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12 styles,
2016
  • Desktop
    $385
  • Web
    $385
  • App
    $575
48px
Styrene B ThinStyrene B Thin
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
48px
Styrene B LightStyrene B Light
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
48px
Styrene B MediumStyrene B Medium
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
48px
Styrene B BoldStyrene B Bold
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
48px
Styrene B BlackStyrene B Black
  • Desktop
    $60
  • Web
    $60
  • App
    $88
  • Desktop
    $60
  • Web
    $60
  • App
    $88
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, superscript / superiors, subscript / inferiors, 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, Spain, 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, a type designer, studied in Los Angeles, earning a bachelor of arts degree from the Otis College of Art and Design (2005). He has also completed the Type & Media M.A. program at the Royal Academy of Art in the Hague. During his student years, Hasebe created the typeface Alda, which was published by Emigre and drew the attention of the juries of the Type Directors Club in New York and Tokyo in 2008. He worked for Commercial Type in 2008-2013, where he helped develop typefaces for Bloomberg Businessweek, The New York Times and Wallpaper*. Since 2013 he has been working independently. He teaches typography at the Parsons School of Design in New York and the University of the Arts in Philadelphia, Pa. Since 2016, he has also taught in the Type@Cooper program. His work has been singled out for praise by ATypl conferences and at the graphic-design biennial in Brno. In 2012, he was among those cited by the journal Print on its annual list of new visual artists.

Typefaces by Berton Hasebe: Alda, Druk, Portrait and Platform.

Ilya Ruderman

Ilya Ruderman, a type and graphic designer and teacher, lives and works in Moscow. 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. Since 2007 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, 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.

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