US designers contribute type, posters, badges and branding to the Hillary Clinton cause
From the outset, the Hillary Clinton campaign has enlisted the help of some of the United States’ best designers to portray and propagate her messages.
The Hillary Clinton campaign identity designed byMichael Bierut and his team atPentagram.
Pentagram’s Michael Bierut and his team designed the campaign identity in 2015 which used Sharp Type foundry’s typeface Sharp Sans Display No.1 as the foundation for their identity system. The foundry’s co-founder Lucas Sharp saw this application as an ‘opportunity to take the design further. We had drawn a tightly spaced, Lubalin-esque geometric sans that looked really good big. Now we wanted to draw a version with utility and versatility, that could work in any situation.’
‘Stronger Together’ is set in Sharp Slab for Hillary.
Bierut’s extensive identity system would be used by all manner of people on the campaign trail – from professionals to volunteer organisers – which meant that the detailed instructions laid out in the style guide for tracking a display face used for other applications were unlikely to be followed. Sharp writes, ‘It occurred to us that a serious presidential campaign needs a typeface that can work in any situation.’ As a result, Sharp Sans grew to include Sharp Unity for Hillary, Sharp Slab for Hillary, Sharp Slab Extrabold, Sharp Slab Book, Sharp Stencil for Hillary and Sharp Stencil.
Examples of Sharp Slab for Hillary,Sharp Unity for Hillary, Sharp Stencil for Hillary, Sharp Slab Extrabold, Sharp Slab Book and examples of several of the fonts in use on a campaign bus.
Jennifer Kinon of design and branding agency Original Champions of Design (OCD) stepped away from her agency role to become Hillary Clinton campaign’s design director. Kinon was tasked with rolling out and extending from the identity designed by Michael Bierut (Pentagram) that used the Sharp Sans family. Both Bierut and Sharp have praised Kinon’s work online and many of her designs have gone viral including the ‘Love Trumps Hope’ image.
A selection of Hillary merchandise.
Other design led initiatives in support of Hillary Clinton include The Forty-Five Pin Project and 30 Reasons with work by designers such as Matt Dorfman, Elizabeth Resnick and Craig Frazier.
30 Reasons posters by Elizabeth Amorose, OCD,Bonnie Siegler andLarkin Werner.
Hillary for Americavideo showing Pentagram’s identity in action.
Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.
Aubrey Powell and Storm Thorgerson’s record sleeves for Pink Floyd are some of the most memorable of all time. Working under the name Hipgnosis, the pair’s surreal imagery inspired generations of designers and have become enduring symbols of the band’s music. Think of Pink Floyd, and it’s near impossible not to imagine the prism on the cover of Dark Side of the Moon or the bright pink pig on the sleeve of Animals.
Pink Floyd’s music and visual output is the subject of a major retrospective opening at London’s V&A Museum in May. In November last year, the band released a 27-disc box set of early singles and recordings on their record label Pink Floyd Records.
The identity for Pink Floyd Records was designed by Pentagram partner Harry Pearce and his creative team and is based on the stencil lettering from the cover of Animals. Designer Johannes Grimmond worked with Pearce to create a complete alphabet based on the original letterforms, giving the label a distinctive logotype. The alphabet can also be used as a headline font on new releases and merchandise.
Pearce says he initially experimented with creating something new for the label but decided that the lettering “just had a wonderful quality to it.”
“The stencil somehow feels evocative of the stencilling on all their equipment and their boxes…. It’s such a wonderful, idiosyncratic bit of type that we just felt it deserved a bigger life than it had already,” he told CR. “[The band and Powell] loved the idea and it’s right in the middle of the canon of all of their work.”
Creating a complete alphabet based on the design was quite a challenge. “It was originally made to be on a 12″ LP … when you take that typeface and make it very small, which it often had to be, all of the inter-character work, the huge contrast between the stencil cuts through the lettering was so narrow that you reduce it down and it just sort of closes up,” says Pearce. “That was one challenge and the fact was that we just didn’t have that many letters, so we did an analysis of the forms of letters that were there and built a system on that.”
Pearce and his team also designed The Early Years 1965 – 72, which features early singles and previously unreleased recordings from Pink Floyd’s archives.
The black-and-white outer casing takes inspiration from the Bedford van that the band once drove around in (see gallery above). Discs are packaged in seven volumes – one for each year between 1965 and 72 – and each one features a painting by artist John Whiteley (an old friend of Powell’s) on its cover.
