FACE by Kevin Wang

E A C F I S S U E N U M B E R O N E | A P R I L 2 0 0 9 | F O R T Y P O P H I L E S O N LY.

FACE MAGAZINE ISSUE NUMBER ONE | APRIL 2009 | FOR TYPOPHILES ONLY First published and distributed by HUAIZUWANG DESIGN One Irving Place Apt. U-9H New York, NY 10003 USA URL: www.huaizuwang.com/main.html E-MAIL: kw1107@ gmail.com Edited and produced by HUAIZUWANG DESIGN Foreword by Kevin Wang Magazine design by Kevin Wang Concept and ar t direction by Kevin Wang ÂŠ 2009 HUAIZUWANG DESIGN The copyright on the individual tex ts and design work is held by the respective designers and contributors. First edition ISBN 987-988-98229-3-1 All r ights reser ved. No par t of this publication may be reproduced, stored in retrieval systems or transmitted in any form or by any means, elec tronic or mechanical, including photocopyingm recording or any information storage and retrieval systems, without permission in writing from the copyright owner(s). The captions and ar twork in this book are based on research and is credited at the end of the publication. While every effor t has been made to ensure their accuracy, HUAIZUWANG DESIGN does not under any circumstances accept any responsibility for any errors or omissions. NYC edition Printed and bound in USA ACKNOWLEDGEMENT We would like to thank all the designers and friends who made significant contribution to the compilation of this magazine. Without them this project would not have been possible. We are especially grateful for the brilliant typographers from the past to present, not only did they allow us to make this concept happen, but they have also created endless possibilities to our graphic design world today as well as the future. FUTURE ISSUES If you would like to contribute to the next issue of FACE, please e-mail us your details to kw1107@ gmail.com

FACEECAF

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P R E FA C E _

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FA C E / FA C E _

64 66 NON-F ORM AT _ 8 2 FA C E O F F _

N E W WOR K _

I F YO U C O U L D B E A T Y P E FA C E _ BIO GR A PH Y _

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P R E FA C E _

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FA C E / FA C E _

64 66 NON-F ORM AT _ 8 2 FA C E O F F _

N E W WOR K _

I F YO U C O U L D B E A T Y P E FA C E _ BIO GR A PH Y _

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:ECAFERP fo s tn em elE eh T " koob gniz am a sih fo gninnigeb y r ev eh t ni , dia s t s ruhgni r B t r eboR t a h t r e v o t e g r e v e n n a c I . " t n e t n o c r o n o h o t s t s i x e y h p a r g o p y t " t a h t , " e l y t S c i h p a r g o p yT , t n e t n oc r o n o h ot s t si x e yh p a r g o p y t f I . c i t e o p t ey l a r e t il , n a m u h o s , e u r t o s si t I . e to u q s e c a f e p y t g n i y f i n o s r e p f o a e d i e h t h g u o h T .y h p a r g o p y t r o n o h o t s t s i x e e n i z a g a m s i h t n e h t , s ec a f h t i w , s ec a fe p y t hc t a m o t e g r u si h t p u ev i g t o n d l u oc lli t s I , t u o - d eya l p t i b a e b ya m . ec aF - e n i z a g a m e h t fo e m an e h t s u h t o o t m' I t a h t s k r ow e s o h t fo e n o g n i e b p u d n e y l i s a e n a c d n a , a e d i e l p m i s a h c u s s i t I n w o r i e h t n i l u f i t u a e b s i g n i e b n a m u h y r e v e t a h t e v e i l e b I ,r e v e w o H .w o h s o t d e s s a r a b m e t a h t s c i t s i r e t c a r a h c e u q i n u n w o s t i s a h e c a f e p y t ) y r e v e t s o m l a ( y r e v e s a t s u j ,y a w t c n i t s i d yb gn i z a m a e b y ll ai t n eto p dl u oc e m oc t u o e h T . d et aic e r p p a d n a d ec i to n e b ot ev r e s e d .y c n e r e h o c n i e n i h s s e i t i r a l i m i s c i t e h t s e a r i e h t g n i t t e l d n a p u m e h t g n i r i a p o h w e so h t r of s ec a fe p y t r of n o i t aic e r p p a e si a r ot e r a e n i z a g a m si h t fo s e so p r u p ow t e h T y o j n e y l p m i s t s u j o t e r e h t t u o s r e v o l e p y t r o f o s l a d n a ,y h p a r g o p y t h t i w r a i l i m a f t e y t n e r a I h g u o h t , ev i t c e j b u s y r ev e r a s gn i r i a p e h t ll a , e s r u oc f O . e n o d eva h I t a h t s gn i h c t a m e s e h t .r i a p y r e v e r o f s n o i t a r e d i s n o c d e l i a t e d y r e v h g u o r h t e n o g e v a h e r o m y ll a us u e r a ye h t ec ni s , s ec a f yalp si d y l t so m e r a n e so hc evah I t ah t s ec a fe p y t e h T d r aill a G d n a n ol s a C s a hc us e lp u oc a e r a e r e h t r evewo H . d e n i a r t s e r s s e l d n a ci t a m a r d . s e u s si e r u t u f n i e m oc o t s gn i h c t a m e r o m e b lli w e r e h T . og t e l o t d o og o o t t s u j e r ew t a h t u o y f i n e v e d n a ,y r a s s e c e n s i g n i d a e r o N . e n i z a g a m s i h t y o j n e d n a k c a b t i s e s a e l p , n i a g A e b d n a , u o y o t g n i s s e c a f e p y t e s e h t f o s m r o f e h t t e L . d a e r d r a h a e b t 'n o w t i , o t h s i w o d . m e h t e e s I e m i t y r e v e n i a g a r e v o d n a r e v o y a w a n w o l b t e g I w o h e k i l t s u j ,y a w a n w o l b

