19 APRIL 2014
Christian Schwartz speaking in Moscow
Moscow, Leo Tolstoy str., 16
Lecture open to the public with advance registration.
Christian Schwartz will be speaking at the Moscow offices of Yandex on April 19. For more information or to register for the event, please see the event page (in Russian).
11 APRIL 2014
Paul Barnes speaking in Australia and New Zealand
Paul has confirmed 6 events in Australia and New Zealand in April:
Sunday 13 April
95 Smith St, Fitzroy VIC 3065
Begins at 5pm, open to the public. For more information or to buy tickets, visit the event page.
Monday 14 April
MONA, 655 Main Road Berriedale
Begins at 6pm, open to the public. For more information or to buy tickets, visit the event page.
Tuesday 15 April
University of Canberra Campus, Bruce
Building 1 , Room C42A (Teaching Commons)
Located directly above the Refectory
Begins at 4:30pm, open to the public.
Wednesday 16 April
C4 Cafe in Christchurch, joint "Designers Speak" event with the wonderful graphic designer and lettering artist Sarah Maxey. For more information or to buy tickets, visit the event page.
Thursday 17 April
Auckland Art Gallery, joint "Designers Speak" event with Kris Sowersby, New Zealand's best-known type designer. For more information or to buy tickets, visit the event page.
Friday 18 April
Workshop with Catherine Griffiths, location to be announced
27 MARCH 2014
Christian Schwartz speaking at « Lettres Modernes 2 »
École supérieure d’arts & médias de Caen/Cherbourg
17 cours Caffarelli – 14000 Caen
Open to the public, advance registration recommended.
Christian will be speaking at « Lettres Modernes 2: voir, regarder, lire » at l'École supérieure d’arts & médias de Caen/Cherbourg in Caen, France. Organized by type designer and teacher Jean-Baptiste Levée, this symposium will center around the idea of how the coexistence of traditional and new media influences typography and its perception. See this article on pointypo for more info (in French)
17 MARCH 2014
Workshop with Christian Schwartz at Gestalten Space in Berlin
Gestalten Space, Sophie-Gips-Höfe, Sophienstraße 21, Berlin
The workshop will be conducted in English and is limited to 20 participants
Christian will be conducting a 2-day workshop entitled "Iteration in Type Design: Taking a Typeface from a Good Idea to a Great Tool" at Gestalten Space in Berlin. Participants will spend the two days working on their own typeface in progress, with the main focus on evaluating the typeface and learning how to take it to completion. Participants must bring a laptop with font editing software installed and at least one typeface in progress. For more information or to sign up, see Gestalten's site.
22 NOVEMBER 2013
Paul & Christian at BITS MMXIII in Bangkok
Workshop dates TBD.
Paul will be speaking at this year's Bangkok International Typographic Symposium (BITS), Asia's largest conference on typography. Additionally, both Paul and Christian will be running workshops. More information is available at the BITS website, but the conference's Facebook page seems to be updated more often.
04 NOVEMBER 2013
Christian Schwartz at RE:DESIGN/Creative Directors
Christian Schwartz will present a session called "Making Something out of Something: Typefaces, History, Culture and Meaning" at the third annual RE:DESIGN symposium for creative directors. More information is available at the symposium website.
14 APRIL 2014 | RELEASES
Inspired by brush lettering, Gabriello was commissioned by Puma. First used by their sponsored teams at the 2010 Africa Cup of Nations, including winners Egypt, and was later used at that year’s World Cup, held in South Africa. It was used on the kits worn by Algeria, Cameroon, Côte d’Ivoire, and Ghana, who reached the quarterfinal. Gabriello has also been used by Puma for various other sports, including athletics.
Paul Barnes originally designed Gabriello in a single Bold weight, balancing the need for a distinct aesthetic with the strict regulations on size and stroke thickness put forth by FIFA and UEFA, while also accommodating how the shirts are produced: numbers and names are ironed on, often right before game time, and the letters can’t overlap without melting and ruining the shirt. Far more organic than the typical straight-sided octic athletic letters, Gabriello is slanted on two axes, both horizontally and vertically, giving the energy of a script without causing and production issues with the shirts. Miguel Reyes added three lighter weights and one heavier weight, giving the family a casual flexibility for display uses far beyond apparel, in the vein of such classic display faces as Balloon and Dom Casual.
A handful of alternates give additional flexibility to the family: while the casual single-story a is authentic to the brush-lettered roots of the family, the double-story form gives a more readable option for smaller sizes; The 1 with a foot serif works better as a standalone form; and the flat alternate tilde form also evokes the brush lettering of Spanish-speaking countries and Estonia.
Gabriello adapts particularly well to multi-layered shadow and outline treatments. By copying the text, giving it a slight offset, and adding a round-cornered stroke, visually complex shaded treatments can be made very quickly, through just a few simple steps.
14 APRIL 2014 | PUBLICATIONS | UNRELEASED
Chiswick Sans High has had its first public use in issue number 4 of Document Journal, a New York-centric fashion, art, and culture magazine. started by Paul Barnes in 2009 when he was drawing Chiswick (called Wyatt when it was used in the excellent 2010 redesign of O, the Oprah Magazine by Priest + Grace) Whereas Brunel is a faithful depiction of British Modern typographic forms, Chiswick draws its inspiration from the lettering of the same time period: sign painting, architectural lettering, clock faces, and especially the lettering on gravestones. Though rarer than the seriffed forms, serifless letters were seen in this period as well, inspiring Paul to draw Chiswick Sans. This family has a very eccentric sort of elegance, dignified in the capitals and often downright odd in the lowercase.
The strange beauty of Chiswick Sans High works well for Document creative director Nick Vogelson's restrained display typography, as it has a strong enough character to hold its own at relatively small sizes, allowing him to make very bold use of negative space.
(Full disclosure: Document shares our office. This is how they end up using so many of our typefaces before they're finished and released.)
13 APRIL 2014 | CUSTOM TYPEFACES | PUBLICATIONS
A small addition to Graphik debuted in today's issue of T, the New York Times Style Magazine: Graphik Titling, based on the as-yet unreleased Condensed, X Condensed, and XX Condensed widths of Graphik, reworked and redrawn to have 3 widths of the letters with the same stroke weights, in 3 weight variations. This allows the designers to use Graphik for the same eccentric and distinctive mixed-width headline treatments that Schnyder was designed for.