We were asked by Monotype to create a selection of 115 typographic artworks to be used across the Monotype Library Subscription available through MyFonts. Unlike usual type specimens which focus on the more functional, nuts and bolts aspects of a typeface, these images were intended to exhibit a more emotional, gut-reaction feeling of the typeface’s personality.
In addition to this, we created a family of surrounding artworks for each typeface, which continued the themes explored in the primary artworks and transferred them into more technical specimens and real type-in-use images.
Sturdy, dense, and no-nonsense, Alternate Gothic is an excellent selection when powerful typographic headlines must fit economically into a space. With an industrial, turn of the century feel, this family holds its own at a myriad of sizes from captions to full page headlines.
We showcased Alternate Gothic’s attention grabbing personality, perfect for posters and hoardings located in busy cities, intended to be read from a distance or while quickly passing by, as well as for punchy packaging and big impact editorial spreads.
Neue Haas Grotesk
Designed by Max Miedinger in 1958, digitised and restored by Christian Schwartz in 2004, Neue Haas Grotesk is uncompromisingly sturdy, cool, calm, yet authoritative. The restoration kept many of the warm personal traits of Miedinger’s original forms, creating an extensive family worthy of such a type icon.
We depicted Neue Haas Grotesk in its functional, modernist roots, using a strict grid system, minimal design and colour overlays.
Arguably the typeface most synonymous with Great Britain, we decided to pay homage to the quintessential British Classic by referencing Penguin Books and the iconic spectacles worn by Mr Gill.
Traditional yet modern, sophisticated but inviting, as well as highly legible; the attributes of Gill Sans lend themselves to a variety of uses including corporate identity, packaging, editorial, advertising and of course, anything British.
Designed by Sebastian Lester for a client who wanted an ‘ultra modern’ typeface, Neo Sans successfully evokes a contemporary, technological, almost futuristic feel, and is now used across many industries such as sports, technology and automotive.
We created a family of artworks based on advancement and progression, using bright digital colours and advertising style imagery for wearable technology and sports science led products.
Adrian Frutiger’s modular super family, Univers was based on 1898’s Akzidenz-Grotesk similarly to Helvetica. The typeface values the swiss principles of functionality and legibility above all else, and the vast range of weights and styles makes it a versatile choice for many corporate identities, signage and editorial design.
We used imagery of stark modernist architecture to mirror the modernist attributes of the Univers typeface, alongside type specimens and wayfinding systems.