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TypeSupply / Timonium

New Release: Flama supersetApril 28, 2008

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One of the maiden releases when Village launched in 2005, and still one of our most popular offerings, the Flama family has been expanded and improved. Mário Feliciano, the great Portuguese designer, has added three additional widths and some extra weights to this eminently useful sans.

The ‘standard’ Flama family now comprises 10 weights from Thin through Black in both roman and italic with all accents needed for setting western and eastern European languages. Also new for 2008 are Semicondensed, Condensed and Ultracondensed widths of Flama.

Interview: Christian SchwartzMarch 30, 2008

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Chris Palmieri of Tokyo Art Beat interviewed Christian Schwartz.

‘Typefaces, or fonts, are powerful tools that color the voice of our written words. Almost everyone uses fonts. Average PC users choose from the selection pre-installed fonts on their computers to add expressiveness to a greeting card or presentation. Graphic designers select from small libraries of purchased commercial fonts to create websites, brochures and company identities. Editorial and corporate art directors commission large, exclusive-use type families to standardize their organizations’ entire visual identity system.’

A lot of your retail typefaces started out as commissions. What happens one of these controlled environment experiments gets released into the wild?

It’s fantastic. I love to see things used in surprising ways. Just think about Bell Centennial. That was drawn for tiny listings in a phone book, and then in the 1990s Rolling Stone blew it up to 800 points, until you could see the ink traps that made it work at its intended size on its intended paper. It’s really interesting to see these details taken out of context and exposed.

Read more on Tokyo Art Beat

Eye Magazine: A2-TypeMarch 15, 2008

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‘A2’s bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. Kubel is self-taught, making his first typefaces while studying at Denmark’s Design School from 1992-97. Though he had drawn letters since he was twelve, it was the discovery of Fontographer that sparked his passion for type design. “At that time there were no schools that were teaching type design,” says Kubel. “Now we have Reading, and the courses in Holland. But we were young, and embracing everything! It was a way of claiming your identity.”’

Read more on Eye magazine’s blog

Typographica's Best of 2007: NationalMarch 9, 2008

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Duncan Forbes reviews National

National is the second typeface released by klim within a year and has been termed a revival of the 19th century English and American grotesks.

While there is a hint of grotesk, it does not simply copy but is truly a reflection of the present — type made in and for the digital age (of course!).

Read more on Typographica

Typographica on GiorgioMarch 5, 2008

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Ben Kiel reviews Giorgio

It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. Commissioned from Christian Schwartz and used by Chris Martinez and his staff at T, Giorgio exudes pure sex and competes with the photographs beside it. The designers at T were clearly unafraid of what it demands from the typographer and, over the past year, kept on finding ways to push Giorgio to its limit. Extremely well drawn in its details, full of tension between contrast and grace, it is a typeface that demands to be given space, to be used with wit and courage, and for the typographer to be unafraid in making it the page. Now that Giorgio is for sale to the general public, any designer can discover if they can can use such a demandingly beautiful thing as well as T did.

Read more at Typographica

Typographica on FeijoaMarch 5, 2008

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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.

So it was quite surprising to discover Feijoa, a new text face hailing from the other side of the world that displayed that same trait in its forms. Its most distinctive feature is the almost complete absence of straight lines, which makes for a warm and sensuous design. Those gently curved straights and rounded corners lend the design a beautiful organic, almost calligraphic quality. Yet there is nothing frivolous to the typeface, it all is functional and looks very self-assured.

Read more on Typographica

TDC2 2008: NationalFebruary 27, 2008

Vllg klim news tdc2 national

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

Prix Charles Peignot: Christian SchwartzOctober 29, 2007

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Every four or five years, ATypI awards the Prix Charles Peignot for Excellence in Type Design to a designer under the age of 35 who has made an oustanding contribution to type design.

Christian Schwartz was born in 1977 and grew up in a small town in New Hampshire. He graduated from Carnegie Mellon University in 1999 with a degree in Communication Design, and then spent 3 months as the in-house type designer at MetaDesign Berlin. After a year spent at The Font Bureau, he moved to New York and established Orange Italic with Chicago-based designer Dino Sanchez. The extensive Guardian Egyptian family for the Guardian newspaper’s dramatic relaunch in 2005 — developed with Paul Barnes — won a black pencil from D&AD in 2006, while his work with Erik Spiekermann on Deutsche Bahn was given a gold medal by the German Design Council in 2007. Since his first published typeface at age 14, Christian has worked on or created 26 typeface families for display and text setting.

Read more on ATYPI…

New Release: Stag SansOctober 15, 2007

Vllg schwartzco news stagsans

Looking back at the process that lead to Stag, I can see that Stag Sans was inevitable. Esquire had a lot of trouble finding a sans to complement Stag and Hoefler & Frere-Jones’s Mercury to complete their typographic palette, and had settled on Apex Sans — a perfectly good sans serif, but its narrow proportions and long ascenders and descenders were drastically different from Mercury and Stag, making them difficult to mix in a single headline or as emphasis in a block of copy. We combed through every contemporary sans serif we could find, but nothing was quite the right fit — rounded corners were overly friendly; none of the existing geometric sans serifs looked right with Stag; most humanist sans serifs were far too narrow, too calligraphic, or too straightlaced. Paul Barnes reminded me that the most obvious solution was probably the right one: ‘You know what you have to do, right? Make a sans serif version of Stag.’

Read more