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Beauty: Cooper Hewitt Design TriennialFebruary 12, 2016

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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.

Klim’s, Domaine Sans Display, is featured on the cover of the exhibition catalogue

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?”

Stencil for Slanted MagazineDecember 1, 2015

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Village partner, Chester Jenkins of Constellation foundry, was invited to design a stencil typeface for Slanted Magazine.

Our stencil is based on a small set of hand-cut Victorian stencils

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.’

New Release: Blackletra’s Silva Text & Silva DisplayNovember 28, 2015

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Reflection on practice: Silva

What happens if one tries to design some Didone letterfoms using a broad-nib pen? This question was the starting point for this project when, in June 2013, I started doing the first sketches of Silva. Unusually, the first two letters were capital letters: N and A. The construction principles behind this typeface subverts traditional calligraphic foundations of the use of the broad-nib pen: we usually hold the pen at 30°, but here the use of this tool was as free as possible, allowing variations of angles where necessary to achieve the desired result.

Read on, and take a look at Silva’s design, features & details here & here

A2-Type wins the Grand Prix from the Tokyo TDCNovember 27, 2015

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A2-Type partners, Henrik Kubel and Scott Williams win the Grand Prix from the Tokyo TDC for the suite of custom typefaces they designed for the relaunch of The New York Times Magazine. A2’s comprehensive typographic system isn’t the only new lettering on view, the magazine’s design director, Gail Bichler commissioned Matthew Carter to re-draw the masthead, adding a new and masterly air of lightness and modernity to the heraldic blackletter forms.

The magazine’s editor, Jake Silverstein, wrote about the relaunch in February, ‘Just as crucial to this latest reimagining of The New York Times Magazine as the print makeover is the idea that it shouldn’t be confined to print. In the next year, you’ll be seeing more of us outside the bundle that lands on your doorstep on weekend mornings.’ Read the article in full here.

The redesign has translated beautifully from the printed page to the magazine’s website – A2’s typographic system can be seen in full in every feature – from mouse type to headlines.

New release: Grotzec MoreOctober 30, 2015

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Grotzec More, designed by Mário Feliciano, is a companion to Grotzec Condensed. It includes three new condensed styles of the Grotzec family: Grotzec X-Condensed Bold, Grotzec Narrow Bold and Grotzec X-Narrow Bold. All three styles are also available as single weights.

See more of Grotzec More & its companion, Grotzec Condensed here & here

Kris Sowersby of Klim receives The John Britten Black PinOctober 9, 2015

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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.

Kris Sowersby received this prestigious award in 2015 in recognition for his exceptional body of work to date. Congratulations and kia ora, Kris!

New release: Frauen, designed by Lucas SharpSeptember 24, 2015

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Frauen is our ode to German calligraphy. The script style is based on some lettering I found on the cover of an almanac of Berlin debutantes published in 1945 titled, Die shönsten Frauen der Welt (The Most Beautiful Women in the World).

The 1945 almanac of Berlin debutantes that inspired Frauen, ‘Die schönsten Frauen der Welt’

The Roman is partially based on the calligraphy of Friedrich Neugebauer, and partly my own creation. Frauen Roman and Script share a common weight, x-height, and nib angle, and when used together behave as if the same unabashedly German calligrapher penned them both in the same sitting. As such, the uppercase and lowercase of each style can be used interchangeably with one-another.

Take a look at Frauen’s design, features & details here

New release: Proof, designed by Hanno BennertJuly 27, 2015

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Proof, designed by Hanno Bennert, is a new release in our Incubator foundry.

The design of Proof (formerly known as Tram) has its origins in many tram rides in Düsseldorf, Germany, and is directly influenced by the powerful, industrial charm of these vehicles. Many of the early sketches were drawn on these rides. (For the first several years of its life, the typeface was called ‘Tram’; alas, our friend and colleague Henrik Kubel at A2-Type had already published his CPH Tram, and we did not wish to create any confusion in the marketplace between these two vastly different designs.)

Proof developed into a sturdy and compact sans-serif which balances a constructed, technical feel, squarish superellipse forms with subtle but dynamic stroke modulation and angled stroke terminals harking to wayfinding types. Hanno incorporated humanist elements as well as features of classic grotesks, and he hopes to have retained some of the warmth of those old types.