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
Paul will be speaking in Melbourne. Details will be announced shortly.
Monday 14 April
Paul will be speaking in Hobart, making up one of our cancelled dates from 2011, barring any further volcanic activity in Chile. Details will be announced shortly.
Tuesday 15 April
Paul will be speaking in Canberra, making up the second of our cancelled dates from 2011. Details will be announced shortly.
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.
02 NOVEMBER 2013
Christian Schwartz at Ampersand 2013 in NYC
242 W 41st St, New York
Registration $249 before 30 Sept, $349 after
Christian Schwartz will reprise his appearance from the Ampersand Conference earlier this summer in Brighton, joining some of the same speakers and some new faces at the first Ampersand to take place in New York City. Christian will close the day with a talk called "Webfonts are just fonts". For more information, please see the conference site.
21 FEBRUARY 2014 | PUBLICATIONS
16 FEBRUARY 2014 | CUSTOM TYPEFACES | PUBLICATIONS
A Wide width in three weights has been added to Schnyder for this year's issues of T, the New York Times Style Magazine. Schnyder was originally designed by Berton Hasebe and Christian Schwartz for the 2013 top-to-bottom redesign by creative director Patrick Li and his team of Shawn Carney and Aurelie Pellissier. Schnyder Wide expands the family in some interesting new directions, on one hand bringing a new airiness to the headlines on the elegant, understated opening spreads for the cover story on Phoebe Philo; on the other hand, the Wide provides even more variety of widths for the designers to play with in the mixed-width headline treatments that are a signature of T's display typography, particularly with a handful of extremely wide alternate forms.
13 FEBRUARY 2014 | RELEASES
Most contemporary revivals of Giambattista Bodoni’s work have focused almost entirely on the elegant, high-contrast types that he cut in the early part of the nineteenth century. Caponi expands the notion of what Bodoni’s work was. Though it draws a bit on his later work, particularly in the uppercase, Paul Barnes and Christian Schwartz decided to take as their primary reference the typefaces Bodoni cut during the early years of his career, when he had been greatly influenced by the Rococco style of the French printer and punchcutter Pierre Simon Fournier.
The three families of Caponi each play a different role while complementing each other. Though lower contrast than other contemporary Bodoni revivals, Caponi Display follows Bodoni’s approach to weight and contrast, with long, elegant ascenders and descenders. As a traditional Modern with relatively high contrast, it is ideal for headline typography. Caponi Slab, on the other hand, is low contrast throughout, culminating in a punchy Black weight, useful for large and expressive display typography, while also being robust enough for subheads, pull quotes, and other small display uses. Caponi Display and Caponi Slab are similar in their lightest weights, but as the two families get heavier, they depart quickly into two very different approaches to weight and contrast. Caponi Text is a more faithful interpretation of Bodoni’s early work, capturing the unexpected warmth of his romans and the quirks of the italics, with mismatched terminal shapes and subtly varying serifs.
The late Amid Capeci, for whom the family is named, commissioned Caponi Slab for headline typography in 2010 for his twentieth anniversary revamp of Entertainment Weekly. A wide range of topics could potentially end up on the cover of the magazine from week to week, from high-minded Oscar movies, to controversial pop stars, to gleefully trashy reality television, so the family needed to cover many tones in one cohesive range of weights. The solution was a spectrum from elegance to exuberance: the lightest weights clearly show their origin in Bodoni’s work, but the family transforms into a boisterous slab serif as it gains weight. Caponi Slab’s short ascenders and descenders allow it to work with tight leading, and its low contrast helps it to hold its own on the page no matter the size.
Since the primary source for the project was Bodoni’s text types, the later addition of a text version was a logical idea. Caponi Text, drawn by Barnes and Schwartz with help from Commercial Type designer Miguel Reyes, is unusual among contemporary interpretations of Bodoni not just in focusing on Bodoni’s earliest work, but also in fully embracing the inconsistencies and unevenness of the source material. The warm, inviting tone of Caponi Text expands the notion of how a Bodoni can feel on the page. While preserving many eccentricities, it also make concessions to contemporary taste, so a more traditional lowercase s, with serifs rather than ball terminals, is available as an alternate.
In addition to the ongoing use of Caponi Slab in Entertainment Weekly, the Display and Slab can be seen together in Bon Appétit, where the two different kinds of contrast complement one another in the dense, complex, and high-energy Starters section in the front of the book, and the family helps to anchor special packages like 2013's "50 Best Restaurants in the USA".
31 JANUARY 2014 | RELEASES
Stag and Stag Sans were designed by Christian Schwartz in 2005 for the US edition of Esquire, and have been two of our most popular families ever since their release in 2007. We had many requests for Cyrillic and Greek support for these families, so starting in 2012 we began collaborations with Russian type designer Ilya Ruderman in Moscow (who also drew the delicate Austin Cyrillic) and Greek type designer Panos Haratzopoulos outside Athens. The result is Cyrillic and Greek versions of Stag and Stag Sans that seamlessly blend with Schwartz's original Latin version, while reflecting current conventions and contemporary approaches to type design in Greece and countries that use the Cyrillic alphabet, being neither overly Westernized or overly reverent to past traditions.
Stag and Stag Sans add to the small but growing number of typefaces with native support for Bulgarian and Serbian Cyrillic, which differ significantly from the Russian forms.
Stag and Stag Sans can be licensed with Greek or Cyrillic support, or in an "LCG" (for "Latin/Cyrillic/Greek") version that supports all three alphabets. All three versions include support for all languages covered by our standard Latin character set.