Whiteley created the artworks during the band’s early years but – like much of the material on the box set – they have never before been released. “Those beautiful works of his have never seen the light of day so that was a lovely continuity there,” says Pearce. “They aren’t modern versions of his work, they were made at the same time [as the recordings].”
A2’s Typewriter font is used throughout the packaging, offering a more contemporary take on traditional typewriter lettering. “We thought that was relevant, as even though [the box set] is old material, we’re cataloguing it today, so it isn’t just all nostalgia.”
Booklets contain lyrics and photographs from Pink Floyd’s archives, many of which have never before been published. The box set also features some lovely added touches. The spine of each volume bears a unique reference number and a word representing that year’s output. Roger Waters came up with the words for each year and each one is intercepted with a forward slash, providing another reference to the white stripe on the Bedford van.
Pentagram worked closely with Aubrey Powell on the design of the identity and the box set. “He was a bit like our filter really. He’s so intimate with the band, we took his advice on the directions and ideas [that were presented to him] and he took them to the band. Him being a designer himself, it was a really sympatico relationship,” says Pearce.
As a long time fan of Pink Floyd’s, Pearce describes the project as “a complete joy”.
“When I was a teen in the 1970s listening to that stuff, holding that 12″ sleeves in my hands, never did I dream I’d one day be working with some of that material,” he says. “Some of that music was founding stuff for me back in the 70s, so it’s a very precious thing to do and we took immense care on this project.”
“That’s probably another reason why we honoured the lovely lettering on that original Animals album [for the identity],” he adds. “We could have imposed our own style on to this … we could have invented a new logo, but this just seemed to resonate so much more – the fact that we were honouring and using things that already existed and giving them a new and extended life.”
Pearce has also written an ‘outro’ for forthcoming Thames & Hudson book Vinyl. Album. Cover. Art: The Complete Hignosis Catalogue.
You can read our interview with Aubrey Powell about the work of Hipgnosis and his partnership with Thorgerson here.
Los aportes más valiosos al mundo del diseño sin duda los dio la Escuela de la Bauhaus. Se inauguró en Alemania en 1919 y revolucionó los parámetros académicos burgueses del arte de aquella época, estableciendo una nueva visión de lo estético y funcional entre arquitectos, escultores, pintores, etcétera.
Reinvention is the key to exciting typography, as old forms take in new life in the hands of enthusiastic creatives.
What’s been most exciting for me over the last five to 10 years is the fantastic explosion of expressive and exploratory typography and professional fontseverywhere. I’m completely inspired by the emergence of so many type designers of tremendous skill and talent, hailing from all over the world. I admire designers like Henrik Kubel, Peter Bil’ak and Kris Sowersby, to name just a few.
They find old forms and reinvent them, or craft seemingly impossible ligatures, or make bizarre stencils, or combine shapes previously unthinkable, and they stretch readability. They increase what is possible. In my 40-plus years of designing, I don’t remember a period when typography has been better crafted, and more appreciated by non-designers. And it’s never been more fun. Every project seems to demand the invention of its own font. It’s so doable – even practical and cost-effective.
Typographic technology, art and craft are more in sync than they have ever been
Typographic technology, art and craft are more in sync than they have ever been. I marvel at the typographic dexterity and sophistication of my students. My class of seniors is completely international and diverse, but they seem to have all seized upon the creation of letterforms, in many languages and with different alphabets, to create an international way to see. We read the forms first, not the words; we understand what we see before we understand what it says. But it is literate. This is the language of our time.
So I was astonished and delighted last year at a design conference by a presentation by Sascha Lobe on his design for the Bauhaus Archive. He began by talking about what we all believed we know from the Bauhaus: ‘Less is more’, ‘Form follows function’, etc. «Yes, that old lecture again,» I thought.
Then suddenly he began showing the absolutely crazy letterforms established by the Bauhaus designers. I must have seen them before – I know I had – but never quite this way. They hadn’t abandoned their decorative past, they had recycled and reused it. And those guys didn’t take their own advice. Form followed nothing! Less was pointless! They were playing around, having fun and reinventing form. Their work was idiosyncratic, complicated, even sometimes ornate, rich with impossible ligatures and bizarre spacing.
Sascha had culled the Bauhaus Archive for inspiration to solve a contemporary problem, and what he’d found through that lens was utterly contemporary. He took the crazy letterforms the designers had created and used them to build a new alphabet that married the old and new in a way that’s emblematic of the Bauhaus in of our time. It’s the best use of a combination of historical and contemporary typographic form I have ever seen. But it’s what we are all doing, have been doing and will be doing.
