Our friend Vanja Golubovic designed this editorial for OE Magazine, making an early use of the various styles of Beausite. We think the high contrast of Beausite fits perfectly with the strong contrast in the photography. We hope you like it too.
Beausite started in 2008 with the idea to create an elegant high contrast display typeface. The first version was a condensed light cut. Over the years, the concept and design slowly evolved. To a certain extent, the design echoes Peignot – a successful typeface designed by the famous french graphic artist Cassandre and released by Deberny & Peignot in 1937 – or Hermann Zapf’s Optima. For a while, the project was also inspired by the idea of a “Didot Sans”, a concept that has been explored repeatedly, producing most often than not questionable results.
But in the end, the motivation for Beausite became less about designing a stylish decorative design and more about applying contrast onto a neo-grotesk skeleton. Sans serifs such as Univers established the principle of programmed, consistent typeface families with a wide range of weights and widths. But contrast has been left out of the range of this program almost consistently, relegated to humanist or calligraphic designs. In recent years, this has been accentuated by a trend of sans-serifs where contrast is reduced to a strict minimum. Beausite is an alternative in the category of Grotesks, that relives the 20s to 40s trend for high contrast sans in a contemporary fashion.
Beausite comes in three levels of contrast and six weights. Beausite Grand is clearly intended for headlines and big sizes, Beausite Slick works well for smaller headlines and leads, while Beausite Grotesk functions equally in text and display.
The typeface comes with a full character set for west and east european languages, and a number of OpenType features such as stylistic alternates, ligatures, smaller figures for text, tabular figures and fractions. For a full overview, have a look at our PDF specimen.
We are glad to release the italic styles of U8. The family now consists of 14 members. As usual, you can obtain the U8 Trial fonts from our website.
Webfonts are also available, contact us for licensing.
U8 is a geometric sans serif, with 14 styles, designed by Anton Koovit. Anton started U8 as a research project about the Berlin subway system signage and particularly the U8 line that connects the northern borough of Reinickendorf with Neukölln in the south of the city, through the Alexanderplatz junction. His goals were to restore a piece of history, research a link between the DIN and Bauhaus, and translate the lettering of individual handcrafted station signage into a formal typeface. Apart from the regular weight’s upper and lower case, glyphs such as numbers, and other weights, had to be created by the designer, allowing for his contemporary interpretation. The result is an early modernist typeface, with wider proportions than most common geometric sans, a strong character, and a clean design. Initially intended for display purposes, U8 has proven to work well in text sizes. The typeface comes with a full character set for western and eastern european languages, and a number of OpenType features such as ligatures, smaller figures for text, tabular figures and fractions.
A preview of the custom typeface we designed for Balenciaga’s new identity.
Just the beginning of the video, uppercase under the logotype. More infos and samples coming soon.
Art direction: Julien Gallico
Baton is a sans serif typeface with narrow proportions combining eccentric shapes inspired by french vernacular typography with the simplicity of modern sans serifs. Peculiar details and a low contrast make the design slightly strange yet elegant, but it is the exaggerated high and low midline in the uppercase and the small x-height which give Baton its distinctive flair. Relatively wider and more toned down, the lowercase allow Baton to function not only as a display typeface, but also for short texts such as leads in magazine.
Baton comes in 10 styles with an extended language support and a wide range of OpenType features such as ligatures, alternate letters, tabular and lowercase figures, fractions, and a stylistic set of uppercase with thin accents for headlines with tight leading.
Designed by Yassin Baggar and Anton Koovit. Originally commissioned by Yorgo Tloupas and Paul Chemetoff for the redesign of GQ France magazine.
Baton is available exclusively at fatype.com
Get the free trial fonts from our homepage (Try button) and test the typeface directly in your design.
Check our previous blog post for a more in-depth look at Baton in use for GQ France.
Back in 2010, we created three uppercase custom typefaces for the redesign of GQ France: GQ Serif, GQ Slab, and GQ Baton: a narrow, half dandy half awkward looking sans serif. Planning to refresh the design of the magazine, art director Paul Chemetoff asked us to complete GQ Baton with lowercase letters, and to create italics for both Light and ExtraBold weights. Here is a look at the July issue displaying the new fonts. Baton will soon be available for licensing publicly.
(Text typeface in GQ France is Adelle by TypeTogether).
Journal B is the first online magazine for the city of Bern – the swiss Federal City – focusing on everyday, political and cultural subjects. The development of the project was led by Apps with love. Responsible for the design, Alice Kuhn and Manuel Schibli brought us in to work on a custom typeface. Our Aleksei was also chosen for the text. This was the opportunity for us to focus on the subject of webfonts and improve Aleksei for the web.
The Journal B typeface was designed by Yassin Baggar and Manuel Schibli.