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ABOUT

MCKL (was: Mickel Design) [Jeremy Mickel]

Jeremy Mickel runs a design studio in Los Ange;les, where he moved to from Minneapolis in 2015. Before that, he was located in Brooklyn, New York and Providence, RI. Originally called Mickel Design, the studio and foundry was renamed MCKL in 2012. Mickel has taught at RISD and the Minneapolis College of Art and Design.

He is working on this VAR-Rounded sans serif style face (2007) that was based on plastic cut letters seen in New York's subway. See also here and here. Mickel's typefaces:

• Router (2008, Jeremy Mickel): a rounded sans family.
• Baro (2010, Chester Jenkins and Jeremy Mickel): Baro is inspired by memories of Antique Olive Nord, Roger Excoffon's landmark design originally commissioned for Air France in 1956. Nord, the heaviest weight of Antique Olive, was the starting point, but Baro shares DNA with other Village designs, including Apex New and Mavis.
• Eventide (2009, Jeremy Mickel): octagonal and 3d family based on ideas by Paul Carlyle in the early 1940s. That Carlyle typeface had also made it into the PhotoLettering collection in 1971. Eventide was developed into a family at House Industries under the art direction of Ken Barber and Christian Schwartz, and won an award at TDC2 2011.
• Superior (2010, Jeremy Mickel): a high-contrast transitional "nearly didone" face. Superior Title (2013) is described as a high-contrast missing link between Times and Bodoni. It was designed for fashion publications.
• Shift (2010, Jeremy Mickel): a slab serif family that won an award at TDC2 2011.
• Gonesh (2009, Jeremy Mickel): a great new sans family.
• Aero (2010, Village Type) was developed in cooperation with Chester Jenkins. This poster family, inspired by Excoffon's Antique Olive, was awarded at TDC2 2011.
• Letterboxes (2008). A stencil typeface that was part of a collaborative project with John Caserta at the Design Office.
• Plinc Flourish (a 2011 digitization by Jeremy Mickel for House Industries). Based on William Millstein's Millstein Flourish, an upright script first designed for PhotoLettering Inc in the early 1940s.
• Union (2011). A basic sans family, ideal for corporate design.
• Jeremy Mickel created a digital version L.Harl Copeland's (prismatic, beveled, roman caps) Trillium typeface [originally done at Photolettering] in 2011 at the new digital Photolettering / House Industries.
• Fort is a sans family published in 2012 by Village.
• Playoff Sans and Playoff Serif (2015).
• Adidas has partnered with MCKL to create an innovative suite of variable fonts. These fonts are being used across a wide spectrum of applications, including Creative Direction, Product Design, Graphics, Communications, Digital Experiences, and the brand campaign for the upcoming World Cup. In 2015, Mickel expansed the Adineue Pro family. In 2017 they started the first Adidas Variable Font, Adineue CHOP Variable, an octagonal athletic sans in a wide range of weights from hairline to black, and widths from extra-condensed to extra-wide. In 2018, Mickel embarked on Adineue Pro Variable.
• Rosa Sans (2019: by Jeremy Mickel and Pentagram). A free geometric grotesk (in their own words) sans family.
• Trust (2020). A flared typeface first used for the identity of the Commission on Presidential Debates (Trump versus Biden).
• Logic Monospace and Logic Monoscript (2020). Mickel writes: Logic Monospace takes inspiration from midcentury typewriter fonts, including IBM Selectric's Advocate and the ubiquitous Courier, with additional references in slab serifs like Stephenson Blake's Scarab. While there are many great script typewriter fonts, including Olympia and Aristocrat, Logic Monoscript is a novel creation, with few examples of true connecting monospace scripts in existence.
• Uber (2020). A custom job for Uber.
• Owners (2021). iJeremy explains: Owners is an expressive family of fonts that takes inspiration from the dynamic energy of handmade signage as seen around Los Angeles.
• RedHat Display, Text and Mono subfamilies. The open source fonts were originally commissioned by Paula Scher / Pentagram and designed by Jeremy Mickel / MCKL for the new Red Hat identity. Mickel writes: Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles, made for headlines and big statements, are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. In 2021 we added Light and Light Italic styles, and a Monospace family. Variable fonts with a weight axis are available. RedHat's official site.

Klingspor link. Village link. Speaker at ATypI 2018 in Antwerp.

EXTERNAL LINKS
MCKL (was: Mickel Design)
Klingspor Museum page
MyFonts search
Monotype search
Fontspring search
Google search

INTERNAL LINKS
Type designers ⦿ Type designers ⦿ Comic/cartoon fonts ⦿ Experimental type ⦿ Type scene in New York ⦿ Commercial fonts (small outfits) ⦿ Type scene in Rhode Island ⦿ Stencil fonts ⦿ Modern style [Bodoni, Didot, Walbaum, Thorowgood, Computer Modern, etc.] ⦿ Prismatic typefaces ⦿ Fashion mag typefaces ⦿ Variable fonts ⦿ Corporate typefaces ⦿ Octagonal typefaces ⦿ Monospaced fonts ⦿ Monoline script fonts ⦿ Typewriter fonts ⦿ Type scene in California ⦿ Type scene in Minnesota ⦿ Open source fonts ⦿