We constantly look for trends and want to spot what we perceive as new, and what will be influential in the future. But there isn’t really anything new. There are only individuals with passion finding interesting, challenging and often provocative ways to reinvent what will always continue.
Efectivamente, la Fanta fue creada en la Alemania Nazi durante la segunda guerra mundial.
El problema llegó en diciembre de 1941, cuando los EE.UU entraron en la guerra, y las relaciones entre Coca-Cola GmbH y la empresa madre se perdieron. Los empresarios alemanes dueños de las embotelladoras se encontraron con la imposibilidad de seguir fabricando la bebida. Entonces, Max Keith el jefe de la Coca-Cola Deutschland en Alemania nazi, creó el producto utilizando sólo ingredientes disponibles, incluyendo suero de leche y orujo de manzana (las “sobras de las sobras que nadie quería”).
La planta alemana fue efectivamente aislada de la sede de Coca-Cola durante la guerra. Después de la guerra, la compañía Coca-Cola recuperó el control de la planta, la fórmula y las marcas a los nuevos beneficios de productos, así como la planta de Fanta hechas durante la guerra.
El nuevo refresco fue un éxito rotundo y en 1943 se vendieron tres millones de botellas, sólo dos millones menos que de Coca Cola en años anteriores. Sin embargo, las cifras podían estar algo falseadas, pues la población compraba Fanta para tés e infusiones debido a que el racionamiento de azúcar era extremo entre los alemanes. En cualquier caso, había nacido una nueva bebida, y lo había hecho bajo el régimen nazi.
Fanta se suspendió cuando la empresa matriz se reunió con la rama alemana. Tras el lanzamiento de varias bebidas por la corporación de Pepsi en la década de 1950, Coca-Cola compitió por el relanzamiento de Fanta en 1955.
There are plenty of places to download typeface on the web. But which of them contain the best free fonts? There’s a lot of noise and clutter online, and it’s easy to end up falling down the rabbit hole of poorly structured sites and low quality fonts. So we’ve taken on ourselves to find you the gems in the rough.
Besides the obvious places to download free fonts, we’ve also unearthed some less known sources – including personal design portfolios, agency sites and type projects. So next time you want to download fonts, start discovering a world of typographical inspiration!
The go-to place for designers to show off their work, online portfolio platform Behance is a brilliant place to find free fonts. Whether you want a slab serif, script, tattoo or handwriting font, you’re sure to find something that suits here.
Artimasa a ‘small lettering and type design studio with big dream’. These guys feature all manner of different type designs, with a few popular designs available for you to download and enjoy for free.
Created by creative director Jonathan Hill back in 2006, type foundry The Northern Block offers a number of free fonts. From stencil and bold to modern and geometric designs, you’re sure to find something suitable for your project here.
It can be difficult to find that perfect font. Font Cab aims to make it easier for you to find great fonts without wasting time. The simple layout of the website makes it easy to navigate through the fonts without much effort.
The Open Font Library showcases fonts that are free to use, study, share and rework for personal creative work. There’s plenty to choose from with their extensive catalogue that also includes a wide range of web fonts.
Fontellium is rather unique – a font site that brings together a collection of historical style fonts. With categories including everything from Egypta to Art Nouveau, this is the perfect place to find free fonts for your historical projects.
Fonstruct is a place where the community can design fonts and share them with others for free. Obviously that means there are a lot of fonts to search through, and more are added every day. The site’s easy to navigate and the best fonts are picked for the Fonstruct gallery.
Edge Web Fonts gives you access to a vast web font library made possible by contributions from Adobe, Google, and designers around the world. The fonts are served by Typekit, so you can be sure of high performance and stability. Plus, it’s free!
Igino Marini runs iKern: a service for autospacing and autokerning digital typefaces based on a mathematical model and programmes he developed since 2002. When he’s not doing that, he set up a site devoted to the Fell Types with some modern revival fonts.
The Fell Types take their name from John Fell, a Bishop of Oxford in the seventeenth century, who created a unique collection of printing types. Here, you’ll find digitalised versions of them for use in your design projects.
Misnomer alert! We’re certain that 1001 Free Fonts doesn’t feature exactly 1001 free fonts; we reckon that it’s actually a lot more than that – probably something more in the region of 10,001 – and all of them handily organised across 64 categories, along with the option to browse by designer.
