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Design Curiosities is now Curiosity and Curiosities

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Design Curiosities is now: Curiosity and Curiosities

A Stopgap as Design Curiosities becomes Curiosity and Curiosities

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In an effort to bring more unique and thoughtful content to our site we’ve been discussing and working on what changes we need to make. As those changes are taking place behind the scenes, and to let you know that we are still here, you can find us at Curiosity and Curiosities. We are sharing visual content as a stopgap for this transition.

 

 

 

 

Design Curiosities: Vanessa Lam for Edgar Degas: A Strange New Beauty

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Edgar Degas: A Strange New Beauty showcases some of Degas’ most experimental and radical works—notably 120 rarely seen monotypes. To accompany the exhibition, Vanessa Lam, senior graphic designer at MoMA, created a custom typeface inspired by a French type specimen from the same period as the work in the show. Simplifying aspects of the typeface that were too decorative, the result is historical for sure but unmistakably contemporary.

Edgar Degas: A Strange New Beauty will be up at MoMA through July 24.

※ Photographs by Vanessa Lam and Andrew Toth

Design Curiosities: HEWN Identity by FÖDA

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HEWN is an Austin-based architectural woodworking shop with a team of master-craftsmen specializing in custom woodwork, high-end millwork, metal fabrication, and custom furniture. FÖDA recently reworked their identity from the ground up—name, brand strategy, identity, marketing collateral, website, and environmental graphics. The whole lot!

Design Curiosities: Objektiv by Bruno Mello

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Geometric sans serif typefaces first appeared in the early 1920s with the rise of modernism and the machine age. As design and architecture moved towards purity and simplicity, typography sought unity and rationality. The original grotesque typefaces of the 19th century would no longer suffice, formal purity demanded that the circle, triangle, and square be celebrated. The resulting letterforms were characterized by this geometric construction, owing more to mathematical forms than to the calligraphic letter.

In 1927, Paul Renner defined the genre with Futura, arguably the most popular sans serif of the mid 20th century. Futura was not alone though—Rudolf Koch’s Kabel (1927), Wilhelm Pischner’s Neuzeit Grotesk (1928), Dick Dooijes’ Nobel (1929), and Herb Lubalin’s Avant Garde (1968) all became broadly used standards of geometric type design.

In recent years there has been renewed interest geometric letterforms. A number of robust geometric interpretations have been designed that are better suited to handle contemporary typographic demands. LL Circular and FF Mark come to mind. Dalton Maag’s Objektiv by Bruno Mello is a welcome addition to this short list—it comes in 7 weights with three style variants.