13 December, 2012
The Plastic Wood Type
One of the joys of designing typefaces is seeing the flavors that designers coax out of your work. A fair amount of exploration always goes into our own process: Gotham wouldn’t be Gotham were it not able to look simultaneously young and old, and one of Idlewild’s virtues is the range of wildly different qualities that emerge in company of friends. But type designers never have the final say on what’s possible: it’s always the graphic designers who use our work who deliver the greatest surprises.
Over on Dribbble, I’ve been collecting some of my favorite projects that designers have created using our Knockout type family. Some dial up the typeface’s wood type heritage, evoking either vintage warmth or the charm of anonymous commercial printing. Others update the genre more subtly, using Knockout to give a little traditional depth to an otherwise contemporary design. Some unexpected moments await you, in which this typeface with nineteenth century roots becomes futuristic, atmospheric, or in one moment, simultaneously festive and earnest. Check it out.—JH
6 December, 2012
An H&FJ Type Tasting
We keep a running tally of the interesting media in which we’ve seen H&FJ fonts used, from corrugated cardboard to topiary. The designers who choose our fonts often share their more startling experiments on our Facebook page, including more than a few typographic tattoos. But with the holiday season upon us, things have taken a decidedly gustatory turn.
Designer Luke Elliott kicked things off over Halloween with his Gotham jack-o-lantern, to our knowledge the first example of in-gourd typography featuring an H&FJ design. An anonymous designer followed over Thanksgiving with a beautiful collection of Gotham cakes that revealed the challenge of inlining a sans serif, in fondant no less. The latest contribution to the genre came last night, with designer Zach Higgins tweeting his exploration of the Sentinel Light Italic lowercase z rendered in toast. We’re left to wonder if our graded faces, such as Mercury Text or Chronicle Text, might provide designers with micro-fine control to adjust the relationship between color and burn. Please help us with this important research and share your findings. —JH
19 November, 2012
One of the things we’re grateful for at H&FJ are the designers who treat our typefaces with such extraordinary care. These days, some of the most exciting work that we get to see is on Dribbble, where designers of the highest caliber share their works-in-progress with the world. This weekend, I gathered some of my favorite fragments that designers have created using our typefaces: here are three new Dribbble collections using The Proteus Project, Sentinel and Shades.
It’s fascinating to watch the creative processes unfold, and heartening to see our typefaces along for the ride. (It’s also a welcome surprise to discover that the polished work you’re admiring comes from the hand of a second-year student, an experience that’s more common than you might imagine.) So herein you’ll find some of our favorite picks: from Roger Dario’s guilloché treatment of Saracen, to Trent Walton’s use of Sentinel for charity:water (itself a rebound of an earlier version in Vitesse), to Andrew Power’s rendering of one of my favorite Steve Jobs quotes using our Cyclone typeface.
We’ll be updating these collections and creating new ones in the coming weeks, so if you’re posting to Dribbble, make sure to tag your own work with the names of any H&FJ fonts you use. Until then, thank you from all of us at H&FJ for making our work a part of yours. We’ll be thinking of you this Thanksgiving. —JH
7 February, 2011
Things We Love
In a manner more typical of the corporate than the corporeal, designer Nicholas Felton marks the passage of each year with an annual report. Past editions of the Feltron Annual Report have ranged in sensibilities, from his editorial 2006 (smarter than the smartest magazine) to his diagrammatic 2009 (which out-Tuftes Tufte.) While the very concept is arch, making the Feltron Report a beloved fixture in the offices of so many graphic designers, I really have to hand it to Nicholas for never stooping to the obvious and allowing his yearly record to become a mere send-up of the annual report form. This year’s report, awash in our Tungsten typeface, is no exception: it uses the tools of data visualization and typography to tell a compelling story, and color a narrative that might so easily have been reduced to a mere family tree or a timeline.
Spend some time with The 2010 Feltron Annual Report: I think you’ll find it smart, touching, and inspiring, an uncommon trifecta. —JH