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This experimental typeface was inspired by the work of Vilmos Huszar, more specifically, by the cover of the De Stijl magazine designed by him in 1917, and the unique font he made for the de stijl logo. This work enhances the design of the original typeface, while it is also a stylistic and graphic innovation. The sample sheets of font-experiments became distinctive images, compact shapes by the use of patterns and grids that do not modify the basic shape of the fonts. It is, in every case, a peculiar and universal pattern system that reshape the original design.

Classike

Get to know the Art Déco inspired typeface Classike by Emtype Foundry which adds an exclusive touch to your design.

Classike is a high contrast squarish display typeface. Inspired by the Art Déco period from a modern perspective. Refined and elegant yet with a mechanical vibe, it is ideal for pairing with any functional font, it works especially well with Geogrotesque, from which it inherited its proportions and soul. Classike adds an exclusive touch and helps enrich your graphic voice.

The typeface is inspired by the Art Déco period and street signs typography. While traveling, designer Eduardo Manso noticed that many signs combine squarish sans typefaces with high contrast styles of the same typeface. Those typefaces, sometimes lettering, thanks to the contrast, were more elegant and refined but had the same structure and conceptual essence as the squarish sans.

Classike inherits the proportions of Geogrotesque Sharp. The designer decided it was a solid starting point to create a high contrast sans. In the beginning he did several proofs to see how far he could push the contrast, but finally opted for a moderate solution to make it usable in a wider range of situations. Despite this, it still looks luxurious and elegant.

Apart from the high contrast that adds most of the charm, there are less visible details like the middle bar that has been aligned in several letters such as, B, E, F, G, K, and H and the numbers 3 and 8. It is reminiscent of the hand painted street signs, where the letter artist would use only a few alignment lines for all letters. These regular proportions emphasized the Art Déco look of the family.

Classike comes with just two alternates, M and R. Not a lot, evidently, but just enough to expand possibilities without deviating from the concept.

Pairing with Geogrotesque is obviously easy due to its origin, but also with any functional sans. The family include a Variable Font that adds all the advantages of the format (All in one file, low size, custom styles, etc). Although Variable Fonts are not fully established in the market yet, it is ready and waiting for that moment.

Classike

Design: Eduardo Manso
Foundry: Emtype Foundry
Release: October 2021
Styles and Weights: UltraLight, UltraLight Italic, Light, Light Italic, Regular, Regular Italic, Medium, Medium Italic, SemiBold, SemiBold Italic, Bold, and Bold Italic
File Formats: woff, woff2, otf, ttf, eot + Trial fonts
Price Single Style: from € 45.–
Price Whole Family: € 299.–
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Zivi

At the beginning the idea was to create a typeface with simple and small amount of shapes. I really liked the outcome of it so I decided to use the Typeface for a personal project. I created an Instagram Filter with the Letters that was used around the New Years celebrations in 2021.

PoseType – Characters in Motion

PoseType was started in spring 2020 by Michael Kreß and Erik Seitz. The idea was to push the boundaries of what can be achieved with the OpenType “font variation” feature in a playful way. We explored the concept of an installation in which the user interacts with a glyph in an approach slightly more unusual than the slider game you normally know from variable fonts.
PoseType encourages the user to explore the design space of different glyphs which we designed especially for this project. With a pose estimation framework we keep track of certain key points of the users body to then calculate a value for the variable font axes. From there we can display specific transformations of the glyphs.

Call for Papers

The GfDg—Gesellschaft für Designgeschichte (Society for the History of Design) invites you to participate in their Call for Papers for the competition Design für Spiel, Spaß, Spannung—Gestaltung von Artefakten zum spielerischen Handeln (Design for play, fun, excitement—designing artifacts for playful action).

Design—understood as conception, shape and color, choice of materials as well as image and movement design—represents a significant factor in the development of games and toys. One thinks, for example, of the so-called Bauhaus chess, the designs by Renate Müller for the Volkseigener Betrieb Therapeutisches Spielzeug in Sonneberg, the plywood elephant by Charles and Ray Eames, Nintendo’s Super Mario, or Barbie. Against this background, it is surprising that the history of design has so far only selectively dealt with games, their contexts and objects. After all, design has often led to groundbreaking innovations in the games market: in conception, in the reflection of social and technical contexts, in the adaptation to the needs of the game, in the development of the game itself, and technical contexts, the adaptation to different cognitive and physical abilities, the formal nature, with regard to the designed narratives and the use of technology.

This Call for Papers asks for contributions dedicated to the design of games, game forms, and toys of industrial culture. In addition, a special focus will be on digital games up to the year 2000. Please send your abstract of up to 3,500 characters, a short biography of up to 800 characters, and your contact information by March 30th, 2022.

