This week we explore some impressive typefaces from leading typographers from around the globe. From grotesque styles, geometric forms and influences from twentieth-century sign lettering, these typefaces have found their place in contemporary design trends and graphic styles.
Grey is a sans serif born of a French grotesque, with all the rude, cabaret-like stroke endings of the genre. First called AS Gold, the typeface made its debut as part of Aurèle Sack’s diploma project at ECAL in 2004.
Now distilled and extended into a playful yet highly readable text font, Grey has a contemporary, screen-friendly appearance. Sack has brought his signature surgical precision to its rendering. The result is a pleasant widening of the idiosyncratic proportions of 19th century grotesques.
Aeonik by Mark Bloom and Joe Leadbeater
Aeonik is a structural workhorse, crafted with mechanical detail. Conceived as a ‘neo-grotesque with a geometric skeleton’ Aeonik holds rigidity and coldness through strict perpendicular terminals: noticeably within the “a”, “t”, “f” and “j”. These are offset by the geometric nature of the “c”, “e”, “o” and “y”. Aeonik also celebrates the first collaboration between Mark Bloom and Joe Leadbeater.
Hiper Sans is a simple yet highly functional wide typeface available in four weights. While being inspired by early twentieth century’s sign lettering, Hiper Sans left the nostalgia at uncle’s farm and went leaving to the modern city. An ideal typeface for contemporary labeling, signage and logo design.