a DOMAINE DISPLAY NARROW designed by Kris Sowersby
CONTEMPORARY,
curvaceous
Latin detailing on a Scotch skeleton.
TYPEFACE HISTORY Interview with Kris Sowersby, designer of the typeface The Domaine typeface family descends directly from the Hardys logotype and typeface, which I designed under direction from Adelaide-based design consultancy Parallax. During their research, Parallax dug through the Hardys company archives and unearthed some fascinating typographic gems. At this point, the only concrete stylistic cues I had were a few capital letters with sharp, bracketed Latin serifs. The Latin genre can be overwhelming, sharp and chaotic when considered en masse. There are two dominant serif styles in the Latin genre: triangular wedges or brackets, both ending in sharp points. The bracketed serifs are particularly elegant; some of the hooked terminals are wonderfully bizarre. The process of taming those terminals, while retaining the sharp points, helped to harmonise the bracketing and to smooth the
stem-to-branch connections — this brought the typeface design closer to the elegance required for Hardys, and would later inform the development of Domaine. The horizontal head-serifs present in most Latins help create a calm, even texture on the page. The historical Latins provide little consensus, however, on proportion, width and spacing, so I looked towards the more serviceable Scotch Romans in consideration for Domaine. To properly flourish, Domaine needed two optical sizes: Text and Display. The Domaine Display styles were made sharper, the spacing tighter, and the hook terminals were emphasised. Matching Italics were obviously also required for all Roman styles. There aren’t many viable historical precedents for Latin Italics; and Scotch Italics tend towards fussiness. Domaine Narrow Regular 10pt - interlinea 14pt
Domaine is the largest family I’ve made to date, comprising 46 styles. I learned a great deal through the development of this typeface. I realised that it’s important never to dismiss a genre. If I had ignored what I was unfamiliar with, or considered not to my taste, I might have missed out on the hidden magic in those old Latin serifs. Experience has shown me that often there is much to draw from a typeface or style I don’t initially find endearing. With Domaine, I wanted to design outside of my usual style and comfort zone, and to create full and elegant curves.
Domaine Narrow Regular 10 pt - interlinea 14pt
CABERNET FRANC medium-bodied wine PINOT BLANC intense and complex
narrow regular 35 pt
narrow medium 35 pt
SANGIOVESE full-bodied spice flavors
narrow semibold 35 pt
CHARDONNAY rich citrus flavours LAMBRUSCO dry to sweet wine
narrow bold 35 pt
narrow extrabold 35 pt
CHAMPAGNE multitude of styles
narrow black 35 pt
CABERNET FRANC medium-bodied wine PINOT BLANC intense and complex
narrow regular italic 35 pt
narrow medium italic 35 pt
SANGIOVESE full-bodied spice flavors
narrow semibold italic 35 pt
CHARDONNAY rich citrus flavours LAMBRUSCO dry to sweet wine
narrow bold italic 35 pt
narrow extrabold italic 35 pt
CHAMPAGNE multitude of styles
narrow black italic 35 pt
THE GLYPHS Accented Caracters
