РУEN
type.today
2 families,
2016, 2018

Styrene Collection

Commercial Type, Berton Hasebe, Ilya Ruderman, Commercial Type, Berton Hasebe, Ilya Ruderman (cyr)

  • Desktop
    $770
  • Web
    $770
  • App
    $1,150
Styrene A12 styles
from $60
72px
Styrene A
Bold
Согласно Книге рекордов Гиннесса, больше всего букв в алфавите кхмерского языкаСогласно Книге рекордов Гиннесса, больше всего букв в алфавите кхмерского языка
24px
Styrene A
Regular
Styrene, a new sans serif by Berton Hasebe, is his exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif called Breede Schreeflooze shown in an early 20th century type specimen published by the Enschedé Typefoundry in the Netherlands. However, Styrene has an ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. Styrene is characterized by its proportions: typically narrow characters like _f j r_ and _t_ are hyperextended and flattened, adding openness in unexpected places. Styrene’s two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed. Styrene, a new sans serif by Berton Hasebe, is his exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif called Breede Schreeflooze shown in an early 20th century type specimen published by the Enschedé Typefoundry in the Netherlands. However, Styrene has an ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. Styrene is characterized by its proportions: typically narrow characters like _f j r_ and _t_ are hyperextended and flattened, adding openness in unexpected places. Styrene’s two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.
Styrene B12 styles
from $60
72px
Styrene B
Bold
Исследуется механизм спонтанно возникающих и саморазрушающихся коммуникаций.Исследуется механизм спонтанно возникающих и саморазрушающихся коммуникаций.
24px
Styrene B
Regular
Styrene—новый гротеск Бертона Хасиба, который можно считать прекрасным примером эксперимента с пропорциями знаков и простотой в шрифтовом дизайне. Начало этому шрифту положил исторический прототип—шрифт Breede Schreeflooze, опубликованный в начале 20-го века голландской типографией Enschedé Typefoundry. Однако в Styrene есть много и не исторического. Так например, название шрифта стало отражением непосредственно графики и того синтетического ощущения, которое возникает от контуров и геометрии шрифта. Styrene уникален своими пропорциями: обычно узкие в шрифтах знаки _f j r_ и _t_ в Styrene намеренно широки и приквадрачены, что добавляет в тексты ощущение открытости в неожиданных местах. Шрифт представлен в двух семействах: А—более геометричное, с большей харизмой, широкое; в то время как В—более узкое, более емкое, более практичное.Styrene—новый гротеск Бертона Хасиба, который можно считать прекрасным примером эксперимента с пропорциями знаков и простотой в шрифтовом дизайне. Начало этому шрифту положил исторический прототип—шрифт Breede Schreeflooze, опубликованный в начале 20-го века голландской типографией Enschedé Typefoundry. Однако в Styrene есть много и не исторического. Так например, название шрифта стало отражением непосредственно графики и того синтетического ощущения, которое возникает от контуров и геометрии шрифта. Styrene уникален своими пропорциями: обычно узкие в шрифтах знаки _f j r_ и _t_ в Styrene намеренно широки и приквадрачены, что добавляет в тексты ощущение открытости в неожиданных местах. Шрифт представлен в двух семействах: А—более геометричное, с большей харизмой, широкое; в то время как В—более узкое, более емкое, более практичное.
About

Styrene, a new sans serif by Berton Hasebe, is his exploration of proportion and simplicity in type design. The initial inspiration for the family was a charmingly awkward sans serif called Breede Schreeflooze shown in an early 20th century type specimen published by the Enschedé Typefoundry in the Netherlands. However, Styrene has an ahistorical attitude. Its name was inspired by the purposefully synthetic feeling to its curves and geometry. Styrene is characterized by its proportions: typically narrow characters like f j r and t are hyperextended and flattened, adding openness in unexpected places. Styrene’s two widths offer different textures in text: version A is dogmatically geometric, with a stronger overall personality, while version B is narrower for more reasonable copyfit, though not truly condensed.

Features

Small capitals, all small caps, case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, fractions, subscript / inferiors, superscript / superiors, five stylistic sets

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spanish, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Commercial Type

Based in New York and London, Commercial Type is a joint venture between Paul Barnes and Christian Schwartz, who have collaborated since 2004 on various typeface projects, most notably the award winning Guardian Egyptian. The company publishes retail fonts developed by Barnes and Schwartz, their staff, and outside collaborators, and also represents the two and their team when they work together on type design projects. Following the redesign of The Guardian, the team headed by Mark Porter, including Barnes and Schwartz, was awarded the coveted Black Pencil by the D&AD. The team was also nominated for the Design Museum’s “Designer of the Year” prize. In September 2006, Barnes and Schwartz were named two of the 40 most influential designers under 40 in Wallpaper*.

Berton Hasebe

Berton Hasebe(born 1982) moved from Hawaii to study and work in Los Angeles, obtaining a BA from Otis College of Art and Design in 2005. In 2007 he moved to the Netherlands to study type design through the Type and Media Masters course at The Royal Academy of Art in the Hague (KABK). His typeface Alda, designed while attending Type and Media, was awarded the 2008 judges pick from the Type Directors Club in New York. In the same year Alda was also selected by the Tokyo Type Directors Club to be included in its annual publication. Berton has resided in New York since 2008, and he was a staff designer with Commercial Type from 2008 to 2013, when he left to start his own studio. Typefaces by Berton Hasebe: Alda, Druk, Portrait Platform, Styrene.

Ilya Ruderman

Ilya is a type and graphic designer and teacher, lives and works in Barcelona. He is a graduate of the Moscow State University of the Printing Arts (2002), where his graduation project was done under the supervision of Alexander Tarbeev. He has a MA degree in type design from the Type & Media program at the Royal Academy of Art in the Hague (2005). After completing the program, he returned to Moscow, where he has collaborated for a number of media: Kommersant, Afisha, Moskovskiye Novosti, Bolshoi Gorod and Men’s Health Russia. In 2005-2007 he was art director for Afisha’s city guidebooks, following which he was art director for RIA-Novosti, a news agency, for several years. In 2007–2015 he has also supervised the curriculum in type and typography at the British Higher School of Art and Design in Moscow. He has been very active as a consultant on Cyrillic since 2008. In 2014 he founded CSTM Fonts with Yury Ostromentsky.

Typefaces by Ilya Ruderman: BigCity Grotesque Pro, Kazimir, Kazimir Text, Navigo, Permian (a typeface-brand for the city of Perm) and Cyrillic versions of: Austin, Dala Floda, Graphik, Marlene, Moscow Sans (as a consultant), Typonine Sans, Thema.

Font in use