2019/01/1
“Radar, a font family with a Spanish accent” by Marta Sánchez Marco
The design of Radar is an homage to 20th-century grotesque typefaces and a product of that particular historical context. At the beginning of the 20th century, the world industrial expansion was at its peak and great advances took place in the field of technology. Among them, and in the context of the 20s, there was radio technology, an immaterial and at the same time global media and a phenomenon that contributed to the consolidation of the mass society as a whole. At the same time, a type family for advertising use named Grotesca Radio was born in the Richard Gans Type Foundry. His authorship is attributed to the German type designer and master punch cutter Carl Winkow.
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.
2019/05/24
The design process of Skope by José Manuel Urós
Skope started as an exercise for our teaching classes. For years, in our type design classes, we have been using an exercise that, familiarly, we call 'Hamburgefontsiv'. This exercise consists in the creation of some letters for different alphabets (in fact, only the key characters that appear in the word 'Hamburgefontsiv') taking as reference logos, loose characters or any other form of lettering that doesn't belong to an existing, complete or consistent alphabetic system.
In our 'possible' project folders, we store references that can be the basis for new alphabets, ideas for lettering or solutions for future graphic works. Sometimes, these references contain happy stylistic coincidences that make us move files from 'possible' to 'ongoing'.
2019/01/10
‘New Memimas for 2019’ by Josema Urós
It is January 2019 and we are publishing a new version of Memimas 28 years after its first public release. During this time, the font has gone through numerous updates, mostly technical implementations. With this new version, which is a major upgrade, we have incorporated new styles and features that expand the capabilities of expression and use of the fonts.
2017/03/1
"Harri Display Typeface and Basque Lettering" by Juan Luis Blanco
There is something about the visual landscape of the Basque Country that will not go unnoticed to the eyes of its visitors regardless of their knowledge of typography: the peculiar lettering style spread all over the region on street plates, signs, posters and fascias. They display extremely heavy letters in a sort of overemphasised glyphic style with characteristic concave stems that produce very sharp terminals and awkward letter forms. Those shapes look certainly rough, unrefined and overdone, conveying a sort of primitiveness rooted way back in time. This seems to make it a convenient choice for food shops, restaurants, cider houses and other cases in which projecting the idea of authenticity, tradition and "Basqueness" is intended.
Harri, as a typographic project, started the very day a client asked me to design a logo that would be clearly recognised as Basque, with a firm restriction: to avoid "that typeface used for cider houses and butcher shops", in obvious reference to the Basque lettering style afore-mentioned.
2017/07/6
Multi selected as one of the Typographica's favourite typefaces of 2016
Great news arrived. Today we got the news that Laura's typeface family Multi has been selected and reviewed by Yves Peters as one of the "Our Favourite Typefaces of 2016" for Typographica. There is no better reward for a type designer that being appreciated by others who can see what is behind the work you have done.
Founded in 2002, Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles with Caren Litherland and designed by Chris Hamamoto. Typographica's Favourite typefaces selections are made by graphic designers, type designers, educators, and enthusiasts who have a taste and good eye for type.
We have to thank Yves for his words, so elegant and subtle. He writes how he feels, not how he thinks, that's poetry for us. You can read his review here.