À Á Â Ã Ä Å Æ Ǽ Ā Ă Ç Ć Ĉ Ċ Č Đ Ď È É Ê Ë Ē Ĕ Ė Ę Ě Ĝ Ğ Ġ Ģ Ĥ Ħ Ĩ Ī Ĭ Į İ Ì Í Î Ï Ĵ Ķ Ĺ Ļ Ľ Ŀ Ł Ń Ņ Ñ Ò Ó Ô Õ Ö Ǿ Ø Ō Ŏ Ő Œ Ŕ Ŗ Ř Ś Ŝ Ş Š Ș Ţ Ť Ŧ Ț Ù Ú Û Ü Ũ Ū Ŭ Ů Ű Ų Ŵ Ẁ Ẃ Ẅ Ŷ Ÿ Ý Ỳ Ź Ż Ž Þ ß à á â ã ä å ā ă ą æ ǽ ç ć ĉ ċ č ď đ è é ê ë ē ĕ ė ę ě ð ĝ ğ ġ ģ ĥ ħ ì í î ï ĩ ī ĭ į ı ĵ ȷ ķ ĺ ļ ľ ŀ ł ñ ń ņ ň ŋ ò ó ô ò ó ô õ ö ø ǿ ō ŏ ő œ ŕ ŗ ř ś ŝ ş š ș ß ţ ť ŧ ț ú ŭ û ü ù ű ū ų ů ũ ŵ ẃ ẁ ẅ ỳ ý ŷ ÿ ź ž ż þ Numeral Sets, Currency & Math Operators
0 1 2 3 4 5 6 7 8 9 $ ¥ € £ ƒ ¢ % ‰ + − = ÷ × < > ± ≤ ≥ ≈ ≠ Ligatures & Fractions
ff fi fl ffi ffl fb ffb ffh ffj ffk fh fj fk fï ffï ¼ ½ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞ Punctuation & Symbols
& @ ( ) [ ] { } / | \ ! ? ¿ ¡ · • - – — « » ‹ › . , : ; . . . “ ” ‘ ’ „ ‚ # ° © ® T M ' " * † ‡ § ¶ ^ ~ _ a o 1 2 3
OPENTYPE FEATURES OFF
Elegant Fine Ruffle Kafka fjord
OPENTYPE FEATURES ON
Elegant Fine Ruffle Kafka fjord
Supported Languages ISO 8859–1 / Latin1 Afrikaans, Albanian, Basque, Breton, Catalan, Danish, English (UK & US), Faroese, Galician, German, Icelandic, Irish (new orthog- raphy), Italian, Kurdish (The Kurdish Uni ed Alphabet), Latin (basic classical orthography), Leonese, Luxembourgish (basic classical orthography), Norwegian (Bokmål & Nynorsk), Occitan, Portuguese (Portuguese & Brazilian), Rhaeto-Romanic, Scottish Gaelic, Spanish, Swahili, Swedish & Walloon
ISO 8859–2 / Latin2 Bosnian, Croatian, Czech, German, Hungarian, Polish, Romanian, Serbian (when in the Latin script), Slovak, Slovene, Upper Sorbian & Lower Sorbian
ISO 8859–10 / Latin6 Nordic languages
ISO 8859–9 / Latin5 Turkish
ISO 8859–3 / Latin3 Esperanto, Maltese, Turkish ISO 8859–4 / Latin4 Estonian, Latvian, Lithuanian, Greenlandic & Sami
Head serifs remain horizontal, and the exit stroke is sharp, low and restrained. Hooked terminals are emphasised
Ascender height Caps height
x-height
Baseline
Hf Closed apertures
Bracketed serifs. They are particulary elegant
Small counter
xa Vertical axis
Stem-to-branch connections are very smooth. The process of taming those terminals, while retaining the sharp points, helped to harmonise the bracketing and to smooth the stem-to-branch connections
high level of contrast
T t w it
kkkkkk vvvvvv “W x x x x x xv z z z z z ze
“W ze of
Italic 90 pt
There are days when solitude is a heady win that intoxicates you with freedom, other when it is a bitter tonic, and still others whe t is a poison that makes you beat your hea
Wine is one of the most c ed things in the world and f the most natural thing
Wine makes dai ving easier, less h ed, with fewer te
Designing News Changing the World of Editorial Design and Information Graphics This is a mosti interesting and ambitious time for a designer to be working in the newspaper market. There is so much going on in the newspaper secton all over the world—a continuous series of redesign projects, as editors rethink their strategies, analyze what they are doing and how, and seek new solutions and new tactics. In addition, the advent of the tablet has created a whole new market that remains to be discovered
and invented. My plans for this book and my interest in the topics it addresses—the world of newspapers and magazines, and the specific field of newspaper design—arise primarily out of the professional context in which I have found myself working as a graphic designer in recent years, in contact with editors-in-chief, editors, and the whole newsroom of a number of italian and international newspapers.
