What are the essential elements that make a brand unique? How do you create bespoke tools that capture the imagination to engage audiences visually and emotionally? Siegel+Gale are hosting a unique event at the London Design Festival which combines type and sound to answer these questions. Our very own Bruno Maag will be speaking on how fonts can enrich a brand, and he will be joined later by Massive Music for a session on demystifying how sound enhances a brand experience.
Bruno will be telling us why he likes the world’s most controversial typeface, Comic Sans, and getting the audience to jump into a debate on typeface choice. What does your typeface reveal about you? What are the motivations for using a specific type style? Has the digital world created a new Wild West for fonts? He’ll also be asking what’s really important when it comes to choosing a typeface for branding and giving an overview of how a corporate typeface is born.
The event takes place at Soho House on 18th September, starting at 12.30pm. You can register for tickets at http://typeandsound.eventbrite.co.uk/
Nokia announced today that it has released another script, adding to the growing list of languages that we have designed for Nokia Pure. This language is a little bit more obscure than some of the others and you’ll have to travel a long way to find a native speaker. We’re very pleased to unveil Nokia Pure Klingon.
You can read more about this new addition to the Nokia Pure family, designed by Dalton Maag, at the Nokia branding blog: http://brandbook.nokia.com/blog/view/item80143/
We’re constantly working to increase the coverage of our fonts, so that they cover more languages and become even more international. Effra is one of our most popular typefaces, with clean lines and a versatile range of styles, so we’ve increased the character set to include Greek and Cyrillic alphabets.
The Effra font family was named after the Effra river which runs through Brixton, the area of London which is home to our UK studio. It has its roots in one of the earliest sans serif designs commercially available, Caslon Junior, designed in 1816. We originally updated the design, and expanded it to take in our Standard character set. The brand new Corporate Edition of the font expands the character set further to add Greek characters, and an extended Cyrillic character set that includes Serbian alternates. This means that Effra can now speak to over 2 billion people using their native script system.
As usual, careful attention was taken to give the new scripts the same texture and feeling of the original Effra. For the Greek, for example, the letter ‘omicron’ may look like the latin letter ‘o’, but in fact it’s a touch more condensed. Because the Greek alphabet uses several round letters, we have to make them all a fraction narrower so they won’t run too wide on running texts. The x-height of the Cyrillic is slightly higher than in Latin and Greek, because of the busy and squarish nature of most Cyrillic lower cases. It’s all about matching the feeling and texture.
We know that a lot of people have been waiting for the new scripts for this font, so we’ve released this font unhinted and will be updating it to add the hinting in the near future. The update will be free to download for anyone who has already bought the Corporate edition.
Hi, I’m Lukas, and I’ve recently been appointed as Creative Director for Dalton Maag. I’ve been designing fonts with my colleagues here for a few years now, from London and Vienna – my home city.
I am very happy to announce that Bruno and I have been invited by the nice people of the tga, to hold a talk in their series “gespräche an der graphischen” on Wednesday, February the 20th. We will be talking “Business Beyond A to Z”, and will be giving the audience a few insights into our daily work with custom fonts. Hopefully we can spread our passion for letters. Come if you are based near Vienna, and interested in type design – we’d be very happy to see you there. You can get more information at typographie.com (German only).
20. 02. 2013 | 19:00 | Designforum Wien | Museumsquartier | 1070 Wien
On Thursday, the day after the talk, we’d like to take the opportunity to invite everybody interested in our work to our little office in Vienna. Maybe you’d like to drop by after work, have a glass of wine with us and chat about type.
21. 02. 2013 | from 18:30 | Liniengasse 2B (Gassenlokal) | 1060 Wien
Since its release in 2010, Aktiv Grotesk has proven to be a successful grotesque design with a calm and confident voice. Now, eight new styles expand the range of expressions, from a beautiful Hairline to a bulky Black weight, with matching italics.
The Hairline weights elevate any message into a state of grace. Very delicate at medium sizes, the Hairline weights were designed to shine in big sizes, that allow them to reveal their careful refinement.The nature of very thin strokes means that there is no room for mistakes. Even the tiniest imprecision results in a visible error. The diagonals are particularly difficult to design, as the pixel grid system does not cope well with anything other than vertical and horizontal lines.
The Black weights, as the opposing side of the yin-yang of this font, deliver strong, loud and clear messages. White space is at premium on such dark letterforms and new challenges arise. Knowing where to compensate for the excessive weight, and by how much, is a constant issue.
If the user fancies something less extreme, new intermediate weights Thin and ExtraBold were designed to work with the already existing Light, Regular, Medium and Bold. With this comprehensive update, Aktiv Grotesk has become even more versatile.
You can see all eight new styles on our website.