Part Two –Plus a GIVEAWAY!
Fresh Takes on Classic Type on CLASSIC® Papers by Neenah is a bold, interactive new promotion designed by Kansas City-based Willoughby Design. Combining the beauty of type, design and production, the book merges contemporary typefaces and design with the textures of legendary CLASSIC Papers. The 9.5″ x 12″ book features six French-fold spreads featuring an interactive story crafted specifically for each typeface. Each spread contains a pull out, pop up, or put-it-together piece to help tell the story, and a quote from each typeface creator. In our previous post, we shared details an overview of the piece and its debut at our celebration – A Toast to Type. In part two of our series, we take a deep dive into some sweet type, design and production.
BUTTERMILK & BRIOCHE – JESSICA HISCHE
Typeface: Buttermilk & Brioche
Playing off each other, Buttermilk is smooth, wholesome and happy, while Brioche adds a touch of whimsy. Accentuated by a foil stamp in Arabian Gold and custom match Canyon Brown ink on Classic Crest Solar White 100C and companion coffee sleeve in Classic Columns Canyon Brown. Slip the sleeve out of its spot and around your morning blend, and reveal a quote from Hische on the back, and a message beneath.
Typeface Creator: Jessica Hische is a renowned lettering artist and speaker, whose work can be seen everywhere, from branding projects such as MailChimp and Beringer Wine, to books and films including Wes Anderson’s Moonrise Kingdom.
Production: This spread combines a custom match ink + gold foil + metallic gold ink + multi-level registered emboss + die-cut.
HOMESTEAD – LUKE LISI
A sturdy die-cut in Neenah’s signature “N” is the perfect match to Luke Lisi’s Homestead typeface. With a die-cut pocket on Classic Crest Patriot Blue 80C against Natural White Linen 80C, you can see deconstructed beauty of the typeface. Made up of three single-layer fonts, this typeface can be arranged and overlapped in countless ways to create custom plaid designs. This hot font has been used by brands such as Nike, ESPN, NFL and Gap®. Pull the die-cut panels out of the pocket and rearrange and replace to create a new pattern…and repeat.
Typeface Creator: Luke Lisi @lisidesign – This Colorado-born designer revels in creating puzzles and enjoys exploring the boundaries of technologies at hand. He is currently designing identities, menus and puzzles in Kansas City.
Production: This spread uses two PMS inks + custom match + die-cut + score + fold+ glue tabs. Papers: Left: CLASSIC Linen, Classic Natural White + CLASSIC CREST, Patriot Blue, Smooth. Right: CLASSIC CREST,Avon Brilliant White, Smooth.
HWT ARTZ – ERIK SPIEKERMANN
Typeface: HWT ARTZ
As part of the HWT Collection, Erik Spiekermann’s HWT Artz was designed to be easy to cut with a pantograph. Using vector date for the patterns to make large wooden type – this typeface is a brilliant example of digital + analog uniting to create magic. Featuring a registered deboss with a pearlescent spot thick UV coating, we’re treated to a special message “hidden” within the design.
Born as a woodcut typeface, ARTZ was digitized in 2014, with all of the proceeds from the font’s sales going to the Hamilton Wood Type & Printing Museum. Willoughby Design worked with Spiekermann’s letterpress shop in Berlin to create this spread for Fresh Takes on Classic Type on CLASSIC® Papers. Originally, ARTZ was cut in 3 sizes, the largest of which was 10″ tall. The final layout in the photograph on the left was nearly 4 feet tall! If you look closely you’ll see two messages in the type. 1) Good design is in all the things you notice, and 2) the hidden message, Great design is in all the things you don’t.
Typeface Creator: Erik Spiekermann @espeikermann Internationally renowned graphic designer, typographer, and type designer, Spiekermann founded the multidisciplinary design firm MetaDesign in Berlin in 1979, opening a major San Francisco office in 1992, and another in Zurich. In 1989, he co-founded FontShop International with Joan Spiekermann and Neville Brody. Spiekermann’s best-known, very influential, typeface is FF Meta.
Production: These pages include 4-color process + two PMS inks + registered deboss with pearlescent spot thick UV. Papers: Left: CLASSIC CREST, Avon Brilliant White, Smooth. Right: CLASSIC CREST, Avalanche White, Super Smooth.
Typeface: Various typewriter fonts
Today’s designers are reusing typewriter fonts to create a sense of nostalgia, with the look and feel of hand-typed messages. Digital typewriter faces, liberated from the four-row constraint of a typewriter keyboard, offer new nuances, glyphs and creative possibilities.
