help designers called LetterSetter and it needed a logo. Leming immediately thought of the S from the meat market sign and designed the characters needed for the logo. After that, he thought it would be fun to make more letters in the same style. He would work on it for a bit, and then wouldn’t touch it for six months. At some point, he realized he basically had the entire uppercase already designed for what would become Ohm.

Read more on the Typographics Blog….

Attendees of this year’s Typographics festival will get to see even more use of Ohm, since it will be used for event signage all around the campus of Cooper Union.

Sharp GroteskMarch 23, 2017

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