11 February, 2013
LANDMARK: A New Font Family from H&FJ
When Tobias and I first started working together in 1999, we received an irresistible commission from Michael Bierut at Pentagram: to design a typeface for Lever House, one of New York’s most significant architectural landmarks. In a neighborhood of skyscrapers designed simply to warehouse the maximum amount of rentable real estate, Lever House is a rare building with thoughtful urban values, featuring a grand public colonnade, a welcoming sculpture garden, and an enormous setback that showcases that rarest of midtown luxuries: the sky.
The typeface we created was an airy sans serif, patterned after the existing lettering on the building’s Park Avenue window, and related to the style of its cornerstone inscription. The project revealed some interesting discoveries about the way architects use capital letters, and how a typeface designed specifically for architecture could serve designers especially well. A decade after completing the project, we set about creating a collection of decorative variations inspired the material and environmental qualities of buildings: the interplay of structure and surface, the effects of shadow and light, and the transformative power of perspective. Bringing typographic qualities to mechanical forms turned out to be a formidable challenge, but a fascinating one, ultimately absorbing our designers for more than a year. The result is the family of four new typefaces that we’re delighted to introduce: Landmark Regular, Inline, Shadow, and Dimensional.
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16 December, 2009
Typographic Gifts for Designers, Part 16
"Modern Gaspipe" is the charming taxonomic name for this kind of letterform. We’ve explored the style in our Tungsten type family — itself a fine holiday gift at $99, ahem. But for those with a hankering for decor, the always fruitful Three Potato Four has this unlittle item for sale, a huge handpainted wooden figure three (34" / 86cm), perfect for your living room, studio, or threearium. Thanks to our designer Brian Hennings for finding this one: frankly I'm amazed that he hasn't had his fill of these kinds of letters. —JH
12 November, 2009
Down Mexico Way
An enchanting bit of Gotham seen en route to ATypI Mexico: timbered lettering, on the storefront for Guru, a gallery and design emporium in Cuauhtémoc owned by graphic designer Quique Ollervides. Thanks for sharing this, Nick! —JH
13 August, 2009
These Aren’t The Fifty States You’re Looking For
In Fast Company, Ellen Lupton writes:
The graphic designer Michael Bierut, a partner working in the New York office of the firm Pentagram, designed a 21-foot sign for the new U.S.-Canada border crossing at Massena, New York. The sign, as well as the building, which was designed by architects Smith-Miller & Hawkinson, has received substantial praise as a bold and daring piece of federal design. Too daring, perhaps. The sign is being dismantled by the Customs and Border Protection Agency for fear that it will be a target for terrorists.
I share Michael Bierut’s hesitation in second-guessing the seasoned professionals at the Department of Homeland Security, who surely know more about armed extremists than I would ever want to. Still, I think there’s a compromise to be struck: if the goal is to create a typographic fig leaf that disguises one’s arrival at our 9,161,923 square kilometer nation, why not change the inscription to “Bienvenidos a México?” —JH