Projet de refont d’identité visuel du 104 de Paris.
︎︎︎ Inclusivité
︎︎︎ Mouvement
︎︎︎ Rythmique
2020
PRIMARY TYPEFACE : KNOCKOUT
Knockout (9 width, 4 series) . Flyweight, Bantamweight, Featherweight, Liteweight, Welterweight, Middleweight, Cruiserweight, Heviweight, Sumo.
Knockout is a family of sans serif typefaces which expands upon Jonathan Hoefler’s first typeface, Champion Gothic (1990). “Like Champion, Knockout is inspired by a style of American wood type which was first introduced in the mid-nineteenth century, and remains popular to this day. But unlike Champion, Knockout was designed not merely for display sizes, but for text as well. Knockout was begun in 1994 for the New York Times Magazine and completed in 1998 for the redesign of Sports Illustrated. Knockout’s range of weights allows some members of the family to be used in especially small sizes—the wide, light Knockout No. 34 is legible in 3-1/2 pt. And Knockout’s range of weights allows headlines of different lengths to be accommodated easily by shifting from one font to the next. Because its range of widths exceeds the usual classifications of ‘compressed, condensed, narrow and regular,’ Knockout’s nine different widths are named after the standards used in professional boxing, from the spindly ‘Flyweight’ to the gargantuan ‘Heavyweight.’ (The widest member of the range is named ‘Sumo’). “After its release in 1999, Knockout quickly became a favorite among editorial designers. To date, it has become part of the standard format in hundreds of magazines and newspapers and is used in 37 countries.
︎︎︎ Inclusivité
︎︎︎ Mouvement
︎︎︎ Rythmique
2020
PRIMARY TYPEFACE : KNOCKOUT
Knockout (9 width, 4 series) . Flyweight, Bantamweight, Featherweight, Liteweight, Welterweight, Middleweight, Cruiserweight, Heviweight, Sumo.
Knockout is a family of sans serif typefaces which expands upon Jonathan Hoefler’s first typeface, Champion Gothic (1990). “Like Champion, Knockout is inspired by a style of American wood type which was first introduced in the mid-nineteenth century, and remains popular to this day. But unlike Champion, Knockout was designed not merely for display sizes, but for text as well. Knockout was begun in 1994 for the New York Times Magazine and completed in 1998 for the redesign of Sports Illustrated. Knockout’s range of weights allows some members of the family to be used in especially small sizes—the wide, light Knockout No. 34 is legible in 3-1/2 pt. And Knockout’s range of weights allows headlines of different lengths to be accommodated easily by shifting from one font to the next. Because its range of widths exceeds the usual classifications of ‘compressed, condensed, narrow and regular,’ Knockout’s nine different widths are named after the standards used in professional boxing, from the spindly ‘Flyweight’ to the gargantuan ‘Heavyweight.’ (The widest member of the range is named ‘Sumo’). “After its release in 1999, Knockout quickly became a favorite among editorial designers. To date, it has become part of the standard format in hundreds of magazines and newspapers and is used in 37 countries.
