Established in 1996 to champion the field of net art, Rhizome continues to fund and present new artwork, foster critical discussion, and ensure ongoing access to digital culture.

Last year, Rhizome moved its offices to New Inc., the first museum-led incubator and an initiative of our affiliate, the New Museum. In the coming year we look forward to contributing to its critical conversations about art, tech, design and entrepreneurship, engaging directly with its members—last year, we gained a contributing editor from its ranks—and developing our own projects, such as new tools for digital preservation, in the context.

The website’s typography features three different sans-serifs. The servatile Aften Screen is paired with the brutalist Proto Grotesk. In several sections, this mix is extended by the ubiquituous Arial. The logo uses caps from Gza, with a modified ‘O’.

Unfortunately, the Aften Italic webfont is browser-italicized again.

Arial in all caps, in purple, with an unrefined underline treatment that references the non-aesthetics of browser defaults.

“We create iconic wristwatches dedicated to the world’s first gentleman, Richard Brathwait. We’re all about genuine quality at a great price, as a true gentleman might go about it.” — brathwait.com

Norwegian Making Waves offers a comprehensive service in digital design and development. On the agency’s website Aften Screen is used exclusively and complements in all its variations the structured overall appearance.

Monokrom:

There’s only $1200 and 9 days left to fund Yoki Panji Baskara’s Kickstarter project Cravar. The website uses three of our typefaces: Aften Screen, Telefon and Satyr.

Cravar makes leather journals, notebooks and sketchbooks. If you support the project on Kickstarter, you can also get your initials impressed in the leather using 8 mm tall brass letters. Type options? Telefon and Satyr!

This site is a design portfolio for Ian Grivois and a place to share his experiments and writing. Aften Screen performs superbly at small sizes on the screen and has a serene and elegant character. Lyon has a familiarity that gives a sense of quiet to bodies of text, perhaps because the typeface draws upon references to the ubiquitous Times Roman. Lyon also has a distinctive and contemporary flare that does not prevent the reader from getting lost in text and ideas. The reserve of the roman cut joyously lets loose in an exuberant italic. Gibson is a wonderful workhorse typeface that is used here for headlines. The overall texture of the words have a beautiful fit and finish and there is gorgeous subtlety to be found in the reverse curves of the italics. It is a typeface that raises funds for a good cause (Canada’s national design organization) and has an exceptional price point. I am surprised it is not seen more widely on the web. The portfolio slideshow has H&Co’s Sentinel for headings, but that is not a standard part of site’s type palette. Overall, it is thrilling to have such quality web type available for design and to practice how best to use these on a personal site.

Peek is a mobile app for sending disappearing photo and video messages to your friends, fans or followers. Peek gives you the option to share your content once, twice … forever. You choose.

Built on top of WordPress, the Substans blog was designed to accomodate long stretches of text. The site borrows a metaphor from print, with images and backgrounds bleeding into the edges of the browser.

The body copy is typeset in Monokrom’s low resolution-geared grotesque, Aften Screen, accompanied by a hand-hinted Tiina (with special permission from OurType) in headlines and block quotes.

Meta information like search, tags, authors and categories is typeset in Aften Trio, a hybrid monospaced/proportional variation of Aften.

“Between activism and asceticism.” The logotype – provided in various optical sizes – swaps the A in SUBSTANS for a barefoot wanderer. Based on Aften Screen.

This is probably the largest sighting of Frode Helland’s Aften Screen (designed for small sizes on screen) I’ve come across to date — 20 px for body copy and 72 px for the title. Dan(iel) Mall uses it as the primary typeface for the article section of his website, and it reads very well, due to the typeface and good writing. (For reading I preferred it scaled down one cmd– on my small screen and at a moderate reading distance, though.) (And I might have negatively tracked the big headline by a px or two to give it more punch.)

Looking around you can see Aften Screen accompanied by a bunch of other fonts: below the article by some small Trebuchet and compact Urbana, linking to other articles, and Neue Helvetica plus Georgia in the Disqus comments. I almost didn’t recognize meager-looking Georgia there though. Subpixel-antialiasing is turned off in this section, probably from the Disqus side by default. As the cherry on the right top, there is Stag (VERY) Bold for navigation.

It’s clear, Dan Mall loves typefaces, and he loves to experiment with them.