An interview between Josephine Granese & Kris Sowersby for the 2019 Arts Laureate.
“I am not entirely convinced that a typeface can embody an idea. Sometimes I think it’s pure form, other times not. All I know is that anything made today will always be of this time.”
In this issue of Azimuts we question the notion of the end in design projects — what determines and happens at the final step that often concludes a long investment.
An interview with Elizabeth Carey Smith covering the studio, the Untitled concept, restlessness, design processes and Klim’s “Master Plan”.
So much of life today is about adding more. How can design help strip away the noise? We talk about how Klim Reader and the Untitled Collection step towards a less crowded web.
We discuss self taught approaches, what makes typeface design so significant nowadays and why clients want custom typefaces.
Kim is a stalwart interviewer with broad knowledge on many subjects. We discuss my recent Black Pin award, the Financial Times redesign, the NZ flag debacle and bogans.
On occasion of the Cooper Hewitt Design Triennial, we discuss approaching typeface design, style, historical inspiration, geographic location and beauty.
There is no scene to set for inspiration. The more harder I look the more elusive inspiration is. So I don’t look. “Out of the work comes the work.”
We discuss education, heroes, the aesthetics of letterpress, source material and revisiting history.
We discuss the roots of Tiempos, optical sizing, working from New Zealand, fundamentals and feelings.
With three Type Directors Club awards in the last two years, Kris Sowersby is the man agencies turn to for a custom typeface. Garrick Webster goes behind the scenes.
The craft of leading font designer Kris Sowersby often — surprisingly — provokes intense reaction and debate. Rose Hoare looks at the letters behind his name and discovers why all the hype in the type.
“Many of you will have heard of Kris Sowersby, and something tells me that we’re going to be hearing a lot more about him.”