2019/01/9
“Brushland, your script font for any occasion” by Laura Meseguer
The Brushland typeface started as a custom project commissioned by Interbrand as a unique typeface that could give a strong personality to the vineyard Azpilicueta. For that, we agreed that a script font could be the best solution, and it became one of the most relevant elements in the last advertising campaign.
The project's nature raised some questions that we solved in the process and its resolution as: How natural should be this script typeface? How to simulate this writing feeling?
The sketching process
I decided to write with my Pentel Pocket Brush Pen on tracing paper, on top of a custom template, later I scanned them and did a simple vectorization (not redrawing) in Illustrator. All the programming was done by Joancarles Casasín.
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
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!
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.
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).