Urtd / Odesta

New Release: Superior TitleSeptember 30, 2013

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.

Superior Title was originally designed for Pentagram’s rebrand of Travel + Leisure magazine. There are two companion typefamilies, Superior Deck and Superior Text which are forthcoming MCKL releases.

See Superior Title here

CA profile: MCKLJune 13, 2013

Jeremy Mickel of MCKL was featured in a Fresh Profiles column in Communication Arts magazine:

Duration: I started drawing type in 2006 while working as a graphic designer. I’ve drawn custom fonts and logos for clients since 2008 and I launched my foundry, MCKL, in 2012.

Staff: Having a company of one allows me to oversee all aspects of design, but I collaborate with a variety of designers and illustrators, as well as other foundries like Village, House Industries, and A2-Type.

Read more on CA.com

New Release: Sharp SansJune 2, 2013

Sharp Sans, designed by new Incubator member, Lucas Sharp, injects some much needed humanism into the Futura model. With its sheered terminals and true italics, Sharp Sans combines the appealing typographic compensation of the grotesque, with the plump circular bowls of the geometric. The result is a typeface suited for both text and display use that breaths life into the genre of the geometric sans.

See Sharp Sans here

Pagan & Sharp lectureJune 1, 2013

Lucas Sharp & Carlos Pagan (Pagan & Sharp), will give a talk at the 14th Street Apple store, Wednesday, April 3rd @7pm.

Typographica on PitchMarch 13, 2013

Carolina de Bartolo reviews Pitch

Unfortunately, there is not much I could tell you about the design of the riveting new typewriter face called Pitch that Kris Sowersby has not already published in his extensive process notes.

That being the case, I’ll spare you the repetition and go directly off on an idiosyncratic tangent.

First, a brief homage to the typewriter:
Like the bicycle, the typewriter played a remarkably important role in women’s liberation. Wikipedia informs me (with ‘citation needed’) that according to the 1910 US census, 81% of the women who entered the workforce began their careers as typists. Fans of the popular television series Downton Abbey will recall the storyline of the redheaded housemaid, Ms Gwen, who is secretively learning to type via correspondence course in order to fulfill her dream of becoming a secretary.

Read the rest of the review on Typographica

Typographica on ShiftMarch 13, 2013

Robb Ogle reviews Shift:

Embrace designs that give a tacit nod to history without making contemporary words look like they’re wearing a cravat. Shift’s appeal, beyond utility, is a quirk of prescient timing and 2012 fashion.

We (re)prioritized lasting materials and so swiped older generations’ fabrics and waistcoats. Let us face the fact that fashion-conscious men overindulged playing tweedy dress-up this year. Likewise, certain type revivals arguably become overwhelming costumes. Young Shift’s antique form can switch playing Country Lord or Lumberjack. Prim, sharp Extralight or heaving Black weights offer that period breadth. Contextual alternates add spit polish. But the family seems a new inventive composite of choice Barnhart Bros. & Spindler aesthetics, duly name checked by Mickel. It is minted for fresh use, detoxed of olde-timey contrast ghosts and too-gooey bracketing.

Read more on Typographica

Typographica on TimoniumMarch 13, 2013

Ben Kiel reviews Timonium:

Tal Leming has built a career on his ability to deftly turn both the geometric (United, Bullet, and Mission + Control, for example) and the lettered (Burbank, Baxter, and Shag Lounge) into well-balanced typographic forms that are aesthetically rooted in their source material but function flawlessly in contemporary typographic applications.

This is a design challenge that appears simple at first glance, but it can be an exercise in hair-pulling frustration to get the letterforms sitting comfortably in both worlds while betraying neither. Timonium brings these two sides — the lettered and the geometric — together in a design that achieves lettered warmth within a geometric construction. The design takes a style that I associate with a certain French flavor (the high-contrast sans serifs of Deberny & Peignot, in particular) and with Optima (sans entasis), looks to that style in non-typographic traditions, and merges its influences in a design that doesn’t reference any certain era, but maintains a distinctive character.

Read more on Typographica

New Release: Brooklyn & Brooklyn StencilFebruary 11, 2013

Brooklyn and Brooklyn Stencil started out in an architectural model….

In April 2007, I got a call from a favorite client, Michael Bierut at Pentagram in Manhattan, asking if I could come in to talk about a project for a new architectural development. The project turned out to be the Atlantic Yards project, a massive undertaking involving a sports arena, an office block, and hundreds of housing units, all designed by the great American architect Frank Gehry.

An early rendering of the Atlantic Yards project from The Office of Frank Gehry

I was shown photos of the model for the project which included a wonderfully twisty and turny tower, a stack-of-blocks-block-of-flats, and an arena which looked as though it was to be covered with blue metal post-it notes.

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