Commercial Type | Graphik Collection 54×OTF $1200

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Commercial Type | Graphik Collection 54×OTF $1200Commercial Type | Graphik Collection 54×OTF $1200

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Commercial Type | Graphik Collection 54×OTF $1200.torrent
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28ef17de2ce6fbcaed76a296f38ee8fa69037b4e
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6 MB in 0 files
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Uploaded on 04-07-2016 by our crawler pet called "Spidey".
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Description

The dominant trend of the mid twentieth century simple sans serifs still reverberates in visual culture. Graphik proves that it is still possible to create something refreshing inspired by this era. Taking cues from the less-known anonymous grotesques and geometric sans serifs, Graphik is perfectly suited for graphic and publication design. Produkt is Graphik's slab serif counterpart, falling into the tradition of adding slabs to European Grotesk to make a functional companion that works equally well together with Graphik and on its own.



Graphik has been expanded to support Greek and a number of the most commonly-used languages that are written with the Cyrillic alphabet, including Russian, Ukrainian, Belorussian, Bulgarian, and Serbian. The Cyrillic was drawn by Moscow-based type designer Ilya Ruderman, who used a pre-release version in his studio’s new corporate identity for the British Higher School of Art & Design. The Greek was drawn by Panos Haratzopoulos, a type designer in Athens. These language extensions are available for desktop, web, and mobile app use.

Like our previous Cyrillic extensions for Austin, Stag, and Stag Sans, Graphik Cyrillic has an extensive set of language-specific alternate forms, so culturally-appropriate letterforms are used for Bulgarian, Serbian, and Macedonian.
The plain forms of Graphik work well with the active texture of Greek.
















Drawn by Berton Hasebe, Produkt is the slab serif version of the sans Graphik family. This typeface follows the twentieth century tradition of adding slabs to a European Grotesk to create an attractive and functional companion serif typeface. Its serifs are relatively short, particularly in the heaviest weights, so it retains the compact proportions and regular texture that characterize Graphik.

The idea of adding serifs at Graphik at first seemed too obvious, and Christian Schwartz had dismissed the idea out of hand, but demand from users of the original made us speculate that it might be worth exploring. Berton Hasebe’s early sketches had an unexpected charm: the warmth of Graphik shone through, with the shortness of the serifs keeping it from looking clumsy. Hasebe then finished the family to match the full range of weights that make Graphik so useful. The light weights are pretty, the middle weights are functional, and the heavy weights have a feeling of authority, all suffused with the appealing geometry seen in Graphik. A handful of alternates change the overall tone of the typeface to a surprising degree.

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