Sharp Sans No. 1 was Lucas Sharp’s first release through Village, and it debuted in the Incubator. Sharp Sans injects some much needed humanism into the Futura model. With its sheared terminals and true italics (in Sharp Sans No.1), Sharp Sans combines the appealing typographic compensation of the grotesque, with the plump circular bowls of the geometric. The result is a typeface suited for both text & display use that breathes life into the genre of the geometric sans.
In the past decade, “incubators,” businesses where the experienced help nurture the new, have been popping up in a wide range of fields, from tech startups to nonprofit creative arts organizations. The aptly named Incubator is one of the first such programs specifically dedicated to type design.
The development of Josh Finklea’s Post Grotesk began in the Spring of 2011 as a project to design a contemporary version of the traditional grotesk sans-serif. The intention was to build an amiable typeface with maximum usability and an overall sense of neutrality. Post Grotesk reduces the typical rigidness of a grotesk through subtle additions of personality and uniqueness.
Sharp Sans, designed by new Incubator member, Lucas Sharp, injects some much needed humanism into the Futura model. With its sheered terminals and true italics, Sharp Sans combines the appealing typographic compensation of the grotesque, with the plump circular bowls of the geometric. The result is a typeface suited for both text and display use that breaths life into the genre of the geometric sans.
When embarking on the Agile project, Swiss-born Edgar Walthert decided to go where few designers, if any at all, had gone before. In order to achieve that, he designed his family from the inside out, the way one might conceive an experimental dance performance: *not by taking existing solutions and trying to modify or interpolate them, or mash them up, but by improvising possible shapes and gradually refine the results.
Freya is Saku Heinänen’s first type design, but was many years in the making. Saku has worked for many years as an editorial designer, and this experience informed his approach to type design. Freya was intended to be an all-round serif face, useful in many situations, from newspapers and magazines to book text.
Village is pleased to announce the Incubator; our home for debut releases from young designers. The Incubator aims to help designers develop their typographic voices with gentle guidance from Village’s other members.