G N AW N I V E K

00 | 01 PAG E .

PREFACE: Rober t Br inghur s t said, in the ver y beginning of his ama zing book " The Elements of Typographic Style", that "typography exists to honor content". I can never get over that quote. It is so true, so human, literal yet poetic. If typography exists to honor content, then this magazine exists to honor typography. Though the idea of personifying typefaces may be a bit played-out, I still could not give up this urge to match typefaces, with faces, thus the name of the magazine - Face. It is such a simple idea, and can easily end up being one of those work s that I'm too embarassed to show. However, I believe that ever y human being is beautiful in their own distinct way, just as ever y (almost ever y) typeface has its own unique characteristics that deser ve to be noticed and appreciated. The outcome could potentially be amazing by pairing them up and letting their aesthetic similarities shine in coherency. The two purposes of this magazine are to raise appreciation for typefaces for those who arent yet familiar with typography, and also for type lovers out there to just simply enjoy these matchings that I have done. Of course, all the pairings are ver y subjective, though I have gone through ver y detailed considerations for ever y pair. The typefaces that I have chosen are mostly display faces, since they are usually more dramatic and less restrained. However there are a couple such as Caslon and Galliard that were just too good to let go. There will be more matchings to come in future issues. Again, please sit back and enjoy this magazine. No reading is necessar y, and even if you do wish to, it won't be a hard read. Let the forms of these typefaces sing to you, and be blown away, just like how I get blown away over and over again ever y time I see them.

K E V I N WA N G

PAG E .

02 | 03

P L A G W I T Z p

D E S I G N E R : F R A N T I S E K S TO R M P U B L I S H E R : S TO R M T Y P E F O U N D RY YE AR : 20 0 0

Plagwitz is the name of the par t of Leipzig where the Werkstätten and Museum für Buchkunst are to be found, which, in September 2000, hosted t h e ATy p I C o n g r e s s . D u r i n g t h e l e c t u r e o n Black Letter type faces, a lovely quotation from Bismarck could be heard : “I never read German books set in Roman type.” These circumstances had given Storm the idea that it would be nice to cr eate some dis tinc tive B lack Le t ter t y pe face. The best Black Letter type faces we know date from the Gothic period, when books were copied by hand, with the use of a bevelled quill. O u r a l p h a b e t s t i l l t a k e s i n t o a cco u n t N e o Classical inf luences when decorative ascenders of u p p e r c a s e l e t t e r s w e r e a d d e d . I n 19 t h centur y typography, such Black Letter type faces were frequently complemented with Didot-type Roman faces and steel-engraver‘s scripts. Storm, too, would recommend to combine Plag wit zGotisch with t ype faces like, for example, Hercules, Excelsor Script and Splendid Quar tett.

