The model, which had its debut at the 2015 Baselworld fair in Switzerland, is powered by an extra-thin movement and comes in three sizes, with a bevy of alligator straps in colors such as black currant, Etruscan (terra cotta) and elephant gray. Here, a closer look at what makes some typefaces - and timepieces - feel so right.įor its fourth collection of fine timepieces (after Arceau, Cape Cod and Dressage), Hermès created Slim d’Hermès, ‘‘an elegant, classic but also contemporary piece that speaks to the essentials of the brand,’’ said Philippe Delhotal, creative director of La Montre Hermès. And Apple, concerned with readability on a small display, designed a new typeface, San Francisco, for its Apple Watch. In November 2014, Mondaine introduced a family of watches called Helvetica, after the pragmatic and ubiquitous 20th- century font. Hermès commissioned a French graphic designer to develop a custom typeface for its Slim d’Hermès collection, unveiled last March. ‘‘That’s like showing up for a gala dinner in a T-shirt.’’ Recently, however, a growing number of watchmakers have begun to recognize the power of typography. ‘‘You can buy a $200,000 watch that has Times New Roman on it - the most common typeface in the world,’’ said Jonathan Hoefler, founder of Hoefler & Co., a type foundry in New York. And yet, many contemporary brands are careless about fonts. The New York Times Magazine – Type: 2015-Present is at the Type Director’s Club, 347 West 36th in New York until 5 September. The exhibition is free and open to the public Monday to Friday, 9am to 4pm by appointment only (call 21 or email tdc.Study the face of a watch and you’re likely to notice something other than the time: The typography used to design the logo, numerals and words, which subtly communicates critical information about the timepiece, from the era in which it was produced to the values of its maker. The real proof of the Magazine’s success is in its weekly printed issues, but this booklet (and the TDC show) go some way to demonstrate the power of its custom fonts – how they can become a key part of a title’s visual identity while expressing the uniqueness of both the voices and the writing within. Serif Headline Light Italic (650pt) Serif Display (696pt) Some of the individual letters may even be recognisable to readers and fans of the Magazine’s design work – such as the ‘L’ from the LA Noir issue and the tall lowercase ‘g’ from the New York Above 800ft issue. The team also worked up a condensed font that was inspired by Stymie, a slab serif that the NYT magazine had used for decades. The publication includes many examples of Kubel’s work and also of bespoke type created by the magazine’s art department. Bespoke type: from an ‘L’ from the LA Noir ‘Great Performers’ issue, to an ‘M’ from ‘Mega Mecca’ issue Bespoke type: from an ‘O’ from the Olympics issue, to a ‘g’ from the New York Above 800ft issueĪs part of the Magazine’s redesign that was carried out two years ago, Henrik Kubel of A2-Type was commissioned to create a suite of custom typefaces – “serif and sans serif fonts that felt unique and modern,” writes Bichler. Typography gives tone and voice to those words”. Serif Display (48pt) Serif Hairline Stencil (48pt and 272pt)Īs Design Director Gail Bichler writes in the introduction, the design of the NYT Magazine does not rely on ornamentation, but instead comes out of the words contained inside its pages – “the stories and ideas those words represent. The booklet, NYT Mag Type, has been produced through Newspaper Club and features examples of the magazine’s sans and serif faces, alongside a wide selection of more expressive type designs created for specific issues. On the cover: Serif Headline Light Italic Serif Display Sans Thing Sans Bold Sans Poster Slab Thin Slab Regular Slab Skyscraper
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