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Schwartzco / Stag Stencil

New Release: Founders Grotesk TextJanuary 23, 2013

Founders Grotesk was initially designed for headlines, but upon its first outing—in a newspaper—it was used at text sizes and performed rather poorly. The lighter weights were serviceable at best, but far from ideal. The bolder weights veer pretty close to disaster, almost clogging up completely. Perhaps with a bit of letterspacing and better printing it would only just be passable.

When Francesco Franci used Founders Grotesk (and Tiempos) for his wonderful redesign of IL: it was simply failing at text sizes with sub-optimal printing conditions. After discussing our options we decided the best fix was to make a text version of Founders Grotesk.

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Lecture: On type design & typographyJanuary 17, 2013

Please join us on Thursday, Jan. 17 at 6pm for a lecture by type designer and former Design Office member Jeremy Mickel. Jeremy moved to Providence in 2008 shortly after releasing his first typeface, Router, through Village. He’ll talk about the process behind that first design, as well as the origins of his subsequent releases Shift, Fort, and Superior Title—all started while at the Design Office. He’ll show how these self-initiated projects led to a full-time career in type design, and resulted in starting his own foundry and getting custom projects for Kraft, Etsy, ESPN, Weight Watchers, and more.

Die Besten Fonts 2012: FortJanuary 1, 2013

MCKL’s Fort was named one of the 10 best fonts of 2012 by typefacts.com.

Friendly neutrality: Jeremy Mickel’s background as a graphic designer can be quite advantageous as a typeface designer: If existing fonts aren’t quite right, he can draw one himself. In the case of Fort, Gotham might have been too round and DIN too strict. The result is a contemporary sans serif with slightly squared shoulders; neutral enough to stay discreet where necessary, yet warm and friendly to avoid being impersonal.

WOFF / W3C RecommendationDecember 13, 2012

WOFF becomes the W3C Recommendation

Authors: Jonathan Kew, Tal Leming, Erik van Blokland

This document specifies the WOFF font packaging format. This format was designed to provide lightweight, easy-to-implement compression of font data, suitable for use with CSS @font-face rules. Any properly licensed TrueType/OpenType/Open Font Format file can be packaged in WOFF format for Web use. User agents decode the WOFF file to restore the font data such that it will display identically to the input font.

The WOFF format also allows additional metadata to be attached to the file; this can be used by font designers or vendors to include licensing or other information, beyond that present in the original font. Such metadata does not affect the rendering of the font in any way, but may be displayed to the user on request.

The WOFF format is not intended to replace other formats such as TrueType/OpenType/Open Font Format or SVG fonts, but provides an alternative solution for use cases where these formats may be less optimal, or where licensing considerations make their use less acceptable.

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New Release: Rum Sans & SerifNovember 19, 2012

Designer, Trine Rask, writes: ‘Rum Sans and Rum Serif are designed inside out, focusing on the counters. The counters are repeated throughout the typeface, which gives a strong text image in small and especially display sizes. It is both very simple and very delicate in detail. It has a large character set with alternative characters that make it possible to create a more soft and round text image. It has very delicate swashes that work like a discreet period after a word.’

Rum means space in Danish.

SELF Festival, BratislavaSeptember 7, 2012

Ondrej Jób exhibited at SELF Festival in Bratislava

Prvý ročník festivalu SELF mal podtému „vlastným nákladom“, ktorá odkazovala na aktivity v oblas­ti grafického a komunikačného dizajnu, novú publicistiku (so za­meraním na dizajn) a nezávislé vydavateľské aktivity. Prezentovali sme navýraznejšie projek­ty, ktoré vznikli na území Slovenskej a Českej republiky v oblasti tzv. self­-publishingu, DIY vydávania (do it yourself), ale aj subdisciplíny, ktoré s témou súvisia (typografia a tvorba písma, technológia výroby tlačenej pub­likácie, elektronické médiá/multi­médiá a publikovanie). Súčasťou trojdňového programu boli prednášky, výstava a diskusie 45-tich českých a slovenských autorov. Ako sprievodný program fungovalo malé knihkúpectvo, burza samizdatov, dizajnérska poradňa, freestyle printlab, kontraktačné stretnutia, festivalový časopis redakcie TVOR, komentované prehliadky, raňajky a koncert. Počas troch dní sa na festivale stretlo 700 návštevníkov—študentov, profesionálov a laická verejnosť zo Slovenska a Čiech.

New Release: TimoniumAugust 1, 2012

There is a sans serif, high contrast, geometric style of lettering that I’ve been fascinated by for several years. It shows up throughout modern design history like a time traveling jack of all trades. I recall seeing variations of the style on cereal boxes, jazz album covers, pharmaceutical advertisements, stereophonic sound systems, action movie titles, and, most recently, athletic and automobile racing logos. Lettering styles sadly tend to get pigeonholed, but this one has managed to escape that fate. More remarkably, it has done so while looking downright un-generic. The style has personality to say the least.

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