These are the final days of 2014, so it is high time to consider which calendar to get for the new year. The tear-off calendar that has become a fixture on any self-respecting typophile’s desk or wall is Typodarium, which makes you discover a new typeface every day. It is the secret weapon against typonotony, a (fortunately) curable form of typographic monotony, frequently manifested through the constant use of always the same font (in most cases Helvetica).
Type is a crucial element in the branding of a newspaper. It defines the atmosphere of the publication, its visual style. It can make the text sound a tad more authoritative, a little friendlier, a smidgen more serious. And if the newspaper is set in one single type family for the entire typographic palette from headlines to the small print, the type effectively becomes its voice. Even before it was released under the FontFont banner, Hamburg-based information designers Christian Hruschka and Stefan Semrau used Jakob Runge’s Franziska for the new Bündner Tagblatt. The modern, fresh layout won the European Newspaper Award 2013 in the category of Typography. I interviewed Jakob Runge about the creation of his typeface, and twotype design’s Christian Hruschka about its application in the award-winning redesign of the newspaper. All images are from the development of the type family.
In the run-up to the quarter finals between Argentina and Belgium in the FIFA World Cup this Saturday, I conducted an interview with Eduardo Manso. Eduardo designed the custom face used for all the Puma national teams.
One of the winners at the recent European Design Awards was “Gewone Letters – Gerrit’s Early Models” which won Bronze in the category Self-Initiated Projects. The lovely limited edition publication by Geen Bitter uses the equally lovely FF Dora, designed by Slávka Pauliková and released through FontFont last year.