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klim_type_foundry
Klim Type Foundry
Typefaces reflect a culture’s priorities and aspirations. This is why we keep designing new typefaces — the job isn’t done.
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
As promised, we’ve donated 20% of Mānuka sales over the last year to @TreesThatCount. A total of $57,998.60 NZD — which means 6,444 native trees planted.
—
The trees we funded went toward the Mouri Turoa o Whanganui Project. This is a major restoration initiative, led by Ngā Tāngata Tiaki o Whanganui, an entity established after the Whanganui River was granted legal personhood in what was a world-first. The project has an ambitious goal to restore the health of the entire Whanganui River catchment, while creating local employment and training opportunities.
—
Thank you for your epic mahi @TreesThatCount.
—
Photography by Danny Rood
—
🔠➡️🌳
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
For Method’s debut, @studiozurstrassen shaped a brand that blends calm sophistication with the pulse of real world cyber defense, sharp, modular, precise, and confidently built to scale.
—
Project by: @studiozurstrassen
Client: Modern
Typography: Untitled Sans by @klim_type_foundry & Rom Mono
by @abcdinamo
View more at:
https://studiozurstrassen.com
#branding #digitalexperience
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Present Tense for Crane Brothers
Late last year we quietly pushed live a new website for @cranebrothers. It represents a significant moment in our year-long collaboration, as we have slowly given a fresh perspective to almost every single touchpoint of the business.
Our new design system is highly modular and a true celebration of colour and form. No stone has been left unturned, with refreshed garment imagery, a powerful headless build, and a significantly overhauled enquiry and consultation system. Confidently shifting away from a purely transactional e-commerce model towards an experience that puts brand and service at the forefront — the foundation of how Crane Brothers lives and breathes.
There’s still lots of learning and refinement to come, but it’s a significant moment in our partnership and we’re thankful to @murraycrane for never choosing the safe or expected path. You don’t surpass 40 years in the rag trade by sitting still.
www.crane-brothers.com
Design & creative direction: Present Tense (@_liamooi, @joeasmoore)
Development & advisory: @bestiestudios_(Celine Giovanni & Jeffrey Roulston)
E-commerce Photography: @shuanglinphoto
Campaign Photography: @meighan_ellis, @hollysarahburgess for @veil_magazine
SEO & Digital Management: @franklyanalytics (Alex Jordan)
Typeset entirely in American Grotesk by @klim_type_foundry
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Since releasing his first typeface Feijoa in 2007, Kris Sowersby (@klim_type_foundry) has become one of New Zealand’s most celebrated type designers. His work has earned recognition from the Type Directors Club, D&AD, and the Designers Institute of New Zealand, where he received the John Britten Black Pin — the country’s highest design honour. In 2019, he was named an Arts Foundation Laureate for his contribution to New Zealand’s art and design.
At AGI ĐÂY, Kris will share reflections on how culture and language continually shape typographic form and identity.
November 27–28, 2025
Ho Chi Minh City, Vietnam
agi-open.com
–––––
Xin Chào Kris Sowersby — Speaker at AGI Open 2025: “ĐÂY”
Từ khi ra mắt bộ chữ đầu tay Feijoa vào năm 2007, Kris Sowersby đã trở thành một trong những nhà thiết kế chữ tiêu biểu của New Zealand. Các tác phẩm của anh được vinh danh bởi Type Directors Club, D&AD và Viện Thiết kế New Zealand, nơi anh nhận John Britten Black Pin — giải thưởng thiết kế danh giá nhất của quốc gia. Năm 2019, anh được trao danh hiệu Arts Foundation Laureate cho những đóng góp nổi bật trong lĩnh vực nghệ thuật và thiết kế.
Tại AGI ĐÂY, Kris sẽ chia sẻ những suy ngẫm về cách văn hoá và ngôn ngữ định hình nên hình thái và bản sắc của chữ.
27–28 tháng 11, 2025
TP. Hồ Chí Minh, Việt Nam
agi-open.com
#AGIOpen
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@transavia , part of Air France–KLM, is a fast-growing European airline redefining value travel with a refreshed identity that combines smart choices, enjoyable journeys, and appeal to both leisure and business travelers.
—
Projectt by: @studiodumbar
Client: @transavia
Typography: Söhne by @klim_type_foundry
Full case study:
https://studiodumbar.com/work/transavia
#jointhedatabaseco #branding
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
@houseofheart.agency repositioned Sfermion, a multi-strategy investment firm, as “superpartners” — creative collaborators dedicated to unlocking potential and driving momentum through strategy, brand identity, and web design for the immersive internet.
A project by: @houseofheart.agency
Typeface: Tiempos Text by @klim_type_foundry & ES Allianz by @extraset.ch
See the full case study at:
https://www.houseofheart.com/work/sfermion
.
.
.
#thedatabaseco #jointhedatabaseco
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly conditions our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
—
As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
—
In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
—
Available exclusively from klim.co.nz
—
Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
—
#typography #fonts #design #art
New fonts: Die Grotesk.
—
Die Grotesk was shaped in the long shadow of Helvetica, a typeface both revered and resented in equal measure. Graphic designers love it. Type designers hate it. Endlessly revived and resold, simultaneously banal and sublime, its forms feel inevitable. A typeface so familiar it feels like air.
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As Klim’s first retail variable font, Die Grotesk is designed for perfect typographic texture across all sizes. Rooted in the study of original metal cuts and the rigour of modernist masters, its variable axes enable seamless, precise control of weight and letter spacing. Die Grotesk’s static styles hold their own at every size, meeting the flexibility and consistency demanded by contemporary practice.
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In an industry where commercial pressure and corporate monopoly dominates our typographic landscape, making yet another grotesk seems like the ultimate compromise. To dismiss Helvetica denies its power. To embrace it risks the charge of selling out. At once homage and critique, Die Grotesk is a breath of fresh air that acknowledges the tension between creative integrity and commercial reality.
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Available exclusively from klim.co.nz
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Font design: Kris Sowersby
Font engineering: @noe__blanco
Font production: @fostertype
Vietnamese consultation: @mai_type
Campaign: @ddmmyystudio
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#typography #fonts #design #art
We're longterm admirers of Klim's craft, their massive influence in branding's visual voices, and their enduring contribution to typography. Nice to see one of our projects mentioned on their website 🫰.
@klim_type_foundry
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
Performula
@per.formula is a futuristic health start-up delivering personalized supplements from blood analysis. Their tech-driven brand blends clinical precision, AI workflows, and elegant 3D visuals inspired by fine jewellery and microscopic ingredient studies.
A project by: @studiogruhl
Typeface: Untitled Sans by @klim_type_foundry
See the full case study at:
https://www.studiogruhl.com/projects/performula
.
.
.
#thedatabaseco #branding #digital #phygital #jointhedatabaseco
View Instagram Stories in Secret
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