Design für Spiel, Spaß, Spannung—Gestaltung von Artefakten zum spielerischen Handeln (Design for Play, Fun, Excitement—Designing Artifacts for Playful Action) is the title of the GfDg Annual Conference 2022. On the GfDg website you will find the call for papers and also the key visual for the event.

The annual conference of the GfDg will take place on July 1st and 2nd, 2022 in the Haus der Wirtschaft of the IHK Nuremberg where the winners of the competition will be showcased with their work. The deadline for the Call for Papers is March 30th, 2022.

Call for Papers
Deadline: March, 30th, 2022

Participate by sending an email

Design für Spiel, Spaß, Spannung—Gestaltung von Artefakten zum spielerischen Handeln

When?
July 1st and 2nd, 2022

Where?
IHK Nuremberg

Hauptmarkt 25/27
90403 Nuremberg
Germany

 

Deforme

DEFORME is a unicase type display font, comprising the Adobe Latin 2 set, with more than 350 characters. It was created to be used in digital media, in spaces like music, publishing, fashion, etc.

Its form is inspired by psychedelic typefaces, its personality is incongruous, its development experimental, and its substance is liquid. It has audiovisual bases, which were an important part of its morphological proposal.

If you are someone who seeks to break the rules, liberal and without fear of what they will say, this is your typeface. If you dare to use it, it will behave better in spaces such as headlines and short texts, since it likes to be the interpreter of its own story.

Foam Typeface

The FOAM typeface was made from a typographic experiment using letterforms from the font “Times New Roman”. The intent of my investigation was to experiment with letters as an art form. As a result, I created cropped letters as unrecognizable compositions. I added black and white textures, such as cardboard, window nets, image distortion, and spray foam to each abstract piece. I gravitated towards the rough uneven surfaces of spray foam, a material that allowed me to create a unique typeface.

Olivetti Identities

Olivetti Identities by Davide Fornari and Davide Turrini presents the results of an interdisciplinary research project by ECAL and the University of Ferrara. This beautiful book analyzes the Olivetti phenomenon as a whole.

Olivetti’s world-famous typewriters best embody the company’s industrial legacy and visible identity, which was both innovative and complex, material, and immaterial. These identities are at the heart of an interdisciplinary research project carried out by ECAL/Ecole cantonale d’art de Lausanne and the Università degli Studi di Ferrara in collaboration with the Association for the Historical Archives of Olivetti in Ivrea.

Olivetti Identities—Spaces and Languages 1933–1983 presents the results of this research with the aim of analyzing the Olivetti phenomenon as a whole, paying particular attention to the context of corporate evolution, and the approaches of designers such as Xanti Schawinsky, Renato Zveteremich, Ettore Sottsass, Hans von Klier, Egidio Bonfante, and Walter Ballmer, among others.

The research analyzed the corporate identity journey of Olivetti from the establishment of the Olivetti advertising office in 1933 to the opening of the permanent Olivetti pavilion at the Hanover Fair in 1983, which was intended as the final step in a particularly efficient corporate identity strategy.

The volume of Olivetti Identities is organized in four sections dedicated to the design of showrooms and exhibition design at trade fairs and expos, the analysis of languages that have shaped corporate vocabulary as well as visual communication and interaction design, and cultural, and promotional activities, respectively.

A final section summarizes the credentials of designers Santiago Miranda and George Sowden, as well as former Olivetti collaborators in sales and training.

Two visual essays featuring published and previously unpublished documents from the Olivetti historical archives complete the book.

About the author:
Davide Fornari is associate professor at ECAL/Ecole cantonale d’art de Lausanne and Head of the Applied Research and Development department. He has authored, edited and served as art director for a number of publications on design, including Mapping Graphic Design History in Switzerland, Bianca und Blu Monica Bolzoni (2019), Carlo Scarpa: Casa Zentner a Zurigo (2020).

Davide Turrini is associate professor at the Department of Architecture of the University of Ferrara, where he teaches design theory and sustainable design. He has conceived and coordinated research projects on Italian product design and craftmanship. His publications include Giuseppe Terragni. Album 1925 (2018), Creativa produzione. La Toscana e il design Italiano 1950–1990 (2015).

Olivetti Identities—Spaces and Languages

Publisher: Triest Verlag

Editor: Davide Fornari, Davide Turrini 
Designer: Federico Barbon
Release: January, 2022
Bookbinding: Softcover with flaps
Papers: Fedrigoni Sirio Grigio Perla, Lessebo 1.3 Rough White, Magno Gloss
Language: English
Volume: 400 p.
Format: 16 × 24 cm
ISBN: 978-3-03863-060-9
Price: CHF 39.–, € 39.–
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Photos: © ECAL / Niccolò Quaresima.