;

PAG E .

04 | 05

EXO

D E S I G N E R : J O N AT H A N B A R N B R O O K P U B L I S H E R : E M I G R E T Y P E F O U N D RY Y E A R : 19 91

06 | 07 PAG E .

«EXOCET» E xocet is a t ypeface designed by Jonathan B ar nbr ook for the Emigr e foundr y in 1991. I t was used ex tensively for product designs in the 1990s, most notably for Tazo Tea. It can be seen in the 1993 movie Demolition Man where it is used ex tensively in the museum scene . I t wa s also used in the f ilm Dogma, the f ilm Star Trek Nemesis, the Dungeons and Dragons campaign setting Planescape, the English translation of the Kor ean manhwa Pr ies t , t he D iablo compu ter game series and the Sony PlayStation scrolling s h o o t e r g a m e E i n h ä n d e r. T h e s t y l i z e d " Q " logo from the Quake (series) of videogames is thought to be a modif ication of the exocet "Q". The font is inspired by ancient incised Greek and Roman let ter car vings, with geometr ic shapes used for the main construction. It is an all- capit als font , with dif ferent capit al gly phs show n for both lower ca se and capi t al let ter s , a s evidenced by the T/ t dif fer ence in the image. It is available in “light” and “heav y” varieties. There is no italic.

OCET

gs z Mrs Eaves

D E S I G N E R : Z U Z A N A L I C KO P U B L I S H E R : E M I G R E T Y P E F O U N D RY Y E A R : 19 9 6

Mrs Eaves is a revival of the types of English pr inte r a nd pu nchcu t te r J oh n B a s ke r v ille , and is related to contempor ar y Basker ville t y pef aces . L icko's r ev i v al is less ac ade mic than some, basing as many of its details on contemporar y methods of reproduction: the flatness of offset lithography in comparison to letterpress printing, and the resolution of set devices, and on-screen display. The over all s troke weight of Mr s Eaves is consider ably heavier than most other revivals, countering t he of ten ane mic r epr oduc tion of smaller point sizes in other digital revivals of Basker ville, and restoring some of the feeling of letterpress printing's unpredictability.

The typeface family includes roman, italic, petite capitals, small capitals, bold, and roman and italic ligatures. Ligatures in all variants of Mrs Eaves include the standard f i, ff i, and f l ligatures, and resurrect the classic eighteenth centur y ct and st ligatures. A Just Ligatures variant, available in roman and italic, contain a vast array of new ligatures, many incorporating inter twined and swash characters.

s g

PAG E .

08 | 09

PAG E .

10 | 11

â&#x20AC;

fetish { } HTF NO. 338

| D E S I G N E R : J O N AT H A N H O E F L E R PUBLISHER : HOEFLER & FRERE-JONES Y E A R : 19 9 6

The name of Hoef ler's face, Fetish No. 338, gently mocks both the obsession with digitally driven pastiches and the sheer quantity of new faces, the name suggesting that there are 337 earlier versions. It seems possible that future generations will look back on the experimental typefaces of the 1990s in much the same way t h a t cu r r e n t t y p o g r a p h e r s v i e w t h e P u r i s t geometrics of the 1920s, as typifying a cer tain era a mindset. The act of naming a font of ten requires designer s to confront their his tor y. S o m e , s u ch a s J o n a t h a n H o ef l e r, p l ay w i t h tradition knowingly. Teasingly applying numbers to the different versions of his type designs his Fetish face comes in versions including 126 and 338 - Hoef ler admits that these suf f ixes are arbitrar y but suggests they "feel like they might have been found in the old ATF book."

PAG E .

12 | 13

M O T T E R

14 | 15 PAG E .

F E M I N A

ĂŽ

except that the old man isn't very feminine, he just has squiggly eyebrows.

