A new font called Nationale is the latest offering from the Playtype foundry. First designed for the National Museum in Copenhagen, it has quickly become popular at e-Types. First used on the new website and now available on new Playtype sweaters.
Another group of Masters students from Type & Media at The Hague’s Royal Academy of Art graduated recently. Check out the 12 new typefaces that are their respective final projects. Perhaps most impressive is Barbara Bigosińska’s Mala, which is designed for maps and complex layering of information. Or the beautiful Curtis, derived from broad nib calligraphy.
Swiss type is the best type.
Grilli type foundry was featured on Typetoken a few days ago, check out their three amazing fonts GT Walsheim (from 2010 and already a classic), and brand new GT Pressura and GT Haptik. Haptik, above, was drawn by Reto Moser and Tobias Rechsteiner and is meant to be read by touch, thus the name. All three fonts are available in trial versions from Grilli.
Sweden just got a new set of stamps called Typsnitt, showing five typefaces designed by Swedes. Traffic, Satura, Sispos, Indigo Antiqua and Berling Antikva range from 1951 to 2010. The engravings of these typefaces bring type to a conceptual full circle, that returns it to the pre-letterpress era. Satura was co-designed by Peter Bruhn, who is one of the country’s most reputable designers, having been involved with the previous redesign of newspaper Sydsvenskan and Malmö-based type foundry Fountain.
We just went to see Tauba Auerbach’s exhibition of Folds at Malmö Art Gallery, but what isn’t reflected by the show so much is Auerbach’s fascination with typography. Apparently she’s made made many works in guache, working with letters in big geometric grotesks. I came upon this facet of her work looking at the catalogue, which is set in Radim Peško ultra-elegant Fugue font (picture I). But also appearing on the cover and in the book is Auerbach’s own font, called Kiwi on the colophon. I haven’t found any information about it online, but it’s also used on the artist’s website (not as selectable text however) as you can see in the screen cap above (picture II).
My favourite works in the Malmö show were the acrylic and glass on wood Shatter VII and VIII. In retrospect I’ve found that this is the same series that have been used on Glasser’s releases on True Panther Sounds. I’ve never listened to Glasser, but these are now among my favourite album covers of the last three years. Here’s the Ring LP.
And there’s an interesting video of the making of the Apply 12″, which you’ll have to see to understand how the packaging functions. If you have 10 minutes to spare you should watch her enchanting collaboration with Cameron Mesirow (Glasser), called Auerglass. Auerbach has also made album art for labels like Mexican Summer and Sacred Bones.
The first sign of the established rivalry between Copenhagen agencies E-Types and Kontrapunkt appeared to me in connection with the Metro project. Apparently E-Types updated their identity not very long ago, but it hasn’t been implemented much beyond the “Metro som nabo” broschure that the image above is from, and signage for a trailer made by Lauritsen Skilte. The new Metro typeface designed by the excellent Jonas Hecksher is available commercially, which is another sign it probably won’t be used for the City ring project.
Danish Faces arranged the Conceptual Type conference last year. Now, they’ve created a simple Indexhibit site with videos of the talks by the most famous speakers, like Erik Spiekermann and Rick Poynor. A great chance for anyone who missed the single day of type mayhem to hear some of the discussions. Here’s what one of my favourite type designers Peter Bil’ak had to say.