Dignitas, briefly known as “Gravitas”, is a contemporary take on Roman inscriptional capitals. The face was originally designed by Christian Schwartz and Dino Sanchez originally as part of their high-concept Luxury Collection. As such, it takes an almost parodic approach to the idea of elegance. The large x-height is balanced out by very long ascenders and descenders, and though it was promoted as a text face, its delicate details work best at 18pt and above.
You think you’ve seen tall x-heights until you see Giorgio Sans. Commissioned for the New York Times T Magazine, this one screams high fashion.I’m only hoping that fashion titles will drop their tired and overused Didones in favour of this modern, elegant, slim, clean, and tall, beautifully drawn display face.
Of all the typefaces I’ve drawn, Giorgio was probably one of the most unlikely candidates for expansion, so I was intrigued by Chris Martinez’s idea to add a sans to the family. The first iterations slavishly copied the structural quirks of the original, like the rounded legs on K and R and the two-story g with the open bottom bowl, but we discovered that a lot of these odd details could be taken out, making Giorgio Sans better able to stand on its own.
Stag Stencil takes the maculinity of the original slab serif to almost comical extremes by making the implicit ‘constructedness’ of the characters explicit. Although it was a relatively late addition to the family, it seemed to be a natural fit.
In the 1800s, display type families commonly included interesting variants like shadows and inlines, and sometimes even intricately engraved flowers, leaves and fruit.
It is a shockingly beautiful typeface, one so arresting that I stopped turning the page when I first saw it a Sunday morning about a year ago. Commissioned from Christian Schwartz and used by Chris Martinez and his staff at T, Giorgio exudes pure sex and competes with the photographs beside it.
Looking back at the process that lead to Stag, I can see that Stag Sans was inevitable. Esquire had a lot of trouble finding a sans to complement Stag and the rest of their type palette. All of the sans serifs they tried had overly long ascenders and descenders, making it difficult to mix the families in a single headline or as emphasis in a block of copy.
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.
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.
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).