Charlie Rose

Date:2016-04-14 01:27:19| News|Browse: 152|Source: Fonts in Use|Author: Stephen Coles

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I don't find him as effective an interviewer asSchmalfette[Walter Haettenschweiler, 1954], which subtly references the typography of print journalism, especially as the show strengthens its digital presence. The logo functions as part of a larger toolkit, which includes various squares and circles that abstractly reference the two shapes on the stage, as well as quotation marks that can emphasize the in-depth interviewing and conversation." — The 21st Century.

The job was done under the direction of Michael Bierut at Pentagram, just before Svendsen left New York for San Francisco and a job with Apple. It wraps up two years of typographically-rich collaboration between the two designers. Fittingly, Svendsen describes it as her "favorite project yet".

A graphic demonstrating the square, modular elements that make up the identity.

"Schmalfettee" is Jeremy Mickel's revival of Haettenschweiler's Schmalfette Grotesk, a design that was originally published as a simple alphabet in Lettera, Vol. 1, 1954. In the 1950s–80s, designers often used the Lettera series as type sourcebooks, photostatting the showings for display lettering. This interpretation of Schmalfette (one of many) simplifies some of the shapes, most notably the curved leg of the original 'R'.

Schmalfettee is supported by very heavy weights ofBalto. This kind of Schmalfette / American Gothic combo has worked well before: see the 1969 jacket for 13 Days.

An early proposal for lower third titles. The final on-air graphics have yet to launch.

An early proposal for closing credits. The final on-air graphics have yet to launch.

The new AREA 17, is a clean and nimble archive of the show's 25 years.

The type retains the tight-not-touching spacing commonly associated with mid-century modern headlines. It works when the setting is large, which is most of the time, but when charlierose.com is seen on a phone, a smaller Schmalfettee has stright-sided pairs (e.g. OH, UL, IN) that do touch, which begs for a little tracking.