D E S I G N E R : OT H M A R M OT T E R PUBLISHER : ELSNER + FL AKE Y E A R : 19 81

D E S I G N E R : N E V I L L E B R O DY P U B L I S H E R : L I N OT Y P E F O U N D RY Y E A R : 19 9 0

Arcadia is based upon a 1986 design for the Face Maga zine. Arcadia is a new typeface released in 1990 by British designer Neville Brody. According to Brody, this geometr ic face has its inspir ation in the IBM golf-ball typewr iter face. The strong design of the Arcadia font works well for headlines and logos. Arcadiaâ&#x201E;˘ is a tr ademar k of Linot ype GmbH regis tered in the U. S . Patent and Trademark Off ice and may be registered in cer tain other jurisdictions.

_______

{ARCADIA}

» PAG E .

16 | 17

_______

Gal: eere DESIG N ER : U N K NOW N

PU B LI SH ER : U N K NOW N YE AR : U K NOW N

G a l e e r e i s a d i g i t a l i ze d ve r s i o n of

result of its highly elegant and unique

Pis tilli Roman, designed by Her b

ampersand, many look-alike typefaces

Lubalin and John Pis tilli. Pis tilli wa s

began to sur face. In 1969, Phil Mar tin,

a par tner with Lubalin in New Yor k

of A lphabet I nnovations , pr oduced

City at the f irm Sudler & Hennessey

a P is t illi R o m a n r e p li c a w i t h m a ny

f r o m 19 4 9 t o 196 4 . T h e t y p e f a c e

of the s ame s wa shes and al ter nate

was accompanied by 3 alter nate

characters named Didoni. Within the

weights : Bold, Open No. 1 and

midst of craziness, all the digitalized

O p e n N o. 2 , e ach of w hich v a r ie d

knock-offs of Pistilli Roman fell under

e xcl u s i ve l y i n t h e t h i c k n e s s of t h e

the name Galeer e . Galeer e is used

hairline strokes. Given the technology

o f t e n , a n d b e a u t i f u l l y, b y F r e n c h

of the time when Pistilli Roman was

magazine Self-Ser vice.

produced, the t ypeface was only designed and made functional for use on a t ypositor. Af ter the demise of photot y pe and t y posi tor machines , the typeface was never revisited and a s a r esul t , t he t y peface ha s neve r of f icially been digitized. Because Pis tilli Roman wa s a ver y exclusive t y p ef a ce t h a t g a i n e d a ccla i ms a s a

PAG E .

18 | 19

D E S I G N E R : J I M PA R K I N S O N PU B LISHER : FONT B U R E AU Y E A R : 19 9 5

F r o m 18 5 0 t o 18 7 0 , a d v e r t i s i n g exploded in America ; the typographic r age became ever nar rower display t y p e s . B y 18 7 5 , m o s t w o o d t y p e makers and some foundries offered X, X X , and X X X Condensed Gothics , Moder ns, Clarendons & Antiques. Such compression f ixes stroke weight, spacing & counters, limiting design to detail & horizontals. In this type, Jim Parkinson ref ines the X X Condensed with 20th centur y grace notes. -

20 | 21

PAG E .

WOODTYPE ANTIQUE XXX CONDENSED

CONDENSED

PAG E .

22 | 23

W . K . G .

D E S I G N E R : R U D O L F KO C H P U B L I S H E R : L I N OT Y P E

Y E A R : 19 24 - 19 2 6

The Wilhelm Klingspor Gotisch

font was designed by Rudolf Koch

between 1924 and 1926 for the Klingspor foundr y. Koch was a

talented calligrapher, and he put

this skill to use in this blackletter

design. Also known as Wilhelm Klingspor Schrift, this is one of

the most magnif icent and legible

blackletters, and is in the Tex tura

style. Wilhelm Klingspor Gotischâ&#x201E;˘

is a trademark of Heidelberger

Druckmaschinen AG, which may be

registered in cer tain jurisdictions, exclusively licensed through

Linotype Librar y GmbH, a wholly

owned subsidiar y of Heidelberger

Druckmaschinen AG .

24 | 25 PAG E .

& Wilhelm Klingspor Gotisch

DaRWIN Ö

PAG E .

