Kubel's inspiration for Foundation Serif Didot was a sheet of lettering (dated 1939) he discovered in the archive of the influential Danish architect and graphic/industrial designer Gunnar Biilmann Petersen, 1897-1968. ![]() 7, another Caractère pour Marques de Linge in that 1934 Deberny & Peignot specimen book. Foundation Serif is based on Caractère No. Foundation Sans Condensed and Foundation Sans Wide are derived from two types described as Caractères pour Marques de Linge (typefaces for marking on linen) in the Signes section of the first volume of Spécimen Général des Fonderies Deberny et Peignot (ca. Heyer, for the Great Western Type Foundry). Foundation Sans Number 44 was inspired by Circular Gothic No. These are all revivals of skeletal typefaces. Foundation (2018) in Sans (Number 44, Condensed, Wide), Serif, and Serif Didot subfamilies.A2 Flowers ( 2005, Henrik Kubel): arrows, fists, flourishes, ornaments.A2 Danmark ( 2008, Henrik Kubel): a display stencil family.A2 CWM ( 2008, Henrik Kubel): constructivist type designed for the headlines and cover of Cold War Modern Design 1945-1970.A2 CPH Tram ( 2009, Henrik Kubel): revival of an odd mini-serifed type found on the exterior of Danish trams, ca.A condensed sans family with the masculinity of Impact. A2 Battersea ( 1999, Henrik Kubel): inspired by Meta, DIN and Transport Alphabet.A2 Aveny-T ( 2000, Henrik Kubel): Poster typeface commissioned as aprt of the identity of the Aveny-T theatre in Copenhagen.A2 Archi (2005, Henrik Kubel): an octagonal face.A readable text family designed by Kubel during an Expert Type Design Class in 2011 at Plantin Genootschap in Antwerp. Amplify (2013) won an award at TDC 2014.Kubel is self-taught, making his first typefaces while studying at Denmark's Design School from 1992 until 1997. A2's bespoke type design is mainly the responsibility of Henrik Kubel, though every typeface is developed and approved by both partners. The designers are Henrik Kubel and Scott Williams. Ī2-Type (or simply, A2) is a type foundry set up in the autumn of 2010 by the London based design studio A2/SW/HK. Her typefaces include Apolline (2019: a deco sans), Floyd (2019: a display sans), Shifter (2018: reversed letters), Fulio (2018), Oliwe Sans (2018), Lotto Sans Serif (2017: circle-based and monoline), Jenice (2017), Bilbao (2017), Honey Beast (2017), Azille (2017), Easy Tiger (2017, counterless), Maxetti (2017), Argenta (2017), Yeahsayer (2017, a Bohemian sans), Twin Pines (2017), the avant garde sans typeface Avellino (2017), the neat hand-printed typeface Quimper (2017), Copertino (2017), Pompidour (2017), Bolden (2017), the display typeface Gin & Tonic (2017), Shiraz (2017, primitive script), West Coast (2017, sans), and the monoline sans typefaces Quest (2016, +Stencil) and Knots (2016, +Knotted).Īka Lilco and Co. Born and raised in Hungary, Lili Lieber lives in Copenhagen and/or Budapest. All rights reserved.TYPE DESIGN INFORMATION PAGE last updated onĪka Lilco and Co, and as Lili Lieber-Lövei. The results suggest that bold fonts with high stroke contrast should not be considered for designs where letter recognition is a priority.Ĭrowding Font Letter features Reading Visual acuity.Ĭopyright © 2021 The Author(s). ![]() There was evidence for letter recognition impairment for the font with high stroke contrast compared to the fonts with low and medium stroke contrast, while there was no significant difference in performance between the medium- and low-stroke-contrast fonts. Participants identified the middle letter in a lowercase letter trigram in each trial, briefly presented in the parafovea (at 2° left and right of fixation) and at the foveal fixation point. The fonts were designed for this experiment to enable control of font variables. ![]() We examined the effect of letter-stroke contrast on three bold fonts, one with extreme contrast between thick and thin strokes, one with no contrast, and one in between. We are yet to understand how these fonts affect reading. To make graphical user interfaces look more fashionable, designers often make use of high-stroke-contrast fonts.
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