Type Lost &Foundry

I’m Delve Withrington, a type designer and artist. See/buy my typefaces at: Delve Fonts. And check out my mixed media/ assemblage art as well.

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10 posts tagged typeface

Announcing Rieven Roman

Rieven Roman is available now at: http://www.delvefonts.com/rieven_roman.html

In order to address those instances where the more fa­miliar venetian style letterforms are preferred over uncials, designer Steven Skaggs has expanded the Rieven family by creating a Roman version that can be used hand-in-hand with its predecessor, Rieven Uncial. Rieven Roman and the accompanying italic are variants derived from Rieven Uncial and in fact share many glyphs in common.

A type specimen (PDF) for Rieven Roman can be downloaded at: http://www.delvefonts.com/pdf/specimen_rieven_roman.pdf

Some of the key differences include: replacing the uncial-specific forms in U, a, e, f, and r with more conventional forms. Curved strokes in h, m, n, u, v, and w were revised to be straight. More subtle adjustments were made to g, s, t, et al for consistency with the new roman glyphs.

The accompanying italic works perfectly well with its Roman counterpart, despite being structurally quite dis­tinct from it. Virtually all traces of the uncial forms are removed in the lowercase. Sufficient differentiation between the italic and the upright forms of the Roman has been applied to achieve a balanced contrast in text settings, which allows for more efficient reading.

Included in the Rieven Roman package is Rieven Ornaments, a font comprised of over 180 useful symbols, circled numbers, arrows, and decorative ornaments. Use the handy built-in OpenType features to access the full set or browse the gylph palette. This set of ornaments is the same as the one built into the Pro versions but pulled out and reconstituted as a separate font. That way, you’re not missing out just because you don’t need the extended character set that the Pro versions offer.

Use Rieven Roman for lengthier passages of text in magazines, books, and websites. Let the distinctive spirit of Rieven shine in packaging, signage, and games. Use it in tandem with Rieven Uncial for a consistent style, with optimal readability.

Ray and Bob poster detail #kaijudo #typeface

Tilden Sans Gains Weight(s)


Back in 2004, I first drew what would later become Tilden Sans Light for some projects that I was working on. Eventually I completed the character set (and even drew a Cherokee set for it, as an exploration of that orthography). Then in early 2009, as a first step in rebooting the Delve Fonts foundry, I released Tilden Sans Light, which did reasonably well and then better after sending the font data on to the distributors. Happily, it has so far remained one of the best sellers from the Delve Fonts type library.

Better Weight Than Never The Light is not just a lonely single any longer. Today, Tilden Sans is officially a family. Six new weights have been added. The seven, in total are: Light - the elegant original, looks good at larger sizes. Next, the Regular & Medium - these are great for lengthier passages of text, like brochures, websites, etc. Use SemiBold & Bold for subheads and such to accompany text. Finally, the ExtraBold and Black are eager to jump in where a big visual impact is essential; for titles, packaging, and more. Thoroughly contemporary, clean, and ready for work, Tilden Sans was designed to be no-nonsense but still friendly and a little more distinct from other sans serifs. To be specific, Tilden Sans is square-ish, somewhat geometric, and slightly condensed. Curvilinear strokes like those in the capitals C or S, and many lowercase letters feature incised terminals. It has a generous x-height and low contrast in the lighter weights, which increases (mostly in the lowercase) as it gets darker. All of those features combine to make it a pleasure to use and read. Oh yeah, the link: http://www.delvefonts.com/tilden.html I hope you enjoy using Tilden Sans as much as I did drawing it.

The Kaijudo Bespoke Typeface

Recently, the Hasbro subsidiary, Wizards of the Coast (makers of the well-known games Dungeons & Dragons and Magic: The Gathering) launched a new game titled “Kaijudo: Rise of the Duel Masters”. Delve Fonts (http://www.delvefonts.com) was commissioned to create a new, bespoke typeface for the Kaijudo brand, which so far includes: the game cards and related product packaging, the animated tv show, the iOS Battle Game app, and the website (http://www.kaijudo.com).

Wizards of the Coast Creative Director, Shauna Narciso, provided astute guidance on the aesthetic development of the typeface to meet the requirements of the new brand: action-oriented, somewhat masculine, with a technological feel. A bold italic, square sans-serif, with minimally rounded corners was decided on as the initial weight and style for the type family, in order to meet production deadlines and work was underway by early January 2012. The production schedule for the Kaijudo typeface was fast-paced but progressed smoothly and culminated in a successful implementation across multiple mediums, on time, and within budget.