26 | 27

K PAG E .

28 | 29

klim p

DESIGNER : ONDREJ JĂ&#x201C;B P U B L I S H E R : T Y P OT H E Q U E YE AR : 20 09

K lima x is a display t ypeface (meant for use

geometric shapes, with no inner negative spaces.

max plus in ex t r e mely la r ge sizes) w i t h four s t y les a nd

Although the concept is pushed to the ex treme,

OpenType featur es . K lima x includes t wo ba sic

in most situations the let ter s are still quite

s t y les , P lu s a n d M inu s - t h e h e av ies t a n d t h e

recognizable. The small caps of Klimax Minus are

lightest possible styles that can be made. Klimax

more tr aditional, and combine well with other

received the Type Direc tor s Club â&#x20AC;&#x2122;s Cer tif icate

s t y l e s of t h e f a m il y. I t co n t a i ns 296 s t a n d a r d

of Excellence in Type Design in 2009. Klimax also

ligatures (its Plus Italic contains 135) for a lively

received the Judge's Choice award. The small caps

and expressive appearance.

of K lima x Plus ar e designed to r esemble ba sic

30 | 31 PAG E .

Adobe Caslon Pro

â&#x20AC;

D E S I G N E R : C A R O L T W O M B LY P U B L I S H E R : A D O B E T Y P E F O U N D RY Y E A R : 19 9 0

Caslon refers to a number of serif typefaces designed by William Caslon I (1692-1766), and various revivals thereof. Caslon shares the irregularity characteristic of Dutch Baroque types. Caslon's earliest design dates to 1722. Caslon is cited as the f irst original typeface of English origin, but some type historians point out the close similarity of Caslon's design to the Dutch Fell types. The Caslon types were distributed throughout the British Empire, including British North America. Much of the decayed appearance of early American printing is thought to be due to oxidation caused by long exposure to seawater during transport from England to the Americas. Caslon's types were immediately successful and used in many historic documents.

PAG E .

32 | 33

E GESTALT

34 | 35 PAG E .

D E S I G N E R : J O N AT H A N H O E F L E R PUBLISHER : HOEFLER & FRERE-JONES YE AR : 20 0 0

´ CRET I c

CRETI

¸ .

36 | 37

PAG E .

T IN O! TINO! t

―–

GOTHAM GOTHAM GOTHAM GOTHAM GOTHAM GOTHAM GOTHAM /

italics thin, xlight, book, medium, bold, black, ultra.

D E S I G N E R : TO B I A S F R E R E - J O N E S PUBLISHER : HOEFLER & FRERE-JONES YE AR : 20 0 0

G o t h a m ce l e b r a t e s t h e a t t r a c t i ve a n d

g r e a t p e r s o na li t y, a n d a l w ay s e x p e r t l y

una ssuming let ter ing of the ci t y. Public

made. And although designer s have

spaces are teeming with handmade sans

lived with them for half a centur y, they

serifs that share the same underlying

r emar k ably went unr evived until 20 0 0 ,

s t r u c t u r e , a n e ng i n e e r 's id e a of " ba s ic

when Hoef ler & Frere-Jones introduced

let tering" that tr anscends both the

Gotham. Gotham is that rarest of designs,

characteristics of their materials and the

t h e n e w t y p e f a ce t h a t s o m e h ow fe e l s

mannerisms of their craftsmen. These are

familiar. From the let tering that inspired

the cas t bronze number s outside of f ice

it, Gotham inherited an honest tone that's

buildings that speak with author it y, and

a s s e r t i ve b u t n e ve r i m p os i ng , f r i e n d l y

t he engr avings on cor ner s tones w hose

b u t n e v e r fo l k s y, co n f i d e n t b u t n e v e r

neutral and equable style def ies the

aloof. The inclusion of so many or iginal

passage of time. They're the matter-of-fact

ingr edient s â&#x20AC;&#x201D; a lower ca se , i t alics , and

neon signs that announce liquor s tor es

a co m p r e h e n s i v e r a n g e of w e i g h t s â&#x20AC;&#x201D;

a n d p h a r m a c i e s , a n d t h e p r o p r i e t o r s'

enhances these for ms' plainspokenness

names painted majestically on the sides of

with a welcome sophistication, and brings

trucks. These letters are straightfor ward

a broad range of expressive voices to the

a n d n o n - n e g o t i a b l e , y e t p o s s e s s e d of

Gotham family.

