Diario - Colophon Foundry

20 de octubre • 2020

Price CLP$ 1.000 US$ 1,27

Londres UK • Los Angeles USA• 2009

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Colophon Foundry

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Colophon Foundry has re-released its typeface Montefiore, which was first created in 2009 and created a specimen to sit alongside the launch.

“Montefiore was originally drawn in our student days at Brighton University. The road signage in Hove, East Sussex was unlike standardised UK road signage,” explains Colophon.

Colophon Foundry (LA) US Office Directory 1545 W Sunset Boulevard Los Angeles, California 90026 USA xyz@colophon-foundry.org

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Five years of Colophon Foundry

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Havas London and Design Bridge rebrand Durex

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Colophon Foundry (LDN) Head Office 16A Crane Grove London N7 8NN United Kingdom +44(0)20 3095 9782 abc@colophon-foundry.org

Re-releases Montefiore

Reader Typeface 7 Weights 14 Styles

US$618,26

16 pt Regular

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Re-release Montefiore

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Montefiore, with new specimen

Colophon Foundry

Colophon es una fundicion internacional, galardonada con sede en Londres (Reino Unido) y Los Angeles (EE.UU.). Creamos, publicamos y distribuimos tipos de letra minoristas y personalizados de alta calidad para medios analagicos y digitales.

Desde 2009, Colophon se ha encargado de producir fuentes que se componen con cuidado estetico y tecnologico, lo que ha provocado una reputada biblioteca de nuevos clasicos que combinan la historia tipografica con sensibilidades contemporaneas.

Junto con sus propios disenos, la fundicion alberga tipos de letra originales dibujados por practicantes influyentes de diversas disciplinas de diseno. El catalogo resultante ofrece a los disenadores graficos y a los usuarios de tipo una serie de herramientas digitales indelebles, cada una con una identidad tipografica distinta.

Colophon Foundry has re-released its typeface Montefiore, which was first created in 2009 and created a specimen to sit alongside the launch.

“Montefiore was originally drawn in our student days at Brighton University. The road signage in Hove, East Sussex was unlike standardised UK road signage,” explains Colophon. “It had been rendered from cast metal around the Victorian era. This analogue and idiosyncratic production method produced interesting results. We extended these sketches into a two-weight type family that was originally released in 2009, without an accompanying specimen.”

The re-release comes as a result of the foundry updating its website, which was designed and developed by YES studio. “As part of [the website], we have been updating and upgrading our commercial typeface library. This includes extensions to other typefaces including Visuelt, Burgess and Aperçu,” Colophon says. “Montefiore felt like a small type family (in terms of weights) that had further possibilities, so we decided to extend it into a six-weight family with further language support.”

Montefiore is bold and striking, and the different weights give the typeface an elegance not directly associated with road signage, making it sophisticated and modern. To re-contextualise Montefiore’s origins of being inspired by Hove’s road signage, the specimen is an ode to that style. “Initially we devised a stacking grid system of the specimen that allowed different sized signs to sit on top of one another, similar to UK road signs, particularly on motorways,” explains the foundry. “We also used the original Pantone colours utilised on British road signs.”

Typography

Aperçu

Apercu was started in December 2009, and was trialled & tested throughout a number of design commissions.. The conceit behind Apercu was to create a synopsis or amalgamation of classic realist typefaces: Johnston, Gill Sans, Neuzeit & Franklin Gothic. Becoming, a sum of parts, building upon its initial reference points to create an extensive and usable family.

Since its release in August 2010, Apercu quickly found its position in the market, being used across a variety of different media and sectors around the world across a multitude of touchpoints. Utilised by leading visual institutions such as MOMA,Burberry, De Wiels, Zeit Magazine and the Walker Art Centre amongst many others.

Apercu is available in both a proportional family of eight weights — Thin, ExtraLight, Light, Regular, Medium, Bold, ExtraBold and Black—with corresponding italics, as well as a Monospaced type family of four weights — Light, Regular Medium and Bold. It is available to license in three flavours; Standard (‘STD’), Professional (‘PRO’) versions and Arabic (‘ARABIC’) versions.

The PRO containing further language support in the form of Cyrillic and Greek scripts, as well as OpenType features, stylistic alternates, and copious marks and symbols. The Arabic contains all the features within the PRO version, but also full support for the Arabic script and is available in four base weights — Light, Regular, Medium and Bold.