As the primary display type, the completed Kaijudo typeface integrates perfectly with the stunning, highly original art of the Kaijudo world. It performs reliably on screen and in print, carrying the Kaijudo voice across the various components of the brand. The first battle decks for the Kaijudo card game will be available in stores starting June 26th, 2012. Until then, you can download the Kaijudo Battle Game app for free: http://itunes.apple.com/us/app/kaijudo-battle-game/id518164672


Kaijudo, Dungeons & Dragons, and Magic: The Gathering are registered trademarks of Wizards of the Coast / Hasbro.

Delve Fonts presents Engine Nine by Steven Skaggs

The Power of the Engine

Victorian revivals and inspirations often seize on the period’s tendency toward florid decoration. However, the times were also the final surge of the industrial revolution, a time that witnessed the ultimate development in steam, diesel and oil: engines of all kinds. Engine Nine™ captures the nitty-gritty of a hard-boned indomitable age, boundless in its faith in the technologies of iron and steel, tempered by half-remembered neo-classical details such as the verticality of neo-gothic windows, and finely detailed finials. It’s all here in the brute strength of the verticals, the blackness of the tight setting, the contrasting delicacy of the terminal serifs.

Steven Skaggs designed Engine Nine as a typeface to be tinkered with. Convert it to outlines, pull the verticals and horizontals, pack it tight, and a headline becomes a logotype. Engine Nine can pump like a line of pistons, turn like a turbine, or use it with discretion as a drop cap with a contrasting neoclassical like Century and you get an immediate boost of horsepower. Anyway you drive it, Engine Nine produces a riveting experience for the viewer.

Available now at: http://www.delvefonts.com/engine_nine.html

A type specimen (PDF) for Engine Nine can be downloaded at: http://www.delvefonts.com/pdf/specimen_engine_nine.pdf

Steven Skaggs studied calligraphy and typography under Hermann Zapf. His calligraphic artworks are in the collections of the Klingspor Museum, Offenbach Germany, the Sackner Archive of Visual and Concrete Poetry in Miami, and the Akademie der Künst, Berlin. He has been active giving workshops and teaching throughout the United States as well as Canada, Italy, Switzerland and Germany. Steven Skaggs lives in Louisville, Kentucky where he is Professor of Design at the Hite Art Institute, University of Louisville.

Delve Fonts is a full-service type foundry in Alameda, CA offering new, original typefaces and type design services including: Custom Type Design, Foreign Language Fonts, fonts for Games, Apps, and Mobile Devices.

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Engine Nine is a trademark of Delve Fonts. All rights reserved.

Funding New Fonts

Thoughts on the recent trend of microfunding the development of new typefaces

Traditionally there have been basically two ways to fund the development of a new typeface: Externally, as a commision, wherein a client pays a designer or foundry to create a new typeface. Or internally, as a speculative project self-financed by a designer or foundry (usually in the form of time away from paid projects) to finance the design. Of course, there are variations within both of those funding models: funding from grants, private art patrons, the designer as employee, perhaps even a government contract could be considered a variation of it.

Now, with the advent of microfunding websites like Kickstarter and IndieGoGo, crowdsourcing as a means of funding creative projects is gaining popularity.

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Cortina by Joachim Müller-Lancé

Last week, after some work by Joachim Müller-Lancé and I that took a little over a month to complete, Cortina became available once again. This is the first of several of his typefaces that were a part of the TypeBox foundry to be updated and re-released in OpenType format through my foundry, Delve Fonts.

When it first came to my attention late last year that these fonts Joachim did while he was with TypeBox were no longer available, I thought it was a real loss and talked to him about getting them out there again.

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I am proud to announce that the newest Delve Fonts typeface, Rieven Uncial, by Steven Skaggs has received the “Certificate of Excellence in Type Design” in the TDC2 2010 competition.

More versatile than traditional uncials, Rieven Uncial tastefully blends roman and uncial characteristics infusing text with the flavor of an uncial without sacrificing readability in extended settings. Rieven Uncial will soon be available for purchase at Delve Fonts and for use on the web via Typekit.

Introducing Quara. The latest addition to the Delve Fonts collection, Quara, is a quasi-quantum interplanetary invader that would love to occupy your hard drive. Available in OpenType format. Find and Buy the new Quara typeface at: http://www.delvefonts.com/quara.html

For those of you who may have missed it, Ysobel Pro by Robin Nicholas, myself, and Alice Savoie was released last month. I worked on this typeface while I was a type designer for Monotype Imaging. It is built for use in newspapers, magazines, or other such application.

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