Most Graphic Designers chose fonts that best fit their project. Brian Hennings does the opposite, he creates projects based on the font. When Brian first seen the drafts for the new Tungsten font family being released by H&FJ (Hoefler & Frere-Jones), he knew he wanted to create something great with it. Brian has a unique job working as a lead designer for H&FJ, not only does he get to see and work with some of the newest typefaces before they are available to the market, but his job is to create unique artwork that will show off these new font families.
When Brian was finally able to get ahold of the new Tungsten family he went to work. Creating posters that best suited each weight and applying them to projects that would show off the typeface.
"The first things I explored with the fonts were the kinds of settings that invited painterly typography: I used Tungsten's heaviest weights for posters, magazine headlines, retail store logos, and signs, anywhere that I could show off the fonts' broad shoulders. All of these settings looked great, and were just as energetic and arresting as I hoped they would be. But it was when I started to try out the family's lighter weights that things really started to cook."
"We used the medium for a byline; on a brochure cover, I started with Semibold for the caption, but then liked it for the larger headline as well. When Jonathan and I made a poster for a music festival, we both assumed that the open counters of the Medium would make it the best choice for the smaller type (dates and times, opening acts, etc.) but were surprised to see how legible the Bold caps were — even at 11 point. With these kinds of sizes available to us, I started thinking about other kinds of applications that might work, and all kinds of Tungsten projects came to mind: print packaging, broadcast graphics, branding guidelines, videogames, books, websites..."
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