There are five inserts to explore, read and be amused by, including a quiz to test your typewriter expertise, and trivia facts about the mysterious DzXdz that had a starring role in the X-Files.
Production: This spread combines UV 4-color process + custom match + Black + die cut + spot thick UV + glue. Papers: Left: CLASSIC CREST, Avalanche White, Super Smooth. Right: CLASSIC CREST, Solar White, Stipple. Inserts: CLASSIC CREST, Classic Natural White, Eggshell + CLASSIC CREST, Tarragon, Smooth + CLASSIC CREST, Windsor Blue, Smooth + CLASSIC Linen, White Pearl + CLASSIC CREST, Antique Gray, Eggshell.
BIG CASLON – MATTHEW CARTER
Typeface: Big Caslon
This typeface is a revival of the 18th and 19th century versions of William Caslon’s designs. In 1994 Matthew Carter’s Big Caslon was released as the first digital version of Caslon’s largest display type. In 2011 it was added to the MoMA’s permanent Architecture and Design collection. And in 2014, Carter’s designed Big Caslon FB, dramatically expanding the family. This bold and instantly appealing font is printed on a 17dzx 23dzsheet, held in a pocket, paired with a decorative hang tag waiting for that special gift-wrapping project.
Typeface Creator: Matthew Carter – He is one of the last, living, famous type designers, internationally known for his contributions to type design, and most recently known for his Microsoft fonts, Verdana and Georgia. In 2010 Carter won a MacArthur Fellowship based on his Dzexceptional creativity, as demonstrated through a track record of significantachievement, and manifest promise for important future advancesdz.
Production: Shown here are UV Black + UV custom match + UV metallic silver + UV opaque white + foil stamp + die-cut + score + fold + glue + grommet + wired string. Papers: Left: CLASSIC CREST, Solar White, Stipple. Right: CLASSIC CREST, Pewter, Smooth. Gift wrap: CLASSIC CREST, Epic Black, Smooth. Hang tag: CLASSIC CREST, Red Pepper, Stipple.
ROTO – NICOLE & PETRA KAPITZA
Centuries before emojis and emoticons popped onto our screens, dingbats adorned manually typeset pages. The swirls and rosettes of Roto have a kinetic energy. Overlay two of them for a new effect. This story is all about play. The front side of the page shows the alphabet of dingbats, and the back translates them into a secret message. Punch out these cards and play with this typeface.
Typeface Creator: Nicole and Petra Kapitza @kapitza Originally from rural South Germany, the Kapitza sisters founded their studio in 2004 in the creative hub of East London and have since evolved into pattern and color experts.
Production: The dingbats story uses Black + PMS metallic gold + metallic silver + metallic bronze + clear foil + gold foil + satin silver foil + perforation + die-cut. Papers: Left: CLASSIC CREST, Pewter, Smooth. Right: CLASSIC CREST, Duplex Cover, Epic Black/Solar White, Smooth/Smooth.
The Book Design
Fresh Takes on Classic Type on CLASSIC® Papers was designed by Willoughby Design. The project was a true collaboration between the Willoughby team, writer Alyson Kuhn, Neenah, the featured type designers and Independent Printing Co. Inc. In less than 20 years digital technology has transformed the way designers, typesetters and printers work, blurring the lines between digital and analog. This book celebrates the expanded possibilities for merging print and pixels.
Founded by Ann Willoughby in 1978, Willoughby Design is one of the first woman-founded design firms in the U.S. that is flourishing in its second generation. Willoughby’s unique female perspective has deepened over the years under the leadership of principals, Megan Stephens, Zack Shubkagel and Nicole Satterwhite. Willoughby’s perspective has attracted clients who market to women and diverse audiences ranging from Kauffman Foundation and the United Nations to national consumer brands including Hallmark Cards, Russell Stover, AMC Theatres and Panera Bread. The firm has built a family-oriented, inclusive culture of creativity with offices in Kansas City and San Francisco. Willoughby is known for their award-winning brand design that engages audiences with new products, services, spaces and digital experiences. In 2014 Ann Willoughby was recognized as an AIGA Medalist for her inquiring design mind, social responsibility, sustained leadership, influence in the design community, and championing the role of women in the profession.
Neenah’s CLASSIC® brands are a legendary family papers that work beautifully together in any setting. Each brand boasts a track record of unmatched reliability and consistency when it is most important, on press. This family of steadfast brands encourages the ambitious and audacious because it performs every time. The results? Classically current and instantly iconic.
Want to get your hands on Fresh Takes on Classic Type? We’ve got a couple extras from our event we’re giving away, enter here to win one.