CASE STUDIES REUTERS
FEUILLETON & DESPORTS
EUREKA/THE TIMES
COMMERCIAL TYPE
Flexible structures
Defying the conventions of marketing
Towards visual journalism
The Guardian type quest
by Daniele Codega
by Adrien Bosc
by Matt Curtis
IL/IL SOLE 24 ORE
Infographic thinking
THE GUARDIAN
THE NEW YORK TIMES
Journalism, design and user experience
Snow Fall A seamless experience
by Mark Porter
by Steve Duenes
by Paul Bornes and Christian Schwartz
by Francesco Franchi
INFORMATION ARCHITECTS ZEIT ONLINE
BLOOMBERG BUSINESSWEEK
Web design is engineering
The blessing of deadlines
by Oliver Reichnstein
by Richard Turley
What brands to know for s cess in AR an MONOTYPE.COM / 12. 9. 2017
display narrow regular 8pt
display narrow semibold 13pt
While VR is in many ways still in its infancy, clear trends are emerging in the ways and means brands and their agencies are leveraging the technology. Early pioneers in VR tended to shoot first and ask questions later. As the space matures, best practice is gradually being established as the VR wild west is replaced by well planned, strategic campaigns that deliver on core business KPIs - not just on PR in the marketing press. display narrow regular 10pt Mike Sorrenti is President of Gamepill – an interactive studio that specializes in virtual reality for online games and interactive marketing. “My introduction to VR was unforgettable. It was like seeing color TV for the first time,” recalls Mike. “I immediately scrambled to get a team together to create a prototype in VR just to learn the ropes and the business has just grown organically from there.” Gamepill now works with leading brands, VR device manufacturers including HTC and even Hollywood producers. In this post, Mike shares his insights into some of the latest developments in VR and the various ways brands can leverage current trends to create meaningful experiences that not only engage consumers but also help future-proof the business. Whether it’s based on 360-degree video or computer-generated graphics, virtual reality provides a uniquely immersive 3D experience that connects with users on a very different plane when compared to traditional 2D media such as video and online experiences. “We created a VR experience around a space shooter game but soon reali-
people motion sickness,” says Sorrenti. “A big part of creating content for VR is adapting and innovating as you go so we decided to try and pair the VR experience with a motion seat programmed to mirror the action in the game. This completely resolved the motion sickness and had the added benefit of making the game itself even more experiential.” The ride in question caught the eye of HTC, the makers of Vive, and can now be experienced in HTC’s Viveland in Taiwan, the world’s first VR arcade. In addition to harnessing motion seats, developers are also increasingly integrating VR experiences with motion platforms (in essence, a 360-degree treadmill). By leveraging accessory hardware and designing movement into the experience, brands have an opportunity to give their customers greater freedom of movement and unleash the power of discovery. The processing power of VR hardware is rapidly increasing, giving developers and content creators the power to build experiences in VR that offer users six degrees of freedom – in other words, the ability to move
display narrow bold 85pt
Sorrenti explains, “u experiences tethere position within the 3 look around but thei rience at any given by the developer.” “With ever greater p the ability for the use around the 3D enviro with objects and oth profound implicatio riences brands crea retail for example. I te truly immersive r users can explore, b in a virtual store. Th sector just as much a years ago, with reta down their physical tual shopping exper Within VR, the way and communicate w ph and adapt to the For example, readin ronments can often a real problem for V Sorrenti. “Clear, cris vital for so many ev tunately, the graphi hardware combined fonts originally desi result in blurry, un not too much of an brand experiences, essential.” Thankfu
CHÂTEAU
LA SAUVAGEONNE Grand Vin COTEAUX DU LANGUEDOC Appellation d’Origine Protégée
Le château La Sauvageonne est situé sur un site exceptionnel dominant les terrasses du Larzac. Ce vin est issu d’une sélection des meilleurs parcelles du domaine. Cet assemblage de Syrah, Grenache, Mourvèdre et Carignan a été élevé en fûts de chéne français pendant 12 mois et développe de déliceuses notes d’épices, de truffes t de fruits noirs. A consommer ° 16°C. Château La Sauvageonne is set on a breathtaking site overlooking the Larzac terraces. TThe wine is made with a selection of grapes from the very best plots on the estate. The blend of Syrah, Grenache, Mourvèdre and Carignan was matured in French oak barrels for 12 months and boasts gorgeous aromas of spices, truffle and black fruit. Serve at 16°C. Mis en bouteille au Château par Gérard Bertrand à F11100 Château la Sauvageonne - 34700 Saint Jean de la Blaquière
PRODUIT DE FRANCE - PRODUCT OF FRANCE
75 cl
14% vol.
CONTENT DES SULFITES - CONTAINS SULPHITES - BEVAT SULFIETEN ENTHÄLT SULFITE - SÜLFİTLER İÇERİR - INNEHÅLLER SULFITER
â&#x20AC;&#x153;It is the wine that leads me on,
the wild wine that sets the wisest man to sing at the top of his lungs,
laugh like a fool, it drives the man to dancing it even tempts him to blurt out
stories better never told.â&#x20AC;? Homer, The Odyssey
z Camilla Manna 869148