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The specimen has been printed by Generation Press in four Pantone colours (silver, black, blue and green) and a “reflective layer” has been added to echo the sheen and texture on the regular road signs, which was “reproduced by utilising a spot varnish over every sign ‘panel’. This was silkscreened by hand on top of the reproduced signs,” says Colophon.

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Five Years of Colophon

l FIVE YEARS catalogues twenty-six typefaces made from 2009–14 by Colophon type designers Anthony Burrill (UK), Benjamin Critton (US), Alison Haigh (UK), Oscar & Ewan (SE), Studio Makgill (UK), The Entente (UK), and Dries Wiewauters (NL). Featuring 26 compositions made on behalf of the aforementioned typefaces, an essay by Aileen Kwun of Project Projects and Superscript, and information on each typeface and its provenance, FIVE YEARS is a near-exhaustive catalogue raisonne of the first half-decade of Colophon Foundry.

Today sees the launch party of Five Years, an exhibition that celebrates the role of type designers and how they are vital in the creative design process. To celebrate their fifth anniversary, Colophon Foundry, one of the most internationally acclaimed type foundries, have selected twenty-six typefaces drawn and published between April 2009 to April 2014 including Apecu, Central Avenue, Leroy, Transcript and many others from the Colophon Foundry back catalogue to be displayed on a different product related to each type.

The launch party starts this evening at KK Outlet. The exhibition is accompanied by a Swiss-bound catalogue of the same name produced with a limited edition of 300 copies. Featured in the catalogue are 26 full-colour prints on coated board that come with a 20-page booklet. The show runs from 4th-26th April 2014, and as always, free admission.

Goodall is a contemporary take on the geometric slab serif genre; bringing together a melting pot of 19th century wood type influences and more contemporary reference points such as Memphis (Dr. Rudolf Wolf, 1929) and Rockwell (Monotype, 1934).

Initial sketches of Goodall were far more gestural and inspired by Vincent Figgins’ Four Line Pica Antique No. 2.

Particularly intriguing was Figgins’ peculiar combination of round punctuation and square tittles on characters such as the ‘i’ and ‘j’.

Alongside leading the type workshop and a lecture, we were commissioned by the 23rd International Festival of Graphic Design in Chaumont.

Coinciding with the commission we created La Fabrique, a heavy sans-serif typeface. The process of production of drawing the typeface was separated in four distinct stages and the restricted decisions made into a visible path.

This was documented via two mediums.

Lydia is a calligraphic sans-serif typeface, re-drawn and -developed by Benjamin Critton Art Dept. over the course of several years beginning in the Spring of 2010. It is a bold, condensed iteration of Warren Chappell’s Lydian, drawn on behalf of New York’s American Type Founders (ATF) in 1938 and successively updated and expanded in 1940 & 1946.

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Havas London and Design Bridge rebrand Durex The impetus for the rebrand came from Durex’s 2017 Global Sex Survey, which showed a landscaped of confusion and change regarding sexual attitudes. While the internet has brought openness and access, the survey found an “underlying sexual anxiousness”, which it concluded was largely driven by unrealistic representations of sex throughout culture.

Havas London developed the strategy, visual identity and positioning, while Design Bridge was responsible for creating the new packaging and on-pack logo. “Positionally, we wanted to present a clear and honest brand that needed to talk about some the most sensitive issues in peoples’ lives,” Havas London head of design Lorenzo Fruzza tells It’s Nice That. “We needed a brand mark that behaved like a stamp of authenticity and trust, and the previous glossy, gradient-filled logo felt like the wrong tone for the updated brand.” In terms of application, Havas London wanted to build stronger global consistency across a variety of different markets and channels, making a two-colour flat brand mark particularly well-suited.

Part of the new identity was making more of the logo’s exciting lozenge shape, using it as an easily recognisable symbol and as a device to frame photography. “The logo and lozenge are two elements from the old world that we wanted to bring forward, both being symbols of product quality and trust,” says Fruzza. Purposefully putting the lozenge at the core of the identity allows us to have a brand signature that evokes that trust, while also becoming a platform that doesn’t get in the way of the messages we need to tell.”

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2020 Colophon Foundry

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