Abstract Fonts has one of the cleaner interfaces in this arena, and it’s very easy to navigate. There’s a custom font preview option and it’s updated regularly, with about 14,000 fonts for you to choose from.
Jeff Schreiber is a designer, illustrator and typographer from Eindhoven, The Netherlands. Although he doesn’t have too many fonts available on his site, it’s all about quality and not quantity here. His ‘Razor’ creation is brilliant for print and poster work, with his ‘Fat Frank’ font offers a more playful approach.
Neogrey is the portfolio of Ivan Filipov. Working as a graphic and web designer, he’s created some stunning fonts that he’s very generously made available for free download. We particularly love his latest font, a multicolore vector font that was released just over two weeks ago.
Smashing Magazine provide a wide range of tutorials, inspiration and helpful advise for creatives on a daily basis. The site also has a great series of articles collating quality free fonts for you to choose from. These guys know what they’re talking about, so it’s a reliable place to download free fonts from.
Created by Lukas Bischoff, a designer based in Germany, Artill is a nice little website that’s aimed purely at people wishing to download free fonts. Minimalism at its best, and some great typography to be sampled.
There are many ongoing typography projects to be found on Wetecacahuete.com. Wete is a Spanish graphic designer who loves typography and editorial design. Head here to download free fonts such as Favela.
Check out this gallery of design works created by Josip Kelava, a Melbourne-based designer. You’ll find elements of typographical inspiration in each of his projects, and you can download free fonts such as Metropolis into the bargain.
A massive collection of free fonts is being shared by type designers as part of this project curated by Jovanny Lemonad. They’re totally free and everyone can take part in the project. If you like what you download, you may consider making a donation.
Dafont.com is a massive archive of freely downloadable fonts. Browse by alphabetical listing, by style, by author or by popularity. A lot of it is on the unprofessional side but you can find some choice stuff here. It’s also a good place if you’re looking to download free fonts with a novelty theme, like the Pacman font featured above.
Want to download free fonts for commercial use? Then Font Squirrel is the place to head. The quality of the fonts is high, they’re mostly @font-face compatible, plus it’s got a very nicely designed website into the bargain.
Ten by Twenty is the impressive creation of Ed Merritt, a designer at UK web design agency Headscape. You can download free fonts from his site, as well as templates, themes and icons, for your web design projects – all of high quality.
If you want to download free fonts for a craft or scrapbook-themed project, then head to Kevin and Amanda. It offers over 500 handwriting and scrapbooking fonts to download for free and they’re adored by fans of cute across the world.
Google Web Fonts makes it quick and easy for everyone to use web fonts on their site. All of the fonts are open source, so you’re free to share and customise them for your own use, or collaborate with the original designer to improve them. And you can use them in every way you want, privately or commercially: in print, on your computer, or in your websites.
Github project The League of Movable Type is a typographical revolution in the making and anyone looking to download free fonts should make a beeline for it. The very first free and open-source type foundry, it’s a hand-selected group of typographers who’ve created an amazing set of high-quality free fonts for all to download, such as the popular League Gothic.
«I think that typefaces are living beings,» says Pablo Impallari, «they continue to evolve over time. Even if the original designer died over 500 years ago, contemporary designers push their ideas forward, keeping up keeping up with the always-shifting way we perceive the alphabet.» You can find some incredible fonts at his site, Impallari. There’s a lot of detail in updates too, which gives a helpful insight in how they’re put together.
Commercial transaction attorney by day, by night Dan Zadorozny creates fonts that are free for non-commercial use (if you want to use them commercially, that’ll cost you pretty reasonable $20 donation). There are hundreds to choose from; they’re ordered alphabetically, so your best bet’s just to sift through them until you find something you like the look of.
Here is a small selection of graphic design for galleries and museums and magazines that caught our attention in recent weeks.
Hamburg-based design studio I Like Birds, founded by André Gröger and Susanne Kehrer, have recently completed a commission for Galerie in der Wassermühle Trittau in Trittau, Germany. The studio developed a visual system for the gallery’s printed matter – catalogues, invitations, posters and flyers – and also redesigned their website. All outputs take inspiration from fachwerk or timber framing and make good use of bold typography set vertically, horizontally and at sharp 45 degree angles.
Catalogues for Galerie in der Wassermühle Trittau. Design: I Like Birds.
Top: spread fromP98a Paper, RalphMartin’s ‘Zombies of Berlin’ with map illustration by Susanna Dulkinys.
