Virgin Mobile Australia are using Omnes extensively in their web presence. Note especially Sir Branston's whiter-than-white grin accompanying the company philosophy. Our fonts keep more august company than we do, it seems (cf. Omnes mugging with Bill Clinton).
→
→
Omnes and Freight go together like peas and carrots. We'll leave it to you to figure out which is which.
→
When Jennifer Kinon and Bobby C. Martin Jr. of OCD called about a project for the Girl Scouts, visions of a month's supply of Samoas danced in our heads. More sober minds prevailed, and while we were unable to achieve that goal, we're delighted to share that the Girl Scouts is now using Omnes, just in time for their 100th anniversary. The new design vision extends to posters, advertising, billboards, merit badges(!), and printed materials. Notably, Omnes is now on every Girl Scouts computer across the nation!
→
Where can you buy snuffboxes, baker's thread, live oysters, needle-etched tumblers, and a Boxster™? eBay, of course. Omnes has found a home in eBay's design system, where it supports eBay's international brand presence. We're gratified, as it justifies all of that time spent finessing diereses and circumflexes.
→
By which I mean to say: boy oh boy, is it still winter. Nearly eight years in New York, and I’m still amazed at how cold and dark it can get just before spring.
That was a rather long moment, so this is a brief catch-up post with some of the high points. We had an extremely busy autumn.
Rather than make a joke about kittens testing well with art directors (too late?), I’ll introduce the newest, littlest members of our team: Gretchen & Igor, who come to us from a fantastic animal rescue in Ozone Park, Queens.
The fall semester hit like a tidal wave — three classes at Parsons and a substitute gig at SVA. About halfway through the semester, we took nearly-concurrent field trips to Green-Wood Cemetery.
In Prospect Park, Joyce and Rob tied the knot in the presence of their mothers; Joyce’s orchids went home to Williamsburg; the cacti got new pots at Christmas. The radiators came on, heralded by the unmistakable smell of missing artwork proofs.
Eben Sorkin stopped by on his way from Anchorage to Reading. Eben Keun and his colleagues came to town for an AIGA conference; I missed them, but Nick treated them to what I’m told was a nice cup of coffee at the new restaurant on the corner.
Parsnip would like everyone to know that she was a blue elephant for Halloween.
I’m teaching two classes at Parsons this semester, and we’re in the middle of several super-fun projects. More (more frequent, more typographic) updates, soon.
→
Huf·vud·stads·bla·det is probably my favorite proper noun in any language. The newspaper itself (headquartered in Helsinki & published in Swedish) more than exceeds any expectations inspired by its name, with sensitivity and modernity as unifying themes in an otherwise diverse design system. We worked with Kristofer Pananen on this Barn supplement, which features vivid color on uncoated paper, and uses nearly every weight of Omnes as a foil to Miller Daily.
→
The Tatler Asia project was a milestone in our studio: we had never before provided all of the typefaces used in a redesign. In this case, we made up for lost time, ultimately contributing to ten palettes for the regional titles in Hong Kong, Beijing, Korea, Singapore, Shanghai, The Philippines, Malaysia, Thailand, Indonesia, and Macau.
Working closely with Maryjane Fahey and Mariana Ochs, we provided six font families, including two new exclusive series, each with its own approach to fine-tuning. Corundum News’s shared-width grades offer superior text on a variety of papers and presses. Corundum Display features two optical sizes for grand display plus a version for decks and knockouts.
The premiere issue of Tatler Hong Kong shown here uses Freight Sans, Jubilat, Omnes, Corundum Text, Corundum Display, and Corundum News.
→
Wright may well be the coolest auction house on the planet, so it’s no surprise that the best elements of 20th-century design, ’90s experimentation and ’00s gravitas coalesce in their catalogues — these ones remind of me of how appealing print design can be. Guided by the steady hands of Rick Valicenti at Thirst and James Potsch & Jennifer Mahanay at Wright, these designs are striking, balanced, and joyous, incorporating Omnes & Freight Micro where noted, alongside FF Bau, probably my favorite of Christian’s designs.
→
The studio got its start on the third floor of Eddie’s brownstone, and I drew a good deal of Omnes while watching back-to-back Law & Order on his sofa. An ex-landlord who keeps on giving, he’s been guiding the Studio Museum in Harlem toward a unified identity, using retail and pre-release fonts of ours. Studio is the museum’s flagship publication; this issue was designed by Eddie Opara and Salvador Orara.
→
We arranged testing licenses for Anton Ioukhnovets in 2006, which resulted in these issues of Gentleman’s Quarterly, with several of our designs in text and display. GQ maintains some of the most sensitive typography in its market, so these spreads reflect a modularity appropriate to their choice of type.