PAG E .

38 | 39

40 | 41 PAG E .

D E S I G N E R : M AT T H E W C A R T E R P U B L I S H E R : L I N OT Y P E Y E A R : 19 7 2 The three Shelley script faces have identical lowercase letters, with the design variation in the capitals. Shelley is a formal scr ipt design t hat can br ing elegance to inv i t ations , diploma s , or gr ee ting c a r ds , a s well a s display applications such a s p a c k a g i n g o r a d ve r t i s i n g . S h e l l eyâ&#x201E;˘ i s a tr ademar k of L inot y pe Cor p. r egis ter ed in the U. S . Patent and Tr ademar k Of f ice a n d m ay b e r e g is te r e d in ce r t a in ot h e r jurisdictions in the name of Linotype Corp. or its licensee Linotype GmbH.

Shelly

PAG E .

42 | 43

44 | 45 PAG E .

Galliard Galliard

D E S I G N E R : M AT T H E W C A R T E R P U B L I S H E R : I TC Y E A R : 19 81

Designed by Matthew Car ter (b. 1937) and issued by Merganthaler as a phototype font in 1978, Merganthaler passed to rights to ITC in 1981. Galliard, sadly, had to wait until 2006 and the release of ITC

Galliard

Galliard Pro to have old style f igs and other essentials added to the character set of its ITC digital version.

Galliard

Granjon's Ascendonica, but I don't know that face and I'm not sure if that's only for the italics. In any case,

Galliard -

The face is based on the type of Rober t Granjon (ca. 1513-1590); the par ticular model was said to be Car ter says "The object of designing Galliard was to make a ser viceable, contemporar y, photo-composition typeface based on a strong historical design … not a literal copy of any one of Granjon’s faces – more a reinterpretation of his style.” Unlike many revival faces, Galliard “was produced from scratch rather than working over enlarged photographs of punches or proofs.”

]

ß[

t proton D E S I G N E R : PAT R I C K G I A S S O N P U B L I S H E R : T. 2 6

46 | 47 PAG E .

Ă&#x;[ [

48 | 49

meta

DESIGNER : ERIK SPIEKERMANN PUBLISHER : FONTFONT (FF) Y E A R : 19 91-19 93

FF Meta was based on the cor por ate typeface commissioned by the German Pos t Of f ice in 1984. This ear lier font was not accepted by the customer and the projec t was cancelled. Five year s later, in 1989, i t wa s r esur r ec ted by Just van Rossum who created the new face of t hr ee s t y les . T he fa mily w a s la t e r e x p a n d e d w i t h e x t r a we ig h t s , italics and small caps designed by Lucas de Groot. It was originally conceived as a s turdy, basic sans ser if t ypeface, v e r y l e g i b l e fo r t e x t a t s m a l l s i ze s , with angled terminals and other visual â&#x20AC;&#x153;n o i s eâ&#x20AC;? t o g i ve t h e f a ce a p l e a s i n g , slight informality. Meta is often used in modern adver tisements.

PAG E .

50 | 51

: D E S I G N E R : B O B A LO N S O PUBLISHER : BA GR APHICS YE AR : 20 05

An ultra heavy redesigned Bodoni look; ex tremely power ful but yet ver y elegant.

Sahara Bodoni

PAG E .

52 | 53

VA N B O S T E L E N

VAN BOSTELEN O O o

D E S I G N E R : J O N AT H A N LO O M A N P U B L I S H E R : LO W M A N YE AR : 20 08 The philosophy of this typedesign was inspirered by one of Looman's teachers Herman van Bostelen. Keeping the basic shapes to an absolute minimum, this becomes the result. The "Adam & Eve" of the type design.

PAG E .

54 | 55

[ ...albany :TELEGRAM

ALBANY TELEGR AM

Zh >

PAG E .

