Constellation / Aero

New Release: StagJuly 14, 2007

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Stag started as a small family of slab serifs commissioned for headlines by the US edition of Esquire magazine and eventually grew into a sprawling multi-part family including a flexible sans companion and two additional display variants that are probably best described as special effects.

Welcome: KlimJuly 14, 2007

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Klim type foundry joins Village, lauching with Kris Sowersby’s debut typeface, Feijoa!

Feijoa was conceived by the principle that a straight line is a dead line, explaining the warm, curvaceous nature of the individual letterforms. This design principle humanises the overall impression of Feijoa, relieving it from the sharp points and angles that can be detrimental to digital typefaces.

Typographica on ArrivalDecember 25, 2005

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Peter Bruhn reviews Arrival

Arrival has finally arrived (pun intended). It took Keith Tam three years since he first showed his PDF specimen of Arrival until it was finally released. This typeface references both industral and calligraphic forms, from the work of Evert Bloemsma to the selfnamed font by Adrian Frutiger. The humanist flare with the expansion of the end strokes creates a genial feel, but the face can still seem formal. This, I think, is perfect for a font made especially for directional signage. A strictness combined with friendliness. I can’t imagine a better welcome to a new city.

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Typographica on GardaDecember 25, 2005

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William Berkson reviews Garda

Garda is a set of three classically proportioned titling caps. The full serif, #1, is as elegant as Trajan, but more genial. The small serif, #2 achieves a new look with straight horizontals and verticals, tapered rounds, and noticeable, but not assertive serifs. The sans, #3, has a fully classical look, but a softer grace than Futura caps. With great elegance and style—and alternative characters and ligatures—the set offers superb alternatives to Trajan, Optima, and Futura for titling.

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New Release: Local GothicJuly 14, 2005

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Schwartzco launched with Village on July 14, 2005 and released a long-brewing favorite experimental typeface, Local Gothic.

While I was in college I took several classes at Pittsburgh Filmmakers, and I had to walk by a Rally’s Hamburger stand to get there. Their sign was amazing — it looked like they had bought their movable letters on three or four separate occasions and didn’t care that they didn’t match. It gave me an idea for a very distressed typeface that was made up of completely undistressed characters. The uneven texture would only be apparent if you looked at multiple characters at a time.

I loosely based the individual characters on the four most popular sans serifs in American vernacular design: Helvetica Bold, Futura Bold, Franklin Gothic Condensed and Alternate Gothic No. 2. Ultimately it’s more a special effect than a typeface, but I think it’s a pretty cool special effect.

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Introducing VillageJuly 14, 2005

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Village launched on July 14, 2005. The original member foundries were: Feliciano, Darden Studio, KLTF, Lux Typographics, Schwartzco, Type Initiative, Thirstype, Underware & Village (since re-christened Constellation).

Welcome: Feliciano!July 14, 2005

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Mário Feliciano joins Village upon our launch.

The Feliciano Type Foundry represents the typographic and type design work of Mário Feliciano who was born in Caldas da Rainha, Portugal in 1969. Studied graphic design at IADE Lisbon until 1993. Just before concluding his studies, he began to work as a graphic designer at Surf Portugal magazine. In 1994 founded his own design studio (Secretonix) working in wide range of design projects. In 2001 creates his own digital type foundry (Feliciano Type Foundry) and began publishing his own type designs and designing custom typefaces. Member of the ATYPI since 1997 and the local organizer of the annual conference in Lisbon (2006), Mário has delivered lectures in several international events. His typefaces range from contemporary display and text fonts to classic interpretations of early Spanish types. His designs include exclusive fonts for Banco Espírito Santo, and for the newspapers: Expresso, El País and Svenska Dagbaldet. His most popular design, Flama is used by The Sunday Times, Politiken, Playboy* and Newsweek among many other publications. Member of AGI (Alliance Graphique Internationale) since 2009.

Welcome: LuxTypo.July 14, 2005

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LuxTypo. the foundry of graphic and type designer, Greg Lindy, moves over from Thirstype to Village upon our launch.

Greg Lindy is the founder and creative director of Lux Typographic + Design, which he launched in 2009. The Los Angeles studio is based on Greg’s expertise and innovative work in type and brand.

For the past twenty years, Greg was the design director and founding partner of Intersection Studio, an award-winning brand design firm where he was a key creative on projects for The Getty, Sundance Institute, and The Autry Museum among others.

In addition, Greg is an internationally recognized type designer with a custom retail font line available under the Village banner. His strong vision and approach led him to create custom fonts and design for brands such as Esquire Magazine, Johnson & Johnson and Children’s Hospital of Orange County. Active in academia, Greg developed the current type design program at Otis College of Art and Design.

Welcome: SchwartzcoJuly 14, 2005

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Schwartzco, Christian Schwartz’s foundry, joins Village upon our launch.

Schwartzco, Inc. was founded by type designer Christian Schwartz, and is based in New York City. Christian specializes in custom typefaces for publications and corporate identities, and has designed commercial fonts for several respected foundries. Many of Schwartz’s typefaces have been proprietary designs for corporations such as Bosch and Deutsche Bahn, both with design luminary Erik Spiekermann, Symantec, with Conor Mangat, and EMI, for the marketing of George Harrison’s final album. Schwartz has also designed typefaces for many publications including the US edition of Esquire, Roger Black’s redesign of the Houston Chronicle, and the extensive Guardian Egyptian family, with Paul Barnes, for The Guardian’s dramatic new look in 2005. The Guardian work has been honored by D&AD and the redesign team was shortlisted for the Designer of the Year prize by the Design Museum in London. Schwartz and Barnes were recently named two of the 40 most influential designers under 40 by Wallpaper magazine.