21 OCTOBER 2014 | NEWSPAPERS
Ariel Cepeda has redesigned Le Dimanche Matin, the Sunday edition of the Lausanne-based French language Daily Le Dimanche, serving the Vaud region. Headline typography is in Kai Bernau's Lyon Display and Produkt, a slab serif companion to Graphik designed by Berton Hasebe with Christian Schwartz, slated for release in November 2014. Text is in Bernau's Lyon Text, with Graphik playing a supporting role in image captions, info graphics, maps, and other informational typography.
Cepeda has also redesigned the weekly women's magazine Femina, making bold use of Hasebe's Platform and Paul Barnes's complete Austin collection, with Austin Text for text and Austin and Austin Hairline for serif display. Produkt rounds out the type palette here as well, with the middle weights used for sidebars, the boldest weights used for section headers, coverlines, and page furniture, and the prettier light weights used for elegant display typography.
09 MAY 2013 | NEWSPAPERS
Danish newspaper design specialists Ribergård + Munk commissioned a pair of headline typefaces from us as part of a sweeping overhaul of well over a dozen daily newspapers published throughout Sweden by MittMedia.
Berton Hasbe designed Duplex Serif and Sans to solve a very specific problem for this newspaper group. A new format was being developed for all of their titles, to decrease ineffeciencies in production and to allow the different titles to more easily share a portion of their stories. However, as publishers of both upmarket and downmarket papers, the owners wanted to keep the general character of each paper intact - louder volume and more of a feeling of immediacy in the downmarket tabloids, and a quieter, more respectable tone of voice in the upmarket tabloids. The solution to this problem was a set of serif and sans serif typefaces with precisely the same spacing, so they could be swapped out to change the character of a page without affecting the copyfit.
A great deal of sleight of hand went into the design of these typefaces. Each weight of Duplex Serif matches with the next heaviest weight of Duplex Sans, so the Sans headlines feel punchier as a whole. Also, the Sans is larger in general, making it feel slightly more condensed, which has the result of making it feel a bit louder.
Duplex Sans started off as an adaptation of one of the narrower widths of Guardian Sans Headline, but the Serif diverges far from the Guardian/Publico model for a distinctly different character that borrows more from the variations on Caslon that were popular for news headlines in the early 20th century. The Guardian family fills out the rest of the type palette, with the Egyptian Text and Agate serving as text and supporting types in all of the group's papers.
So far just Sundsvalls Tidning and Dagbladet have launched with the new format, but the rest of the group's titles will roll it out over the next year.
08 JANUARY 2013 | NEWSPAPERS
Helsingin Sanomat is Finland's major daily newspaper, with a circulation of around 400,000 on weekdays. A broadsheet since its founding in 1905, the paper made the switch to tabloid format on 8 January 2013. We provided all of the type for the new design: Sanomat, a serif family for headlines in 8 weights, designed by Paul Barnes with Berton Hasebe; Helsingin, a sans family for display use in 9 weights, designed by Christian Schwartz and Vincent Chan; Helsingin Text in 6 weights, for captions, sidebars, info graphics, maps, and listings; and text is in a custom grade of Publico Text which has been fine-tuned for the Helsingin Sanomat's presses. The redesign was conceptualized and executed internally, headed up by group creative director Sami Valtere along with art directors Hannu Pulkkinen and Ari Kinnari.
The tabloid layouts are built on a strong grid of square elements. Sanomat is designed to play against this, with organic forms that warm up the coldness and precision of the underlying page structure. Sanomat is an unusual hybrid: a serif face with flared sans terminals, influenced by 'serifless romans' like Optima and Albertus. The sans influence is even more visible in the italics, which lose almost all of their serifs in the lowercase. This almost inscriptional quality helps the typeface look serious and decidedly upscale—very important traits in maintaining the feel of a quality broadsheet in the tabloid format. The serifs are quite short, particularly on the diagonal characters, because of the preponderance of 'vv' and 'yy' pairs in Finnish. The word for 'goodness', hyvyys, is a good example of diagonal-diagonal combinations. The debut issue of the redesign featured a section explaining the new format, with all of the Sanomat headlines painstaking recreated in felt-tipped marker by the creative director.
Helsingin is a fairly straighforward geometric sans serif, tempering the quirkiness of Sanomat. The pointy terminals reference the iconic geometric architectural lettering in Helsinki's main square, close to the Helsingin Sanomat's offices. To counter the potentially monotonous texture caused by the many repeating letters in Finnish words, we made the bowls a little asymmetrical, more like a humanist sans than a typical geometric. In addition to the newspaper, Helsingin Sanomat has two very popular additional publications: a monthly magazine called Kuukausiliite and a weekly entertainment and nightlife magazine called Nyt. The design of these had evolved in very different directions from the daily paper and from one another. One aim of the redesign effort is to coordinate the design of all of the print products more closely, while still allowing each to keep its individual personality. The wide range of weights in the Helsingin family grew directly out of this aim: punchy bold weights for the younger readership of Nyt and elegant thin weights for the more literary flavor of Kuukausiliite. Additionally, a set of alternates allows the family to be even more flexible.
The new typefaces have debuted in the 8 January edition of Helsingin Sanomat, and will make their way into the magazines, mobile apps, and website soon.
While we did discuss redrawing the nameplate, it was ultimately deemed to be untouchable. There's no other newspaper nameplate like it in the world, and we wouldn't have wanted to ruin it.
05 MARCH 2012 | NEWSPAPERS
Mark Porter and Simon Esterson have refreshed their 2007 redesign of Público with some additions to the type palette. Primary headline typography is now in the upcoming Publico Banner, a tighter and sharper display component to the Publico family that the two had commissioned for the last major overhaul, and a new Extrabold weight of Giorgio Sans, drawn by Commercial Type designer Vincent Chan. Chan also designed a Deck size of Giorgio Sans in 4 weights, making it possible to use this dramatically condensed family for bylines, running headers, and other small display type. The type palette is rounded out with Graphik, used for captions and info graphics.
The Fugas section, launching its new look later in the week, features a heavily swashed homage to late 1970s advertising lettering by Berton Hasebe.