Novecento: Inner Slash Weight Evolution

Novecento Sans uses the power of Opentype to overstep the current technical limitations, enriching the typesetting experience in a totally transparent way to the user.

Novecento Sans now has true small caps, mapped as lowercase letters. It also has upper + lowercase versions of figures, & monetary symbols. Math symbols and some punctuation are case-sensitive too.

Small-caps were crafted one by one. They were somewhat a little wider by which to achieve the same optical weight than their uppercase omologues.

These features give one more degrees of freedom while composing their texts and complete control over the text blocks rhythm.

Novecento Slab is the “slab serif” companion of Novecento Sans, a font family inspired on European typographic tendencies between the second half of 19th century and first half of the 20th.

As the excellent French typographer Xavier Dupré said:

“it seems to have been cast in concrete”.

Despite its blocky look, Novecento Slab’s lettershapes are optically corrected and balanced. This font face is designed to be used mostly for headlines, visual identities or short sentences, both in big and small sizes.

Novecento Slab family was spaced and kerned with love and patience; each font has between 750 and 950 group kerning pairs. It can be mixed with Novecento Sans as well as on its own.


Novecento Slab 2 Free weights //+ Novecento Sans 6 Free Weights //+


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(Source: goo.gl)

Rolling Pen : Type & Jazz

Some Type designers illustrate their work by overlaying perfect circles at stroke ends, by which to illustrate how “geometric” their work is. Because if it is measured with precise geometry, it’s got to be meaningful design.

However, once in a while, through a sheer stroke of artistic genius or accident, the now-cherished mutations prove to have existed long before the technology which caused them.

Rolling Pen typeface was cued by just such a thing: A rounded, circular, roll-flowing calligraphy from the late nineteenth century. ‹ Seemingly one of those experimental takes on what inspired Business Penmanship.

Rolling Pen is one of the latest typeface designs which is imbued with alternates, swashes, ligatures, and other techy perks. To explore its full potential, please use it in a program which supports OpenType features for advanced typography.

Yet another beautiful typeface from the Sudtipos Type Foundry and digital calligrapher Ale Paul.



Underlight :Ale Paul meets Tomás García


Rolling Pen //+ Sudtipos //+ Ale Paul



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(Source: goo.gl)

Studio Ampersand : An IndyVisual Perspective on Type, Design & Print



Studio Ampersand was established in 2008 and operates out of Patras, Greece where they specialize and offer design and print services, with their main focus in poster design. The studio is run by Dimis ( Dimitrios ) Giannakoulias and Greg Papagrigoriou, a graffiti artist from Athens, whose various Graffiti calligraphic work incorporates densely textured pieces.

Greg often collaborates with Simek (Chris Tzaferos @tumblr ), whose work often acts as a center-piece or focus. The combination / collaboration between the two artists’ work complements each other perfectly by creating striking images which are reminiscent of the old protest Propaganda Posters; but with Greg’s work the words seem to flow and possess a graphic rhythm- whereas: they defy any attempt to be read.

Dimis, heads Studio Ampersand which is in turn- a part of the Indyvisual Design Collective. Dimi’s area of focus leans towards Poster and Album cover design which is - mainly motivated through music and of course the local and global social issues. Judging from this dynamic duos work collective, we can safely assess that they are Type -Addicted to the "T" ( and that’s for “T” -4- Type! ).

Studio Ampersand, have joined forces with the Indyvisual Design Collective which consists of people who share similar ideas and passion for music, art, design and open source technology. Most of their work is cultural, and most of it is about music. They have chosen to walk away from conventional employment as designers and art directors in traditional firms, in exchange for the creative freedom of doing work they believe in.

Indyvisual Design Collective is not a studio. They are a network of people who have their own clients specializing in various fields, but claim to collaborate when needed. They do not work with political parties, nor believe in awards and they are pretty confident regarding their work when clients allow them to do it THEIR way. They deplore the advertising industry, hate racists, love sharing knowledge with others, and they believe in the people’s power to change things.

