SPECIMEN / 2011-11-09

Contextualized type specimen No 2

Contextualized type specimen No 2

Die Idylle ist perfekt: This expanded typographical dialog was inspired by the Relevant typeface we designed in 2007 and revised in 2011. Two separate special invitations were extended. Manuel Burgener has created a sculptural intervention. Raum (Sabine Kronenberg & Lars Mischkulnig) laid out a narrative, relevant approach. Arranged and printed, these offhanded and facile works appear as parts of an added intellectual value.

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DEVELOPMENT / 2011-10-20

About the Relevant Typeface

About the Relevant Typeface

A sample of the Record Gothic typeface in Ben Rosen’s specimen book ‘Typos – Das Grosse Buch der Druckschriften’ from the early 1960s provided the starting point for the development of our Relevant. Particularly the medium-wide, normal-weight font was of interest as it appears fairly clean and settled compared to other font weights. Record Gothic was designed in 1927 by Robert Hunter Middelton for Ludlow Typograph Company.

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FONTS IN USE / 2011-06-09

Slanted #14 – Grotesque 2

Slanted #14 – Grotesque 2

Slanted #14 – Grotesque 2 focuses on current fonts that are in tradition of Lineal, Neo- or Geometric Grotesque. With great pleasure they present a huge number of these corresponding and related grotesque fonts, among others the Relevant typeface.

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LECTURES / 2011-04-15

oder aber auch

oder aber auch

20plusX Typography-symosium at Munich University, Department of Design. Concerning the topic 'Umbruch' [turn, change, wrap, break], Binnenland shows how out of banal facts deepened examinations follows, or how transformation-defects, aberrations and imprecisions of any kind be impulsive for the creative process.

SPECIMEN / 2010-01-14

Contextualized type specimen No 1

Contextualized type specimen No 1

The title of this first issue 'The result is constantly influenced by the technologies' relates to technical interfaces. This applies to the photographic work 'Res' that we invited Pascal Petignat and Martin Scholz-Jakszus to create, and also to the Korpus font developed in 2009.

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EXHIBITIONS / 2010-01-10

Bestform 2010

Bestform 2010

The result is constantly influenced by the technologies: 'Korpus' font developing, binnenland – Mischler & Thoenen, 2009 in context to 'Res' photographic work of Pascal Petignat and Martin Scholz-Jakszus Chemiegebinde 05 – Rodinal 125ml, 2007

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DEVELOPMENT / 2008-02-17

About the Blender Typeface

About the Blender Typeface

Blending in linguistics means mixing parts, also called morphemes, the smallest meaningful units in terms of form and content. The smallest units in the ‘Blender’ font are defined segments resulting from blending two fonts. Segments were cut from these generated hybrid forms and were re-assembled, recombined as new characters over its underlying strict construction grid. The font follows a rational principle but retains a reticently soft look with its formal conditions.

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DEVELOPMENT / 2006-04-21

About the Catalog Typeface

 About the Catalog Typeface

If imitation was the sincerest form of flattery, then the font Catalog is a tribute to all the classic serif typefaces. The idea behind this type was to bring together the elegance of humanistic Antiqua with graphic design approach in order to achieve both artistry and functionality of a classicist typeface.

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