It is always a frisson experience when you’re walking through a museum and, unexpectedly, from around the (usually) white corner, you are faced with a familiar piece of work you love, but have never seen in person. This unique experience can happen the other way around, too.
Kontrapunkt is an independent brand and design agency, with offices in Copenhagen as well as Tokyo. A very un-indepth search for fonts and some almost random clicking quickly brought me to their page for a typeface designed for pharmacies. ‘Pharma’ is a well crafted typeface, which becomes apparent from the get-go. Their presentation of it includes process sketches and to-the- point explanations for the design. This contemporary typeface cites 15th century apothecary bottles and a 1932 Bauhaus typeface as influence. That tingle up the spine. In a small, hidden-away hall in the bowels of the art museum I work at, I came across such Bauhaus lettering the day earlier. The new- found typeface’s letter lineage was directly from the ink-and- paper examples in that small intestine of a corridor. They are the work of Herbert Bayer, and his ounces of ink from 80 years ago have the weight of lead in designer’s imagination’s today, without paper-weighting their progress. More than fun coincidence, it is the seepage of one good design into others, regardless of time and geography. It is refreshing to see directly how integrated and far reaching design can be.
Now just fun coincidence (on the surface; a sign of a good design firm and the global reach of design today, really); a link on the ‘Pharma’ page led to another well-done typeface, ‘Via.’ I also work with a team on a proposal for a Copenhagen rail station rehabilitation. This is the font the station uses, along with all the others in Denmark, tradition sensitive ‘Danish g’ and all. Looking past this bias (like one might have for someone in the family), it is a legible, distinctive font that is presented in a light, crisp way, again. The friction on metal scream undercutting the whooshing air-mass bass of a slowing train emanates from speakers while colorful letters flip-book flash and expand on screen and slow to a halt. Literal? Yes. But Kontrapunkt clearly designs their works from conceptual roots, past precedents, and a solid process. This is what their presentation highlights. Perceived as a dime-a- dozen multitude of stationery, black tools on a page to some, typography becomes a vibrant, evolutionary expression in the hands of this design house.
A third typeface, ‘Heart’ for the Herning Museum of Art, further exemplifies this approach. Graphic shapes of shirt patterns and the museum building inform the curves, while another slide states
Our eyes are made to follow the lines and see the letters by completing the shapes
in a sort of medical physiology meets design concept understanding. They seem to have a firm grasp on their field. For all the designing and defining, the ‘heart’ font also expresses Kontrapunkt’s embrace of imperfection and living design; graffiti flanking their font, methods of application ‘open to accident.’ They also see typography from an interdisciplinary stance, describing it earnestly as 2-D architecture. The surprisingly sculptural form of some of the sketches show these aren’t flower petal words; they’re not delicate or there just to look pretty, they don’t wilt when scrutinized.
The typefaces I came across on their site stand as examples of craftsmanship in typography and design based identity. Throw in the personal connections and their underlying implications, and it is a reinvigorating experience. Not the frisson of familiarity, meeting design you’ve seen in facsimile before, but one stemming from the freshness, depth, and reach of all types of good, contemporary design, typography and others. It’s not having to worry so much about the liveliness and worth of it all anymore.
Their custom type page, including two free typeface downloads at bottom of left bar, and links to other great work: