Calvert Brody typeface by Margaret Calvert, Neville Brody and Henrik Kubel

Graphic designer Neville Brody has reworked the Royal College of Art’s house font by Margaret Calvert as part of the London institution’s rebrand.

Calvert Brody typeface by Margaret Calvert and Neville Brody

The RCA asked Neville Brody, who made his name as art director of fashion magazines The Face and Arena and is now dean of communication at the college, to come up with a new identity for its buildings and press material.

Calvert Brody typeface by Margaret Calvert and Neville Brody

Brody and his design office Research Studios worked with Henrik Kubel, a graphic designer who graduated from the RCA in 2000, to produce the Calvert Brody typeface as a “remixed” version of the college’s house font Calvert.

Calvert Brody typeface by Margaret Calvert and Neville Brody

The Calvert font is by Margaret Calvert, the graphic designer best known for creating the UK’s road signage system in the 1960s and a former graphic design course director at the college.

Calvert Brody typeface by Margaret Calvert and Neville Brody

“The idea is like bringing in a producer and doing a remix of music, so I remixed Margaret’s font,” Brody told Dezeen. “I’ve tried to make it both more classical by making it more exaggerated and thick and thin, and at the same time make it more industrial and contemporary, by bringing in the – hopefully interestingly – redrawn pieces plus the stencil.”

Calvert Brody typeface by Margaret Calvert and Neville Brody

Calvert Brody will be used throughout the college’s buildings, either sprayed directly onto walls or laser-cut into metal, and will also appear in print and on screen.

Calvert Brody typeface by Margaret Calvert and Neville Brody

“Hopefully we’ve come up with an interesting typeface that encapsulates a lot of different ideas about the Royal College, which is sort of robust but innovative; it’s slightly non-traditional but at the same time giving a nod to a very traditional source,” Brody added.

Calvert Brody typeface by Margaret Calvert and Neville Brody

The designers were asked to reflect the college’s history as well its current reputation for innovative design and fine art practice, said Octavia Reeve, the RCA’s senior publishing manager, who led the rebrand with the designers.

Calvert Brody typeface by Margaret Calvert and Neville Brody

“The typography is key to this,” she told Dezeen. ”It’s a great message that three generations of RCA graphic designers have collaborated on this essential new element of the RCA’s identity,” she added.

Calvert Brody typeface by Margaret Calvert and Neville Brody

The rest of the RCA’s rebrand, also designed by Research Studios, launches on 1st January 2013 to coincide with the 175th anniversary of the founding of the college.

Calvert Brody typeface by Margaret Calvert and Neville Brody

Dezeen previously published a movie with Neville Brody for the Design Museum’s Super Contemporary exhibition, in which he talks about the people, places and cultures that have defined his life in London.

Writer and broadcaster Andrew Marr recently warned that the Royal College of Art will end up as a “Chinese finishing school” unless the UK government does more to encourage young people to study art and design.

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Outsiders

Somewhere between the lands of slab, sans serif, and typewriter there lives Outsiders.

In the roman it appears an elegant, sartorial slab, somehow holding itself above all others of its kind, with a bit of typewriterly officiousness, like a crisp, upper-level spy in MI6. But under the cloak of propriety in all of its seven weights, is Outsider’s surprising décolletage: a flamboyant, beautiful italic. Quelle surprise – Outsiders is gay! … or perhaps, more insidiously: French. Yes, during the day Outsiders may be sipping tea and filing precise reports, but at night it takes the Eurostar to Paris to kick up its heels along the Champs-Élysées.

All this to say that Outsiders is versatile. In all seriousness, I have used this font and find that it sets well and creates a block of text that I find very pleasing. But the italic is so pretty, so delightfully charming, that it begs to be used extensively – perhaps as one of two parts in a Q&A, or integrated where both roman and italic play together in a bibliography!

Also, note, that Henrik Kubel makes the best ‘K’s, both upper- and lowercase, in all of his fonts, all weights and styles. Could he be biased?

Marian Bantjes is a designer, typographer, writer and illustrator working internationally from her base on a small island off the west coast of Canada, near Vancouver.