Richard Wolfstrome is an award-winning graphic designer based on Brighton (UK). He has used our Kade family to design a set of very effective posters for “The Dowsing Sound Collective” – a dynamic 120-voice choir and band. You can also take a look to his Behance, it’s full of gorgeous works.
Bas van Vuurde is a talented graphic designer and typographer who runs a studio in the city on Haarlem. He has recently designed a graphic identity for “De Vrijplaats” (a rehabilitation center). We are glad to see again Kade as one of the central elements of a very well balanced identity.
ReType Foundry proudly introduces Laski Slab, a comprehensive suite of 20 fonts conceived for editorial purposes. The type family was designed by Paula Mastrangelo, an Art Director with extensive experience in editorial design specialized in corporate communication. Originally developed for an online children’s magazine, Laski was expanded into a multipurpose type family with the technical assistance of Ramiro Espinoza.
Belying the intrinsic robustness of the slab serif genre, Laski’s humanistic construction and subtle calligraphic details lend it a friendly appearance. Round, open letter forms and generous horizontal proportions make it easy to read. The regular weights perform impeccably in text sizes, while the bolder versions produce expressive and very effective subheadings and headlines. Two idiosyncratic stencil variants considerably expand Laski’s creative potential.
Laski Slab is a suite of feature-rich OpenType fonts fully equipped to tackle complex, professional typography. The character set includes 5 sets of numerals, small caps, fractions, alternate characters and case-sensitive forms. Besides standard Latin its extensive character set supports Central European, Baltic and Turkish languages.
Laski Slab received a “Certificate of Excellence” at the 2014 Tipos Latinos Biennale.
The Amsterdam School Museum in Amsterdam has published a beautiful book featuring our font Kurversbrug in the cover and titles. The book, designed by Rutger Vos, is dedicated to one of its more important milestones: Het Schip (The Ship). This building marks the highest point of socialhousing in the Netherlands. There, workers were not only provided with good quality accommodation, but they were also given a beautiful home. So, if you ever travel to Amsterdam, forget about silly tourist traps, Het Ship is one of the places you should really visit.
Another interesting initiative by the Amsterdam School Museum is the website Wendingen. The aim of this site is to promote information and activities related with the history and legacy of this avant-garde movement. Again, our Kurversbrug is very present and plays an important rol in the graphic identity of the website.
We have published a project at Behance covering our latest Medusa script in depth. Check it out, there are great new images of Medusa in use. The rest of ReType projects can be found here.
We are pleased to share that the website Graphicdesign.com has published a nice article/interview on Medusa and other ReType’s typefaces.
Our script Krul has been chosen among “Best of 2012” typefaces by Typographica.org. This is one of the most important type design prizes and we are exultant. And Winco and Dulcinea are also listed as “Honorable mentions”. Thanks to Laura Messeguer for reviewing and Typographica’s team for the support.
New from ReType, Medusa is Ramiro Espinoza’s homage to one of the most renowned masters of Spanish calligraphy, Ramón Stirling, who was active in Barcelona during the 19th century. Not much is known about his life, and there is even some doubt as to his real name, but his Bellezas de la Caligrafía (Beauties of Calligraphy) is one of the most exquisite English roundhand manuals ever produced.
The starting-off point in the creation of the typeface was an analysis of the historical models of formal English handwriting and the ways in which those styles had been adapted to the typographic technologies of different eras. A representative example of such adaptations involves the group of letters which, in connected scripts, join from near the top of their x-height, namely “b”, “o”,
“v” and “w”.
Model from The Universal Penman (1740)
Up to now, all typefaces derived from the roundhand have been simplified so that the above letters connect with the following glyphs from the middle of their x-height. Unfortunately, this solution produces an artificial, awkward appearance, far removed from the beauty of the canon of the golden age of commercial handwriting.
Letters typically adapted for typography (left) and a more authentically calligraphic approach (right)
Nowadays, the OpenType format affords the possibility of solving this problem. Instructions can be programmed into a font to automatically select the appropriate alternate glyphs as the user types. Despite the existence of this option, no one has yet published a copperplate typeface that is a faithful reflection of historical writing models, connecting “b”, “o”, “v” and “w” in the correct manner. Extra effort is required to program and design the many alternate character sequences necessary, and this has not been implemented by type foundries accustomed, as also are type users, to the familiar faux convention.
At ReType we decided to move in the opposite direction. We didn’t force the shape of hard-to-format letters into the service of technology, but rather resolved to press technology into the service of respecting the original graceful quality of those letters.
Medusa is much more than a mere digital transfer of Ramón Stirling’s model. Several of the original letters, such as “f”, “s” and “z,” whose appearance was somewhat weaker, have been replaced by designs based on Espinoza’s own accomplished pointed nib calligraphy.
In addition, numerous elements lacking in Stirling’s book have been added. The fantastically ornate capitals were redrawn in order to strike a greater balance and enhance the consistency of the set of letters as a whole. Several swashes and ligatures were also created from scratch, but with an unwavering respect for the formal rules of pointed pen calligraphy to ensure that their ductus was correct. Perhaps the most unusual feature of Medusa is its small caps, which have been carefully designed to produce an all-cap setting that is stylistically harmonious with the classic copperplate script, something which has up to now been missing from this genre of typeface.
Finally, we are offering a separate set of modular swashes that enable complex decorative headings and cartouches.
We are pleased to say that Medusa is a complete script system the unique features of which will lend elegance and sophistication to a wide variety of design projects.
You can purchase Medusa at the ReType’s website.
Ramiro Espinoza has just been interviewed by Myfonts. I you want to know a little more over ReType, follow this link.
Next week is Type Amsterdam 2012. We are very exited and – certainly – a bit nervous
See you on Thursday.