56 | 57

G RA VI C O N :

D E S I G N E R : TO M C . L A I PUBLISHER : TL AI ENTERPRISES Y E A R : 19 9 6

Gravicon Display is a heav y weight modern font, based on a stencil theme, fair ly fu tur is tic look ing - think of those sci-f i wall s tencils in f ilm and T V productions. It is ver y compact, and is best used a larger point sizes. It has a full character set, a few dead characters, a set of symbols, and a few alternate characters (option-character). The two alternate characters are A and V.

GRA V

I CON ! PAG E .

58 | 59

PUBLISHER : HOEFLER & FRERE-JONES Y E A R : 19 9 0 -19 9 9

For more than a centur y before Helvetica , the sans serif landscape was dominated

by u n r e l a t e d d e s i g n s . G o t h i c wo o d t y p e s in a da z zling ar r ay of propor tions lived comfor t ably alongside anonymous foundr y

types, each design’s integrity the product of its autonomy. Because none of these faces

we r e i n t e n d e d t o r e l a t e t o o n e a n o t h e r,

none of t heir desig n cha r ac te r is tic s we r e beholden to any ex ternal constraints : what wor ked for a supercondensed boldface

n e e d o n l y wo r k fo r t ha t d e s ig n , n ot a ls o for the ex tr awide light face w hose design

af fo r d e d d i f fe r e n t p os s i b ili t i e s a n d f a ce d

different challenges. This sor t of “situational”

approach to t ype design allowed for more var ied and interes ting designs, and it’s this appr oach t hat K nockou t celebr ates . W i t h the functional benef its of a family that’s wellorganized, and the visual appeal of styles that are individually designed, K nockout’s ninewidth, four-weight family of fer s a r ange of voices that’s impossible to achieve with even the best Modernist sans serifs.

KNOCKOUT!

D E S I G N E R : J O N AT H A N H O E F L E R

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E A C _ F

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S T U D I O N E W W O R K V S . N O N - F O R M AT

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FAC E O F F :

as well as published biannually by Studio Newwork, each issue features new work from a wide range of ar tists and creators in the worlds of f ine ar t, design, high fashion, culture, and politics. From ar t directors to business leaders, ar t students to curators, Newwork's contributors are united in their passion to push the boundaries of their disciplines.

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Newwork Magazine is a large-format ar ts publication for connoisseur of fresh ideas. Designed

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1.7 1. 85" X 1. 81" X 9. 88 " U R E THANE- COATED, L ACQU ER ED SYNTHE TIC R ESIN AND STAINLESS STEEL

IDEEEN SS0 8 LOOK BOOK 5. 5" x 8 . 5" DIG ITAL PR INT ON PAPER

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IDEEEN G IF T CERTIFIC ATE 5" x 10 " OFFSE T PR INT ON PAPER

LER AR IO B E ATR IZ AW0 8 SHOW INVITATION 32" x 23 " IN K ON NE WSPR INT

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4NATION AW07 E XHIB ITION INVITATION FOR MEN 14.3 " x 10.1" DIG ITAL PR INT ON PAPER

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ROB ERT G ELLER SS0 8 LOOK BOOK 32" x 23 " DIG ITAL PR INT ON PAPER

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Non-Format is the creative team of Kjell Ekhorn (Nor wegian) and Jon Forss (British). They work on a range of projects including ar t direction, design and illustration for ar ts & culture, music industr y, fashion and adver tising. They also ar t direct Varoom : the journal of illustration and made images. Non-Format is based in London, UK and Minneapolis, USA .

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The Epitaph. Fader magazine. 2006. Editorial contribution. Typographic interpretation of the lyrics for " Where Are They Now" by Nas.

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A bestselling hardback monograph entitled Non-Format Love Song waspublished by Die Gestalten Verlag in 2007. A second edition was published in 2008.

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Ver y ELLE magazine. Automne 2008. Hachette Filipacchi AssociĂŠs. 2008. Ar t direction & design of special biannual edition of French ELLE.

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"I Did Mediocre Stuff While You Were Still At School". Graf ik / Letraset. 2006. Hand drawn poster contribution for the Felt-Tip exhibition.

