hwasilk.blogg.se

The reg­u­lar cut is slightly larger than usual, mak­ing it es­pe­cially leg­i­ble, which also ap­plies to the ital­ics, slanted at a 10° angle. But in de­sign­ing 'AS Brown', Sack was not in­ter­ested in re­vamp­ing an ex­ist­ing font he wanted to de­velop a type­face with a 'new and mod­ern per­son­al­ity'.

Its un­em­bell­ished clar­ity has set stan­dards and it su­perbly demon­strates the in­flu­ence of cor­po­rate de­sign on the suc­cess of the com­pany. Spe­cial­ists will im­me­di­ately iden­tify Sack's model and laypeo­ple will prob­a­bly sense some­thing fa­mil­iar: Sack refers in gen­eral to the grotesk type­faces of the early 20th cen­tury, specif­i­cally to the trail­blaz­ing de­sign of Ed­ward John­ston (1872-1944), who was com­mis­sioned to cre­ate a type­face for the Un­der­ground Elec­tric Rail­ways of Lon­don in 1913. How can one fol­low in the foot­steps of mod­ernism and still de­velop a type­face that is en­tirely con­tem­po­rary? Aurèle Sack, type­face de­signer and graphic artist from Lau­sanne, an­swers that ques­tion with his font fam­ily 'AS Brown', which took him four years to de­velop.