Since 2008, sought-after test versions of LL Brown have been put to excellent use by a number of eminent designers around the globe, among them Oliver Knight & Rory McGrath, Mark Owens/ Oslo Editions, Jonas Voegeli, Jon Hares (in the only authorised use to date) and, most recently, Norm & Andro Wekua as well as the wonderfully poetic Medium magazine. Using the historic predecessors for formal cues, he kept developing it more freely, adding a similarly purist and near-surgical flavour as with his earlier typefaces, most notably the Futura variant he drew as Omega‘s corporate typeface for Norm a few years back. Yet Aurèle Sack was not aiming at a revival font. 1930) each created immensely influential and supremely successful geometric typefaces as much as one hundred years ago. Initiated as a collaborative type design project by Zurich-based designers Urs Lehni & Lex Trüb, LL Brown has been drawn and developed by Aurèle Sack over the course of the last four years.Įvidently, Sack’s new font family owes a lot to the seminal type designs of Edward Johnston and Arno Drescher, who with their «Johnston» (ca.