Poster for ‘Maxim Brandt: Fantastic Imperfections’.
A rare copy of P98a Paper(Galerie p98a, £9.80) themed ‘Zombies of Berlin’ was handed to us by Erik Spiekermann in Eye’s De Beauvoir Town studio. The journal was made by Spiekermann, Susanna Dulkinys, R. Jay Magill Jr. and Ferdinand Ulrich. More issues, themed ‘The Fashion Issue’, ‘The Nepotism Issue’ and ‘European Travel Journal’ will follow. The small format publication is risograph printed with a letterpress cover (printed on a Korrex Proofing Press) that features an illustration by Christoph Neimann and responds to the team’s ‘itch to put out a modern magazine that would take an ancient form – actual paper, printed in-house, for a select audience of people who like such things’.
Each issue will feature a long form piece of fiction or non-fiction; P98a Paper no. 01, sadly now sold out, features Ralph Martin’s ‘Zombies of Berlin’, dotted with two-colour illustrations in black and luminous orange.
Spread from P98a Paper no. 01, designed bySusanna Dulkinys.
P98a Paper, Galerie p98a, £9.80.
International design studio Mucho has recently launched the identity, printed matter, merchandise and sign system for the Tenderloin Museumin San Francisco. The museum celebrates the Tenderloin District’s history and the people who frequented it – figures such as author Dashiell Hammett, jazz musician Miles Davis and rock band the Grateful Dead. The identity uses an eclectic custom typeface inspired by letterforms found on local signage for porn establishments, drug rehabilitation centres, coffee shops and hotels that are paired with a woodblock font ‘to help suggest the gritty nature of the area’. Read more about Mucho in the ‘Reputations’ article in Eye 89.
Identity for the Tenderloin Museum, which borrows letterforms from local signage. Design: Mucho.
One in a series of posters designed by Mucho for the Tenderloin Museum, San Francisco.
Merchandise that references the Tenderloin District’s history of ‘girls, gambling and graft’.
Cercle Magazine no. 4 is the product of Strasbourg-based graphic design studio Cercle Studio and is published in two editions – a French edition with English translations of interviews and an English edition co-published with IdN Hong Kong. This issue looks at ‘Costumes’ (previous issues have focussed on ‘The forest’, ‘Science fiction’ and ‘Insects’) and is rich with costume drawings, illustrations and photographs from international artists and designers such as costume designer Camille Assaf, photographer Charles Fréger and designer Studio Bertjan Pot who explore ideas of costuming and dressing the body.
Spread showing work by Swiss photographer and designer Marie Rime.
Cercle no. 4 2016 themed ‘Costumes’. Editorial direction: Marie Secher. Art direction: Cercle Studio.
Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at theEye shop, where you can buy subscriptions and single issues.
Es la primera vez que me encuentro con estos en persona. Tipos de madera que un impresor, en su puesto dominguero del Mercado de «chácharas» de La Lagunilla, ya consciente y adaptado a los métodos de impresión digitales, las decidió vender como objetos artísticos o históricos por tenerlas en desuso. Un modo de escritura mecánica que tiene orígenes […]
«Un curso corto de diseño de tipografía no te convertirá en un diseñador tipográfico , pero hará de ti un mejor tipógrafo.»
Cuando estoy formando a un nuevo empleado en Font Bureau, estoy trabajando con una persona con talento centrada en lo que realmente quiere ser, un diseñador tipográfico. Disponemos del tiempo necesario para ello, usualmente uno o dos años y la atención está dirigida hacia la técnica y los resultados.
Pero cuando estoy enseñando la asignatura optativa de diseño de tipografías en laescuela de diseño de Rhode Island (RISD), la situación es diferente. En vez de trabajar con una persona lo hago con un grupo y aunque muchos de los estudiantes tienen también talento y están centrados en lo que hacen, ellos no quieren ser diseñadores tipográficos. Mis estudiantes son estudiantes de diseño gráfico. Ellos quieren ser diseñadores gráficos y en cuanto al diseño de tipos solamente quieren probarlo durante doce semanas.
Sin embargo, yo estoy lo suficientemente interesado en la materia de diseño de tipografías como para haberla impartido durante casi quince años. Me llevó algún tiempo antes de reconocer las diferencias entre formar y enseñar y cuando finalmente lo hice, tengo que confesar que, al menos al principio, encontré la idea de enseñar ciertamente desalentadora.