Early pictures using franklin gothic font
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IR: Did Matthew Carter somehow feature as part of this project?ĬS: Yeah, Matthew was part of it since the very beginning. The Medium weight is the core voice of the refreshed marketing materials.
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The Bold weight is a bit lighter than MoMA Gothic, for a more accessible tone. The more extreme weights will primary be used within the museum, like for title walls in exhibitions. The Ultra weight may only be used once a year - or less - but will be available when an exhibition wall needs an extra punch. MoMA Sans supports a wide range of languages, to accommodate visitors from all over the world. So what they wanted was essentially one cohesive system that would still look like the Franklin Trade News American Gothics, that would still be the recognizable force of MoMA, but which would work for all of these hundreds of different kinds of applications that they have. The condensed was narrower than they wanted and so they couldn’t use it for text really and it was this hodgepodge system that needed a ton of rules to be useful, and needed constant policing by the creative director and deputy creative director. It was more cohesive than five different typefaces usually would be, but there were holes in it, it didn’t go bold enough for some of the things they wanted to do, and it didn’t go light enough. It’s funny without really knowing that all of these things are based on the same schedule or same skeleton and structure, they had instinctively put all these together over the years. To augment that they had some Trade Gothic, they had some ITC Franklin Gothic, and they had a News Gothic condensed. Maintaining the core voice of MoMA but making something that actually worked, because what they had was the beautiful revival of the original Franklin Gothic hand-set metal type by Matthew. When this project started, how flexible were you? How strict was the brief about the new typeface?ĬS: Well, the brief was basically evolution, not revolution. Let’s talk about the project itself then.
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They went back in the archives and they found flyers from, I think 1934, already in Franklin Gothic and so it’s very much been the core of the museum’s typographic identity since the beginning.Īrticle in The New York Times about Matthew Ca MoMA Gothic. Matthew did a lot of research when he made his revival of Franklin Gothic around 2003. It seems like there’s not actually that much to know. Has Franklin Gothic been there forever?ĬS: Yeah, it’s funny. IR: You’re probably now one of several people who know more about the history of typography at the MoMA than anyone else. A few weeks ago, Ilya carried out a short interview with Christian, trying to find out a few more details on this project. Greg Gazdowicz drew the italics and Ilya Ruderman added Cyrillic support. Commercial Type’s solution was MoMA Sans, drawn by Christian Schwartz under the direction of the MoMA in-house design team and London design consultancy Made Thought, with input from Matthew Carter.
Early pictures using franklin gothic font full#
Several months ago, the Museum of Modern Art (NY) decided to replace the mix of sans serifs they had been using by commissioning one cohesive family to cover their full range of their typographic needs.