If you think you have something serious to say, offer, share or you just want to join forces with Indyvisual Design Collective, you can contact them through the links provided herein.

studio ampersand //+ Indyvisual Design Collective //+ cont@ct Indyvisual



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Ministry of Type: Gaslight Type Foundry
The Gaslight Type Foundry is a collaboration between three type designers - Valery Zaveryaev, Roman Shchyukin and Maria Luarvik which was founded in the summer of 2011.
Type Design is Gaslight’s hobby and passion, creating beautiful typefaces for every typeface design related project. A hobby, which is quickly plummeting this Type Foundry on the forefront for fresh new typefaces which contain smooth kerning, and beautiful ligatures.  
Gaslight’s objective is to design quality typefaces with supporting Latin and Cyrillic characters, for use within various types of design. Seems as if they are staying true to their 'calling' where the art of Type is concerned.
For their latest Type Family MNSTR, Gaslight created an impact-full display typeface which is ideally suited for posters and headlines. (FREE!)
View More Typefaces 

FREE FONT

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Ministry of Type: Gaslight Type Foundry

The Gaslight Type Foundry is a collaboration between three type designers - Valery Zaveryaev, Roman Shchyukin and Maria Luarvik which was founded in the summer of 2011.

Type Design is Gaslight’s hobby and passion, creating beautiful typefaces for every typeface design related project. A hobby, which is quickly plummeting this Type Foundry on the forefront for fresh new typefaces which contain smooth kerning, and beautiful ligatures.  

Gaslight’s objective is to design quality typefaces with supporting Latin and Cyrillic characters, for use within various types of design. Seems as if they are staying true to their 'calling' where the art of Type is concerned.

For their latest Type Family MNSTRGaslight created an impact-full display typeface which is ideally suited for posters and headlines. (FREE!)

View More Typefaces 

FREE FONT

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Old Fashioned Type Lettering: Basingstoke

The Decade Type Foundry is a first Bandung Collective Type Foundry which creates High Quality Fonts for Today’s Designers.

Decade Type Foundry ( launched in Bandung, Indonesia in 2008 ) and is run by Agung Maskund, the sole creator of New Black ( 2012, a metal band typeface ) and Chicano Brush ( 2012, graffiti face ).

Note: It is possible that Chicano Brush was made by Gilang Purnama.

In 2013, the Type foundry published Basingstoke ( a spurred display typeface by Gilang Purnama Jaya ).

Another great typeface project is the National Currency Font (2013), which features spurs and an engraved look.

Basingstoke, being the latest premium font created by the Decade Type Foundry- is an old fashioned typeface which comes in 231 glyphs and is inspired by old letterheads from the 19th century.

 

Artist Info

Font Info

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Identity Collateral: Print Design

Canadian born Graphic designer Ben Johnston, based in Cape Town S.A, was commissioned to create a new personal identity series with a cohesive range of professional stationery which would evoke a striking first impression, and convey something about the photographer’s distinct and varied style.

The overarching idea was to marry the idea of precision and instinct - two seemingly opposed yet defining pillars of Dylan Culhane’s work. At times meticulous and considered, the photographer’s methodology relies strongly on impulse and the unconscious.

Moreover, his work is not limited to photography and extends into graphic design and visual art, so the identity needed to reflect this. Ben’s response was to create a modular system that could be adapted according to the specific project or client.

A neat circular logo is juxtaposed with a loose script based on dozens of samples of the photographer’s own handwriting. The circular logo is designed to resemble a classic postmark, and alludes to photography with the subtle inclusion of a film plane mark to anchor the design, that can also be used independently for letter footers and envelope seals.

Rubber stamps and an embosser were created for all of the various logo elements, to be used interchangeably (along with characteristic traces of spray paint) to allow for a range of customisable communication, marketing and packaging options.Rich butter-yellow was chosen as the sole colour element to make the logo pop and contrast with the otherwise classically monochromatic series.

Bens passion lies within traditional graphic design- which ranges from logo design to packaging and illustration, to his love of custom typography and lettering. Starting off by sketching the letters/illustration by hand and then tweaking and perfecting on the computer, Ben’s work standard exudes a traditional hand crafted work detail, which is meticulous and finely detailed- but overall: clean.

Back in 5 Minutes | Type Exhibition

‘Back in 5 Minutes’ was an exhibition featuring an award winning set of local designers, typographers and illustrators, including Ben Johnston, Clinton Campbell of Studio Muti, Clement de Bruin, Justin Southey, & Dani Loureiro.

Each artist approaches the discipline of typography within a fresh & unique style, playing with scale, materials, surface quality, form, color, dimensionality & of course, words.

View Entire Project

Artist Info

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