Knockout Type Specimen

TYPE SPECIMENKNOCKOUTKNOCKOUTHoefler & Frere-Jones

TYPE SPECIMEN

TYPE SPECIMENTYPE SPECIMENKNOCKOUTKNOCKOUT

Hoefler & Frere-Jones

LONG TEST HOMEWORK BY AU ARANAS

Long test homework for

FA 171.6 TYPOGRAPHIC DESIGN

by Au Arañas (094300) BFA Information Design

ORIGINA sweeping collection of 32 sans serifs, Knockout restores some much-needed vitality to an overlooked corner of the typographic spectrum.

The organization of typefaces by weight and width may be one of Modernism’s great gifts to typography, but the expectation that fonts should cohere to some prefabricated schedule of styles is one of its greatest fallacies. Demanding that every typeface march to the drumbeat of roman, italic, bold, bold italic is an arbitrary imposition on a naturally diverse world; in other professions, this kind of universalist thinking gives us brutalist worker housing, or prairies planted with monocultures. Knockout defies the Modernist canon, in order to reclaim one of typography’s great natural wildernesses: the American sans serif.

For more than a century before Helvetica, the sans serif landscape was dominated by unrelated designs. Gothic woodtypes in a dazzling array of proportions lived comfortably alongside anonymous foundry types, each design’s integrity the product of its autonomy. Because none of these faces were intended to relate to one another, none of their design characteristics were beholden to any external constraints: what worked for a supercondensed boldface need only work for that design, not also for the extrawide light face whose design afforded different possibilities and faced different challenges. This sort of “situ-ational” approach to type design allowed for more varied and interest-ing designs, and it’s this approach that Knockout celebrates. With the functional benefits of a family that’s well-organized, and the visual appeal of styles that are individually designed, Knockout’s nine-width, four-weight family offers a range of voices that’s impossible to achieve with even the best Modernist sans serifs.

from www.typography.com

HOEFLER & FRERE-JONES

Since 1989, Jonathan Hoefler and Tobias Frere-Jones have helped some of the world’s foremost publications, corporations, and institutions develop their unique voice through typography. Their body of work includes some of the world’s most famous designs, typefaces marked by both high perfor-mance and high style.

In 2004, The Hoefler Type Foundry entered its sixteenth year as Hoefler & Frere-Jones. H&FJ continues to work with brand leaders in every sector, developing original typefaces and licensing fonts from its library of more than a thousand designs, and it publishes fonts exclusively through its New York sales office and its web site at typography.com.

from www.typography.com

Design is intelligence made visual.Design is intelligence made visual.Design is intelligence made visual.

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TYPE SPECIMENKNOCKOUTKNOCKOUT