REFRESH YOUR FONT
Summer is coming and with it the heat too. And what's better than an ice-cold drink to cool off? For us ... an icy font! Refresh your knowledge about font with this new Invasione Creativa project!
We have created a typographic project to refresh our memory about the world of fonts.
We imagined fonts as refreshing drinking hypothetical labels.
A nice and alternative way of looking at the world of fonts. We hope you like it!
We imagined fonts as refreshing drinking hypothetical labels.
A nice and alternative way of looking at the world of fonts. We hope you like it!
We created 11 brand new labels and we created the 3dcan model with Blender, rendered with Cycles.
EDIT: If you need some cool free font, here a well organized page!
Garamond / 1538 ca.
The renowned Parisian printer Claude Garamond was a driving force behind typeface creation during the Renaissance period in the sixteenth century. His most famous (and inspirational) typeface was cut early in his career for the French court – specifically King Francis I – and was based on the handwriting of the king’s librarian, Angelo Vergecio. The earliest use of that font was in the production of a series of books by Robert Estienne. Robert Granjon, another very famous influence on typography, started as an assistant to Garamond. Most modern versions of the Garamond typeface, including the Adobe Garamond design, base their italic type on Granjon’s lettering.
Caslon / 1725
Considered the first original English typeface, it shares many characteristics of the Dutch Baroque type fonts of the era, and may be a variation on the Dutch Fell type fonts cut by Voskens or Van Dyck at that time. From 1725 through to 1730 three books printed by William Bower used roman and italic fonts cut by Caslon. The fonts were popular throughout the British Empire including the American Colonies, where they acquired their distinctive appearance from the exposure to salt air during the voyage from Britain.
The popularity of the font diminished upon Caslon’s death but revived during the British Arts and Crafts movement of the 1840s to 1880s. Currently the Caslon font is in wide use and considered the standard for typesetters and printers. The rule of thumb continues to be, when in doubt use Caslon.
Baskerville / 1757
John Baskerville (1706-1775) was an accomplished writing master and printer from Birmingham, England. He was the designer of several types, punchcut by John Handy, which are the basis for the fonts that bear the name Baskerville today. The excellent quality of his printing influenced such famous printers as Didot in France and Bodoni in Italy. Though he was known internationally as an innovator of technique and style, his high standards for paper and ink quality made it difficult for him to compete with local commercial printers. However, his fellow Englishmen imitated his types, and in 1768, Isaac Moore punchcut a version of Baskerville's letterforms for the Fry Foundry. Baskerville produced a masterpiece folio Bible for Cambridge University, and today, his types are considered to be fine representations of eighteenth century rationalism and neoclassicism. Legible and eminently dignified, Baskerville makes an excellent text typeface; and its sharp, high-contrast forms make it suitable for elegant advertising pieces as well.
Didot / 1784
The Didot Font Family began in Paris when Firmin Didot began work on a collection of related type fonts. At the time the Didot family owned the most influential and successful print shop and font foundry in France. In fact, they were the King’s printers with seven members of the family working in some capacity in the varied branches of the book trade. Firman Didot completed the development and began to cut the letters and cast them between 1784 and 1811. His brother Pierre used the type for his printing business including the now famous edition of Voltaire’s La Henriade which has been long considered his masterpiece.
The typeface was known for its increasing stroke contrast and more condensed armature, much like John Baskerville’s fonts of the time.
Bodoni / 1798
It was first designed by Giambattisa Bodoni in 1798 and is generally considered a “transitional” font type. Bodoni was a prolific type font designer and this particular font was highly influenced by the work of John Baskerville, a designer whose work Bodoni followed. The font, with its highly recognizable centered “Q” tail and slight hook in the “J”, was widely accepted by printers and can be seen in a broad variety of publications and uses since the late 1700s.
Futura / 1927
While the forms of Futura’s capital letters can be traced back to ancient Greek lapidary letters, Renner’s sketches for the lower case were quirky, forced and at times barely recognizable as letters. The Bauer production department reinterpreted his design, removing many of the odd shapes while maintaining the basic notion of letters reflecting simple geometric shapes. The ascenders were redrawn taller than the capitals, and character widths were adjusted to reflect traditional 16th century proportions. Even the lowercase ‘t’ was redrawn as an asymmetrical design – like many old style typefaces.
Other typefaces predate Futura’s 1927 release date, but Renner’s is generally credited as the most influential in stimulating the development of typefaces based on geometric forms. This is due primarily to the immediate and overwhelming success of the family. Renner also made many presentations and lectures about his new design prior to its release, and some believe that other designers and type foundries took his concept and turned it into fonts of type prior to the Bauer release of Futura.
Rockwell / 1934
Slab serifs in general may remind readers of older poster fonts and Western movie paraphernalia. Early slab serif fonts were created in the nineteenth century, usually from wood, which was notoriously hard to carve into the small details required for intricate type. Slab serif lettering rapidly became very popular in any areas in which wooden faces were commonly used. Later, smaller versions were deliberately cut in metal as an alternative to the regular serif and sans serif fonts available at the time. One of the earliest manufacturers of such type was the Inland Type Foundry, founded in 1892 by the three Schraubstadter brothers.
Helvetica / 1957
The first version of Helvetica was created in 1957 by Max Miedinger, a Swiss typeface designer. His goal was to design a new sans-serif typeface that could compete in the Swiss market with the goal to create a neutral typeface that should give no additional meaning. Miedinger wanted a font that was clear to the eye and could be used in a variety of ways. It was originally called Neue Hass Grotesk. In 1960, the typeface’s name was changed to Helvetica, which means “Swiss” in Latin. This was seen as more marketable internationally.
Frutiger / 1968
Frutiger was originally contacted in 1968 by representatives of France’s Charles De Gaulle Airport to create a typeface for use both in and outdoors. Seven years later, Frutiger – then called Roissy – was completed and applied throughout the recently opened airport.
Frutiger set off to develop a typeface that combined the legibility of humanistic sans serif typefaces with the geometric lines of Univers. As a result, Frutiger’s namesake design is distinctive and ideal for a variety of uses. Given the intended application of airport signage, the Frutiger typeface family had to be legible from a large variety of distances and angles. The typeface was released to the public by the Germany-based Stempel typeface foundry in 1975. Frutiger has since been adopted by many corporations and governments for its modern yet warm look.
Comic Sans / 1995
There may not be a designer on the planet who hasn’t heard of Comic Sans. In fact, there may not be any computer-using non-designers who aren’t familiar with — and don’t have an opinion about — Comic Sans. Vincent Connare’s 1995 design for Microsoft has become one of the most popular and most maligned typefaces of our time.
Gotham / 2000
Gotham was born in 2000, when men’s fashion magazine GQ commissioned New York-based Hoefler & Frere-Jones to create a new typeface for use in their publication. Provided with a brief to create something “masculine, new, and fresh,” type designer Tobias Frere-Jones drew influences from post-war building signage and hand-painted letters seen around New York City. Using the seemingly plain, geometric lettering from New York’s Port Authority Bus Terminal as the project’s touchstone, an American “working class” typeface was born.
Here our labels
Thank you and cheers!
(and don't use Comics, please)
