Custom work

2017/06/15


The 'Homeless Fonts' custom type project

Last Monday 12th of June, Josema Urós from Type-Ø-Tones participated in the Barcelona Design Week, with the occasion of a workshop called Homeless Fonts—Fundació Arrels: “Typefaces that make us visible”

 

What is ‘Homeless Fonts’?

Homelessfonts is an Arrels Foundation initiative which consists of creating a collection of typefaces based on the handwriting of different homeless people from Barcelona, who agreed to participate in this initiative. The aim is to raise awareness on any potential user of these typefaces: graphic designers and brands. All the benefits of the licensing are used for helping the 1.400 people that are attended by the Foundation with accommodations, food, social and health care.
Some of the fonts were carefully digitized by Josema Urós, who has been collaborating with the Fundació Arrels for a while now, and the other day, at the workshop, he presented the working process. 

  

The project

 

Definition and objectives of the project

· Creation of a digital typeface based on a casual handwritten alphabet
· Generation of useful alphabets, but most expressive.
· Composition of a Basic Character Set based on the ASCII 256 (Western Latin/MacOs Roman), to be used for 120 languages. 

 

The process

1. Analogic creation of an alphabet
· Pangrams writing
· Alphabetical lists A-Z, a-z, 0-9
· Diacritics sequence, punctuation and others
· Less common characters


2. Choosing samples and digitalization

· Selection of samples
· Optimization of the vectorial structure and adaptation of the shapes
· Adjustment of the spacing
· Creation of files suitable for the multiplatform environment.

3. Test and proofing

 

Case Studies

We will show you the project with some examples


Case 1: José María Erustes 



1. Writing. Pangrams, alphabets and numbers from José María Erustes

1. Writing. Alphabets written with differents tools

1. Writing. Diacritics and different signs

2. Digitalization. Scanning in pixel format

2. Digitalization. Vectorial format. Tracing contours

2. Digitalization. Detail of the vectors

2. Digitalization. Preview

2. Digitalization. Full ASCII character set

3. Test and proofing. Samples of text set in paragraphs used to test spacing.


2016/06/19


The Design of Multi

Multi is Laura Meseguer's first extensive typeface family. The process of design started as a custom work, developed later and released now as an extended and versatile system for print and screen. It was originally commissioned by the publisher of Dutch regional newspapers in 2011, with the aim to match the serif typefaces (Lexicon by Bram de Does and Tiempos by Kris Sowersby) used for a comprehensive layout overhaul project supervised by editorial art director Luis Mendo. The keywords provided by the client were unequivocal: warm, dynamic, optimistic, friendly, human… Like most of Laura’s typefaces —Rumba, Magasin, Lalola—, vitality bursts forth from Multi. It has a distinctive ‘phrasing’ (in the musical sense), neither humanist nor glyphic, somewhere in between, exploring uncharted territory. Its design is pragmatic, yet not rigid, slightly tinged with tiny incised touches.


Visit the mini site



Since the completion of this first version, Laura has considerably expanded the character set and the family, and implemented a few modifications.

Multi™ is available in two series: Multi Display and Multi Text.
Multi Display consists of seven roman weights with their italics: Thin, Light, Regular, Medium, Bold, ExtraBold, and Poster. Multi Text consists of three roman weights with their italics: Regular, SemiBold and Bold. All the fonts comprise special characters designed for specific language requirements. They are optimized as webfonts, and the Multi Text fonts are manually hinted. The main purpose is to bring a fresh and strong personality to print and online publications.

Sturdy and fancy bold and breezy, Multi can transform words and sentences into bangs and whispers!

Multi Type Specimen


2016/09/24


Custom type for the titles of the documentary ‘Barcelona. The Rose of Fire’.

This project was done in collaboration with Mariona Omedes from Nueve Ojos, produced by Media Pro and directed by Manuel Huerga. The documentary is a walk through the city of Barcelona in 3D, carried out in a single plane sequence. An immersive experience where the music, the three-dimensional sound and the narrator, a different one for each language, are protagonists too.

Here you can see the trailer.



The concept of the custom typeface is based on the answer to this question: “Which would be the typeface that best represents the city of Barcelona? That’s a difficult question because Barcelona doesn’t have such a strong and clear typographic identity. The idea came after watching some trailers of the 3D movie, where you can easily see that the streets of Barcelona have a main role. When observing the arquitectural details, and especially the street signs, there is not only one typeface but the geometrical condensed sans serif is dominant.


2016/02/1


Logo for the redesigned Dutch newspaper 'Het Parool'

The art directors of Het Parool, John Koning and Floor Koop, requested some proposals for the masthead and logo for the redesigned newspaper, released the past 10th of February 2016. Our work was based on a clear briefing: ‘back to basics’ and design a logo with a strong and powerful identity. I presented different ideas, and final solution is based on a combination of the two typefaces that play a lead role in the new newspaper, Quarto (also the typeface for the headlines) and Tiempos. The new logo not only adorns the front page and the homepage, but is also visible in all expressions of Het Parool.If you want t read more about the redesign of the newspaper you can do it at the newspaper online or here (only in Dutch).



The Masthead

The logotype in the app

One of the first printed newspapers

The identity in twitter is shown as the isolated P