News&Notes

2017/03/7


How I designed Magasin

I’ve always been fascinated by typefaces based on fluid handwriting, and as an amateur calligrapher of copperplate, I decided to design Magasin as a display font based on this experience. 

  

Origins and background

My first approach to this project began with the lettering I designed for BoMo, a graphic design studio, in spring 2011. It’s based on a brief: feminine, professional and sensibility. The solution came as a well-crafted series of ‘calligraphic letters’ with high contrast, the B, the M and the o, combined as two connected syllables. During the design process, I discovered the significant potential that this idea could have if it were developed as a typeface. Thus, almost one year later, I began to sketch it, and two years after I released it!. It evolved from the initial three letters of the logo but with differences: slightly less condensed proportions, different designs for the two upper case letters and a new construction of the connecting strokes. 

It combines a sense of script with a geometric and slightly condensed structure resulting in idiosyncratic curves, yet with a retro-chic twist. These might probably be the most attractive features because of all together they give a very strong identity to words.

During my research, I review a lot of previous & excellent typefaces sharing a similar idea, but any of them had this sense of a connected and upright script. Somehow, Magasin explores and pays tribute to the charm and playness of typefaces that were designed during the 1930s. Some inspiring references are Corvinus, released by Bauer in 1935 (designed by Imre Reiner in 1934), Quirinus (Alessandro Butti,1939) and Fluidum (1951), a kind of non-connected script version of Quirinus, also designed by Butti for the Nebiolo type foundry.



Cover of a catalogue of Cararteri Nebiolo and a Quirinus specimen, a typeface designed by Alessandro Butti in 1939. Both published by Nebiolo in the 1950s

A page from a 1950s Neufville catalogue showing the semibold weight of Imre Reiner’s Corvinus (1934), released by the Bauer Type Foundry in 1935.

The design principle

Magasin is based on the idea of designing a display typeface inspired by the pointed pen calligraphy with geometric, upright and connected construction and high contrast. What I wanted to show is the obvious accuracy that can be seen in any calligraphic work, but with a close attention to the creative combination of linked letters when creating words, bringing a lettering flavour.

The contruction principles are:
1/the wavy shapes to emphasize the ryhthm
2/the four different way of links, always merging in the half of the x-height
3/the loops and drops evocating the pointed pen calligraphy letters
4/ the angled ending stroke

The process

The first versions of Magasin were more experimental; I gave an extraordinary leadership to the connexion strokes, and characters as 'm' and 'n', had a different starting stroke, but soon I found it problematic.The following versions were based on the exploration and refinement of some characters and the different connexion possibilities, with the goal of balancing the spacing, a process that also led to the design of alternative glyphs.

Some pages of the specimen showing the performance of the contextual alternates and examples in use

At a certain point, I was not sure if it could become something usable or just a personal amusement; some connexions were looking really weird but others just came automatically and in a very beautiful way. So I wrote a list of necessary ligatures to balance the text flow and another of the non-convenient combinations that later became 'exceptions' in the programming. I also designed a reduced set of secondary alternates (ss02) and an out-strokes version of the 'c', 'ç', 'e' and 'q', to gave a better ending to sentences or words. Therefore, it implied a bunch of OT programming for a correct use and performance. In the specimen I designed, that's thoroughly explained, and downloadable at the typeface's page.

Different possibilities depending on the r s and z glyphs used.

During the process I took care of all the possible combinations – the designer can choose which one suits better– but this was not like this for all the pairs, so I designed all the ligatures needed, they are included per default, the set is not restricted to the fl, fi…etc (image below)

The capital letters appeared much later, they are a bit experimental and very much inspired by the copperplate calligraphy mixed with some cancelleresca features.
While testing it, I realised that Magasin could be very useful in a lot of applications, and for many various moods; moreover, the swash capitals were intentionally designed to ‘pimp’ words and provide many possibilities, but normal capitals can also perform better in certain situations.

And finally… why this name?
I only chose the name at the end of the process, it sounds like ‘magazine’ in English, but actually, Magasin is the word for ‘store’ in French because I always imagined Magasin used in magazines headlines, but also for brands and packaging. I’ve enjoyed working on Magasin immensely, and I learnt a lot, as it always happens with every typeface I design. Because I love and collect old specimens, my typeface and the specimen are also a celebration and a tribute to all those works of art and their designers.


