Freight Text 22 Freight Text22 Freight Text

JOSHUA DARDEN TYPE DESIGN

Joshua Darden was born and raised in suburban Los Angeles. Joshua published his first typeface at the age of 15. He spent the next ten years of his life as an assistant for typeface development and worked for a wide range of commercial clients. Darden even worked briefly with other famous designers like David Carson. His Brooklyn based studio was established in 2004 and since then he has had the opportunity to be a guest lecturer and type critic for a number of colleges and art schools across the nation. Joshua Darden has also taught at Parsons School of Design and the School of Visual Arts.

FREIGHT TEXT FREIGHT TEXT

Freight Text is a serif typeface designed by Johsua Darden in 2005 for the Brooklyn based Darden Studio type foundry. Frieght has an extensive family with many different versions available for use which makes it versatile and capable of resolving many typographic challenges. Freight has five different weight iterations ranging from light, book, medium, bold and black. Each weight comes with its own set of italics and small caps. Freight Sans, Freight Display and Frieght Big are some of the additional members of this type family. Freight also includes micro and macro versions of the typeface which makes it useful for body text and display.

a vast and versatile superfamily

At the age of 15 Johsua Darden had already designed his first typeface.This was the beginning of a lifelong passion for typography and design that would land him at the helm of his own type studio. Brooklyn based Darden Studios was founded by Johsua Darden in 2004. Darden Studio is a small collective of designers and typographers who share an affinity for contemporary design aesthetics. Their extensive client list ranges across all forms of industry from advertising and marketing to consumer goods, retail, media and technology. Darden studios has created a wide variety of distinct typefaces like Birra, Corundum, Dapifer, Freight, Halyard, Jubilat and Omnes. Mr. Darden’s vision is upheld by the current CEO Joyce Ketterer who took over in 2019. The Frieght font family comes with four distinct members: Freight Sans, Freight Text, Freight Big and Freight Micro. The Freight Text font is easily legible and ideal for applications of lengthy text. Freight Text lends itself nicely to publications like newspapers, books and journals. Freight Sans is suitable for jobs involving text or display. Freight Sans comes equipped with a variety of text options such as roman and italic characters, small caps, italic small caps and old style characters. Freight Sans also features five weights. Freight micro was designed as a solution to the challenges slab serif fonts face in print and on screen. Micro works well in the smallest of point sizes as well as in larger displays. Freight Big is a perfect typeface for headlines but can also be used for text. Freight has a uniquely bold appearance that blends nicely with other members of the Freight family. TYPE STORY * * 27

Freight Text is a vast and versatile superfamily typeface. This contemporary typeface has only been available for fifteen years yet it continues to grow in popularity due to its suitability for handling many typographic challenges.

Freight comes in serif, sans serif, display and text. Here we will analyze the core anatomy within this typeface to help you better understand the elements at work in a well designed letterform

Freight Text has a large x-height for its lowercase letters which come close to the cap height of its uppercase letters.

Freight Text has moderate sized serifs that maintain consistent width.

The counter in Freight Text letters can be both rounded and elliptical depending on the letter. In the lowercase letter g we can see the top counter is elliptical yet much more rounded than the lower counter at the bottom.

The bowl of Freight Text letterforms is of consistent width where it attaches to the letter’s stem and grows in width as it curves around, as we can see in the lowercase letter a.

The ascenders and descenders of Freight Text are equal in length. The ascenders extend beyond the cap height and the descenders reach below the baseline a measure of half the x-height.

The rounded terminals of Freight Text is uniform among letters such as the lowercase a and lowercase r. The spine of the lowercase letter e is proportionally balanced against the transitional thinness as the letter curves and reaches its finish.

FREIGHT ANATOMY

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z

Freight Serif Bowl Ascender

30 Granville Description

Granville is a modern sans-serif typeface. It was designed by a graphic designer named JeanBaptiste Levée of French Production Type, founded by Levée. Granville’s design has a strong contrast in its strokes. However, unlike other thick-thin sans-serifs, the letters remain sturdy enough at small sizes to allow Granville to work as a text face. Granville has six styles: Light, Light Italic, Regular, Regular Italic, Bold, and Bold Italic. Granville is very prominent in editorial designs, signs, and posters.

The Story Behind Granville

Granville was created in 2015 for French Production Type. Production Type is based in Paris, France and is an online distribution of type for designers and active font users for industrial or luxury applications. Production Type was developed in 2014 and is currently a very important and influential digital type design agency.

Granville is a well harmonized sans serif typeface. This typeface is known for having a very visible contrast between thick and thin strokes. The high thick to thin contrast fonts started to be outdated and replaced by the more modern san serifs in the 20th century, until Jean‑Baptiste Levée designed Granville, a stylish, contemporary typeface. This typeface family was created for versatility purposes. Granville is built on hairline cross bars and thick stems. Granville’s italic similar to a script font. There is still a high contrast in the letters, but it is more flowing and graceful.

JeanBaptiste Levée JeanBaptiste Levée

Jean-Baptiste Levée was born in MontSaint-Aignan, France in 1981. Levée first went to Estienne School and studied visual communications. At the school he joined the DSAA typographic creation which sparked his love for typography. Levée graduated from Estienne in 2004. Levée later took lessons and learned design from Franck Jalleau, Michel Derre, Margaret Gray and Sébastien Morlighem. Bibliography Jean-Baptiste Levée was born in MontSaint-Aignan, France in 1981. Levée first went to Estienne School and studied visual communications. At the school he joined the DSAA typographic creation which sparked his love for typography. Levée graduated from Estienne in 2004. Levée later took lessons and learned design from Franck Jalleau, Michel Derre, Margaret Gray and Sébastien Morlighem. Bibliography

When Levée finished schooling completely, he started working as an assistant for a famous French graphic designer, Christophe Badani. In 2004 to 2006 he started worked as art director of the music label, Ambroisie. In 2006, he took a role as a French representative in the International Typographic Association, and later became Vice President of the International Typographic Association a year later. In 2010 Levée and other artists like Bruno Bernard, Stéphane Buellet and Patrick Paleta developed the Bureau des Affaires Typographiques which was the first French collaborative digital foundry. When Levée finished schooling completely, he started working as an assistant for a famous French graphic designer, Christophe Badani. In 2004 to 2006 he started worked as art director of the music label, Ambroisie. In 2006, he took a role as a French representative in the International Typographic Association, and later became Vice President of the International Typographic Association a year later. In 2010 Levée and other artists like Bruno Bernard, Stéphane Buellet and Patrick Paleta developed the Bureau des Affaires Typographiques which was the first French collaborative digital foundry. A couple years later Levée left the Office of Typographic Affairs to focus on his personal work. While focusing on himself Levée launched his own digital foundry. Production Type, which became a place for Levée to explore and show off his talent of design and typography. Levée is the creator of numerous typefaces as well as works for several magazines and newspapers like Liberation, Vanity Fair, Sciences & Avenir, and Trax. Levée has designed over a hundred typefaces for industry, films, fashion and media and is currently creating and teaching other young artists. A couple years later Levée left the Office of Typographic Affairs to focus on his personal work. While focusing on himself Levée launched his own digital foundry. Production Type, which became a place for Levée to explore and show off his talent of design and typography. Levée is the creator of numerous typefaces as well as works for several magazines and newspapers like Liberation, Vanity Fair, Sciences & Avenir, and Trax. Levée has designed over a hundred typefaces for industry, films, fashion and media and is currently creating and teaching other young artists.