“Siri” made quite a splash in 2011. Two splashes, to be more precise: one in the shape of Apple’s software assistant, and another as Göran Söderström’s new sans serif typeface. Not the same size of splash, of course, but Siri the typeface, came first
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Siri
Among recent Grotesque-inspired releases and Hannes von Döhren’s rapidly growing oeuvre, Supria Sans stands out to me as an especially interesting and useful addition. The design has just the right amount of character to be memorable and unique but also restrained enough to remain thoroughly useful.
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Supria Sans
After a long hiatus (inexcusably skipping 2009 and ’10) we’re back with our annual review of the year in type. The idea is simple: I invite a group of writers, educators, type makers and type users to look back at 2011 and pick the release that excited them most. The reviews range from the academic (like Paul van der Laan on Zizou or Jens Kutilek on FB Alix ) to the theoretical (such as Jan Middendorp on Agile ) to the personal (like Carolina de Bartolo who reviewed Calibre and Periódico after firsthand experience with a redesign of WIRED magazine) to the playfully unexpected (Microsoft’s Si Daniels praises Apple Color Emoji ) to the exclamatory (Matthew Butterick on Neue Haas Grotesk )
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Our Favorite Typefaces of 2011
With the Alda project, Berton Hasebe took on the challenge of designing a type family whose members not only shift in weight, but also in their quality of expression. Analyzing how typefaces change their tone of voice across their weights, and how certain properties (robust, elegant, sturdy) are automatically assigned to certain stroke widths, he devised a weight system that incorporates a transition from rigid to smooth
Continued here:
Alda
Maximiliano Sproviero’s Reina starts with Bodoni and Didot and adds aspects of Spencerian script and the work of Herb Lubalin .
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Reina
At first glance, A2 Beckett feels like a 19th century gothic. The angled stroke endings on some of the characters remind me of the very condensed styles of Venus . But its construction and details give it a very contemporary look.
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A2 Beckett
Neacademia is a book serif that draws inspiration from the types that Francesco Griffo cut for Aldus Manutius in the 15th century. Do we need yet another Aldine revival
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Neacademia