VLLG

Klim

Klim / Financier Display

The Queen’s House Founders Grotesk Mono

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QK–RM used Pitch & Founders Grotesk Mono in their programme for the Queen’s House

London-based design firm, QK-RM designed the environmental graphics programme for the Queen’s House. They write: ‘Commissioned in 1616, the Queen’s House is one of the most important buildings in British architectural history, being the first consciously classical building to have been constructed in Britain. It was Inigo Jones’s first major commission after returning from his 1613–1615 grand tour of Roman, Renaissance and Palladian architecture in Italy. The building reflects Renaissance ideals of mathematical, classical proportion and harmony which would have appeared revolutionary to English eyes in its day.’

The design programme uses Pitch and Founders Grotesk Mono with with great sensitivity

QK-RM writes: ‘We were commissioned at the start of a two year master plan to review a new environmental graphics and way-finding scheme. The first step was to remove the myriad of municipal design languages that have crept in to the building in recent years. The new design idea carefully observes the historical legacy of the house whilst acknowledging the contemporary context within which it exists.’

New York Magazine / Spring 2014 Domaine Sans Fine

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A sampling of spreads from the spring 2014 fashion issue

New York Magazine used a pre-release version of Domaine Sans in their Spring 2014 Fashion special issue.

Financier Text & Display Specimen Pages Financier Text

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Two A4-sized printed pages featuring Kris Sowersby’s Financier typeface family. Printed on Strathmore Impress in black ink. Hole punched to fit in an A4 binder.

Financier is a new typeface family drawn by Kris Sowersby for the redesign of the Financial Times, and launched in September 2014. It comprises two complementary sets of styles: Financier Display and Financier Text. Newsprint is a brutish environment for typefaces: outlines get distorted, small gaps get filled in, and black ink turns grey and bleeds all over the shop. Financier eschews the standard news type ink trap in favour of sharp, deep joints, designed to anticipate the ink.

This specimen is available for sale and ships free to clients who license Financier Text or Display.

New York Magazine / Spring 2014 Domaine Sans Text

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A sampling of spreads from the spring 2014 fashion issue

New York Magazine used a pre-release version of Domaine Sans in their Spring 2014 Fashion special issue.

Financier Type Specimen Financier Display

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A series of three posters designed by the Alt Group in Auckland, New Zealand. Each poster is two-color (FT’s famous salmon pink and black). They measure 600 × 950mm flat.

Gabrielle Semillon Domaine Sans Display

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Domaine Sans Display in use on this elegant label by Cornershop Design

Australian firm Cornershop is behind this elegant design, they quote Coco Chanel while describing their work for Gabrielle. ‘Fashion changes – style endures. A new brand created for Teusner Wines inspired by Gabrielle Bonheur ‘Coco’ Chanel.

LA Library identity Founders Grotesk Condensed

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A detail of a poster for the LA Library, designed by Roy Tatum

A new Identity system designed for the Los Angeles Public Library, designed by Roy Tatum, which uses Founders Grotesk Condensed heavily.

The library’s logotype is set in Founders Grotesk Condensed

Mr Tatum writes: ‘The system draws influence from stacks of books, using this as a metaphor for organizing content across all media types.

Founders Grotesk Condensed rolled out across the library’s many individual branches

‘The redesigned website and iPhone app anticpate how people may access library content in the future and helps aid in serendipitous discovery of content in a number of ways.

The identity rolled-out for use on mobile devices

‘Other applications include poster series and a dynamic wayfinding system.’ You can see a video demonstrating the dynamic wayfinding system here.

The library’s poster series highlights California’s many literary luminaries
The library’s dynamic wayfinding signage

ba.ro.co Tiempos Text

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Tiempos Text and Headline make up the identity for this Bavarian coffee company

Stefan Hoppe designed the identity programme for The Bavarian Roasting Company, a small manufacturer of premium coffee. He writes: ‘Baroco started with just three coffees because they think it’s better to create less, but do it perfectly. They not only offer an exceptional coffee experience to other businesses, but also to customers at their local café, located in the very center of their medieval hometown Amberg, where they are known as Café Baroco.’

‘We wanted to capture their philosophy but also play with their catchy nickname. We developed a dual system consisting of a long and a short version of their nickname. The two versions are connected by the same typeface but also, and more importantly, by three dots, one for each of the three coffees they started with. In the long version, the dots abbreviate the full company name, making the origin of the nickname obvious. In the short version, they transform into ellipses, stating: we started small, but there is a lot more to come.’

Meanwhile identity Feijoa

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Feijoa used for the Meanwhile identity by Maud in Sydney, Australia

The project’s designers, Maud, write: ‘Meanwhile is a new menswear boutique located in the exclusive Kings Cross Hills of Sydney. Stocking the finest Australian labels alongside such international greats as Dries Van Noten, Whyred and Dana Lee, Meanwhile is a most welcome addition to Sydney retail in general, menswear specifically.

The identity uses only inked hand stamps combining cost-effectiveness with craftsmanship

‘We created an identity using only inked hand stamps, making it cost effective and low maintenance, whilst still retaining the considered craftsmanship that Meanwhile represents. The Brandmark itself is the joining of an M and a W forming one icon that alludes to a tailors stitch.’

Kröller-Müller Museum Karbon

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Karbon in use for the Kröller-Müller Museum by EdenSpiekermann

The design firm EdenSpiekermann writes: ‘A hidden gem opens up to the world — the Kröller-Müller Museum is located in the beautiful ‘Hoge Veluwe’ national park, about a 75 minute drive from Amsterdam. It combines the second largest collection of Van Gogh paintings in the world with the biggest sculpture garden in Europe.

‘In spite of the uniqueness of this combination and the memorable art experience it delivers, the Kröller-Müller Museum too often isn’t on the travel plans of many Dutch and most foreign visitors to The Netherlands.

An example of the customised Karbon used as wall text
A series of images showing the wall text in context

EdenSpiekermann developed a dynamic typographic concept and logo that are based on the customer experience inside and outside the museum walls. It is graphic as well as sculptural and becomes visible due to the interplay between light and shadow. We used Kris Sowersby’s beautifully crafted contemporary typeface Karbon and brought it to life with the help of Cinema4D software.

A customised version of Karbon offers visual variety — it can be open wide or just a hair
Examples of the EdenSpiekermann-designed identity program

Typer / Calibre

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