![]() One of the first uses of the typeface was for Wallpaper* magazine’s recent redesign. The result was originally named ‘Plakat’, until it was revised to what is known today as Graphik. ![]() Less popular 20th century sans serifs such as Neuzeit Grotesk, Folio, Recta, and Maxima were the basis for the lighter weights of the family. The heavier end of the type family was based on Paul Renner’s Plak – a display typeface made for woodtype. That being said, Schwartz ended up drawing inspiration from several 20th century lettering. It was influenced by many elements, but did not tie too closely to any particular graphic design era. This typeface was designed with flexibility and general utility in mind. There was no intention of releasing this to the market, until Condé Nast Portfolio’s Robert Priest and Grace Lee in 2007-2009 were looking for a friendly but unassuming sans to add to their type palette. ![]() How Graphik Font Came To BeĬhristian Schwartz intended to create a ‘relatively plain yet warm’ typeface for his corporate identity. From magazine covers, website headlines, to business cards, as well as art installations – there’s something about this sans serif that has somehow made it a modern classic. Flexible, modernist, and supportive, Graphik font can be seen today in almost every commercial media or structure.
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