“Evidently, LL Brown owes a lot to the type designs of
both Edward Johnston and Arno Drescher, who with their Johnston and
Super Grotesk each created immensely influential and successful
geometric typefaces nearly one hundred years ago. Yet
Aurèle Sack was not aiming at a revival font. Using the historic
predecessors for formal cues, he kept developing his hybrid more
freely, adding a similarly purist and technical flavour as in some
of his earlier typefaces, most notably the Futura variant he drew
as Omega’s corporate typeface a few years back. […]
“Designed by Aurèle Sack, first released by Lineto in 2011.
Additional scripts produced in collaboration More…
“Evidently, LL Brown owes a lot to the type designs of both Edward Johnston and Arno Drescher, who with their Johnston and Super Grotesk each created immensely influential and successful geometric typefaces nearly one hundred years ago. Yet Aurèle Sack was not aiming at a revival font. Using the historic predecessors for formal cues, he kept developing his hybrid more freely, adding a similarly purist and technical flavour as in some of his earlier typefaces, most notably the Futura variant he drew as Omega’s corporate typeface a few years back. […]
“Designed by Aurèle Sack, first released by Lineto in 2011. Additional scripts produced in collaboration with Ilya Ruderman (Cyrillic), Panos Haratzopoulos (Greek), Titus Nemeth (Arabic), and Daniel Grumer (Hebrew). Font engineering and mastering by Alphabet, Berlin.” [Lineto]