2017/01/20


"Las tipos de la imprenta"

El tipo de la imprenta es una imprenta digital muy concienciada con el trabajo de los diseñadores. Una vez más este año, han lanzado un calendario promocional para dar a conocer su trabajo con una idea muy interesante: comprar doce tipografías diseñadas en España y utilizarlas para ilustrar cada uno de los meses. El calendario ha sido diseñado por Sapristi. Las tipografías elegidas por El tipo de la imprenta para su calendario de 2017 son: Atocha, de Joluvian; Wilma, de Enric Jardí; FF Pepe, de Pepe Gimeno; Lalola, de Laura Meseguer; Trola, de Jordi Embodas; Paquita Pro, de Juanjo López; Póster, de Íñigo Jerez; o Memimas, de José Manuel Urós.

El tipo de la imprenta recogen una pequeña descripción e historia de cada una de las tipografías que han usado en el proyecto y un enlace para licenciarla.

Podéis leer más sobre el proyecto aquí.

 



El mes de enero diseñado con Wilma de Enric Jardí

El mes de junio diseñado con Lalola de Laura Meseguer

El mes de julio diseñado con Poster de Iñigo Jerez

El mes de septiembre diseñado con Memimas de Josema Urós


2017/01/19


A new stage for the typographic design company

Solo, the graphic design studio based in Barcelona was the one in charge of the full redesign of our website. At last but not least, we need to say that we are happy! Now they have shared the project at their own site and this is what they wrote about it:

 

It is not often you have the opportunity to carry out a design project that you are also the main recipient of.

The designer's essential tool —besides the idea— is the typeface, which works as an essential means of communication, facilitating understanding of the project and conveying its content to the public. 

Type–Ø–Tones is an independent typographic design company created in 1990 by Josema Urós, Enric Jardí, Laura Meseguer and Joan Barjau. Over recent years, we have been able to see how this project is reaching a full state of maturity, combining the initial nature of the display typeface and digital experimentation with more complex and polished font families, families for reading newspapers, magazines and brand names.

The new website and online shop of the design company clearly shows this evolution of the Type–Ø–Tones project; the relaxed use of colour, the graphic simplification —without losing the original essence— the expressiveness of the letters and the combination of typeface with illustration leads to an intuitive platform that can be browsed both vertically and in landscape, and which prioritises font display.

Both the process for testing these fonts and the checkout procedure have been devised for graphic designers, the main endorsers of typography workshops, and are presented as a visual and colouristic set that supports all Type–Ø–Tones collections. 




2016/11/2


Type-Ø-Tones' typefaces at the Adobe Typekit Marketplace

In conjunction with its annual Adobe MAX conference, Adobe today announced the debut of the Adobe Typekit Marketplace. This radical expansion of the Typekit cloud-based font service allows end users to license and pay for individual typefaces, moving beyond the subscription model. The Marketplace introduces a diverse group of type foundries and exceptional typefaces to graphic designers on a massive scale. Type Network has signed on as a launch partner in the new venture. And as we are partners of TypeNework, some of our typefaces are there too

If you want to read about this event in deep, we highly recommend you to explore these links

•Adobe Typekit blog post announcing Marketplace

Introducing Adobe Typekit Marketplace

Type Network’s home on Typekit Marketplace

Typekit Marketplace launch video featuring Type Network partners Cyrus Highsmith and Victoria Rushton




2016/11/3


«Multi no es una sans-serif al uso»

Cercana, humana y novedosa. Así es Multi, la última tipografía de Laura Meseguer. Hablamos con ella para saber cómo nació y se desarrolló esta sans-serif tan particular.

La necesidad de rediseñar unos periódicos holandeses de carácter semanal y regional fue la oportunidad perfecta para desarrollar Multi, la última tipografía de Laura Meseguer. «El grupo editorial de estos periódicos holandeses encargó el rediseño a una agencia de periodismo que, a su vez, contactó con Luis Mendo, director de arte y diseñador de revistas y periódicos en Ámsterdam», nos cuenta su creadora. «Fue él quien me llamó para encargarme la tipografía que tendría que formar parte de ese rediseño», señala. Podéis leer la entrevista entera aquí




2016/12/12


Major updates for 3 classic fonts

DESIGNAL was originally published in 2002 as the first typeface in our collection specially designed for signage and packaging. The new version contains numerous visual adjustments, as well as a redesigned uppercase that incorporates interesting variations in a 'unicase' set. Felix Rufín has worked on rationalising its extensive pictogram collection.

JOOST, in its third incarnation, originally published in 1995, has abandoned the original modules to obtain a better relationship between the different styles. The new set of characters incorporates Central European, stylistic set for capital letters and an OpenType Features repertoire.

MEMIMAS is one of the most veteran Type-Ø-Tones projects (1991) and, among its technical constraints, a project that demands constant evolution. The updated version 4.1 incorporates alternative Uppercase characters (in Script and Sans versions) and automatic ligatures for the lowercase that will appear as Contextual Alternates; as well as numerous improvements in drawing, redesign of characters and OpenType features.