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If you

could be

type

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eface... a

F E AT U R I N G : J O N AT H A N S E R R A N O | K I R S T I N H U B B E R | S H I B O H S U | T I M OT H Y G O O D M A N | O L I V I A O B I N

A F U N L I T T L E F E AT U R E "If you could be a typeface, what would it be and why? " Lighten up, it's just for fun.

â&#x20AC;&#x153;

If you could be a typeface, what would it be and why?

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J O N AT H A N S E R R A N O AGE : 20 3RD YEAR GR APHIC DESIGN STUDENT AT SVA

â&#x20AC;&#x153;

Rosewood STD. Because it is the most obnoxious fucking font ever... Therefore, it would best represent the overall energy that I exude. Yes. I am obnoxious. So fuck you. Enjoy Rosewood STD. Don't scratch.

( R O S E W O O D S T D I S N OT F E AT U R E D I N T H I S I S S U E .)

â&#x20AC;&#x153;

If you could be a typeface, what would it be and why?

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KIRSTIN HUBER AGE : 20 3RD YEAR GR APHIC DESIGN STUDENT AT SVA

â&#x20AC;&#x153;

Remember that weird geometrical one? with the triangles and circles, i'd be that. Because its fucking cool but hard to read and kind of useless.

( S E E PAG E 5 4 .)

â&#x20AC;&#x153;

If you could be a typeface, what would it be and why?

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SHIBO HSU AGE : 34 EXECUTIVE CREATIVE DIRECTOR OF PH DESIGN TAIPEI

â&#x20AC;&#x153;

I honestly can't pick a typeface for myself, but I can definitely tell you that I'd want Galeere to be my smokin' hot wife. Mm, it's like the Angelina Jolie of typefaces. Wildly elegant, sexual, oh-so irresistible.

( S E E PAG E 18 .)

â&#x20AC;&#x153;

If you could be a typeface, what would it be and why?

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T I M OT H Y G O O D M A N AGE : 28 DESIGNER AT COLLINS : DESIGN AGENCY

â&#x20AC;&#x153;

I'd be handlettering. I'd like to stay away from the mechanical nature of a font, and instead be organic in the way I was transcribed.

(TIM'S HANDLETTERING IS N OT F E AT U R E D I N T H I S I S S U E .)

â&#x20AC;&#x153;

If you could be a typeface, what would it be and why?

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OLIVIA OBIN AGE : 21 3RD YEAR GR APHIC DESIGN STUDENT AT SVA

â&#x20AC;&#x153;

If I was alive when Giambattista Bodoni was alive, I would attempt to have sex with him because that would be the closest thing to having sex with the typeface Bodoni. Which would obviously be incredible. Giambattista, who knows, but the typeface, YES.

( B O D O N I I S N OT F E AT U R E D I N THIS ISSUE, BUT A DIFFERENT VERSION OF BODONI CAN BE F O U N D O N PAG E 5 0 .)

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" FAC E O F F " S H OWC A S E D WO R K S F RO M :

Biography

S T U D I O N E W WO R K 78 Maspeth Avenue Suite #2 Brooklyn, NY 11211 info @ studionewwork.com http://www.studionewwork.com/ 66-79

N O N - F O R M AT (UK) T: +44 (0)20 7033 3733 N O N - F O R M AT (US) T: +1 651 603 0767 http://www.non-format.com/ 82-95

I M AG E & P H OTO G R A P H Y S C A N N E D F RO M :

AND MEN MAGAZINE / 24, 48, 61 SELF-SERVICE MAGAZINE / 19, 50, 55, 57 TANK MAGAZINE / 20, 28, 30, 46 NEW YORK PUBLIC LIBR ARY ARCHIVE / 09 MEN'S NON-NO MAGAZINE / 59 METAL MAGAZINE / 10, 27, 39 WALLPAPER MAGAZINE / 06 SUR LA TERRE MAGAZINE / 14 GR AFIK MAGAZINE / 16 OT H E R M I S C E L L A N E U S C R E D I T S :

http://www.squareamerica.com/ http://www.ffffound.com/ http://www.nationalgeographic.com/ http://www.flickr.com/ http://www.istockphoto.com/ -

See you next issue.