VLLG

Constellation / Cosmica

News

IDN Magazine featureSeptember 20, 2018

We loved seeing our type specimens on the cover and in the issue of IdN v24n6 / Type Casting: Typography & Type Design — To Make a Mark or a strike a Delicate Balance. The typeface shown in our specimen sheets here is Sharp Grotesk by Sharp Type.

New Type: Sharp SlabSeptember 17, 2018

Sharp Slab, designed by Lucas Sharp with Connor Davenport, is the Egyptian-slab serif companion to Sharp Sans. Drawn at the behest of campaign design director Jennifer Kinon, Shap Slab originated as a typographic palate expansion for the Hillary 2016 campaign.

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New Type: SpecterMay 21, 2018

Specter is a constructed geometric sans with 90° sheared terminals and true italics. It is available in seven weights with roman and italic styles, including special inline display styles.

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Specter Specimen FolioMay 21, 2018

Specter, designed by Jeremy Mickel with Douglas Hayes, is a constructed geometric sans with 90° sheared terminals and true italics. It is available in seven weights with roman and italic styles, including special inline display styles.

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New Type: Gustan Display SuiteMay 2, 2018

Gustan is an orderly type family for a wide range of applications. During the design process, all idiosyncratic decisions were informed by ideas around structure and utility. The fact that certain character combinations align in a particular way is more about bringing order and harmony to the word as opposed to a ‘stylistic’ trait.

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Gustan Display Specimen FolioMay 1, 2018

Gustan is an orderly type family for a wide range of applications. During the design process, all idiosyncratic decisions were informed by ideas around structure and utility. The fact that certain character combinations align in a particular way is more about bringing order and harmony to the word as opposed to a ‘stylistic’ trait.

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New Type: The Centra SeriesFebruary 1, 2018

Josh Finklea’s newest release, the Centra series (including Centra No.1 and Centra No.2, is a study in utility and restraint. In keeping with his approach of iteration and improvement to the traditional typographic tools of graphic design, Finklea’s latest work tackles one of typography’s most popular genres, the geometric sans.

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