Panóptico de Actualidad Gráfica y Visual
“In our display projects, our main challenge is keeping up with the ever-evolving typographic trends in today’s fast-paced markets. We aim to efficiently deliver a wide range of font options without sacrificing quality. Most of our typefaces come as variable fonts too, which are perfect for animations and web use, offering flexibility. We also like to include as many open-type...
The Hiiibrand International Brand & Communication Design Awards is an international design award focused on brand shaping and design value. This award aims to promote the communication and development of brand and communication design fields by globally collecting and selecting excellent brand practices and design strength. The Hiiibrand Awards are divided into Brand Awards and Design Awards. The Brand Awards...
A’ Design Award & Competition is the world’s leading international annual juried competition for design. The A’ Design Accolades are organized in a wide range of creative fields to highlight the very best designers from all countries in all disciplines. Organized under various categories based on Locarno classification of economic sectors and industries — the A’ Architecture, Building and Structure...
“The most difficult thing to do when designing display fonts is to keep all the characters of the alphabet in the same compositional and plastic style. I am talking now about fonts with a new approach to typographic form (not about any kind of brush scripts).”...
“Decorative and display typefaces have a unique personality that can be emphasized through pairing them with a project. Whether it’s a decorative terminal or crazy ligature, these fonts can either shine or fall down depending on their context.”...
“The challenge is always to balance the weight of all the letters and make those letters a part of a full font. This is mostly related to the fact that the typefaces are strange and the letters are pretty crazy, so to make them all live in harmony is hard, but it’s also the fun part! Nowadays I also think...
“Pairing strategies can be quite diverse, depending on what you’re trying to solve. The pairing might be done to establish distinction between elements, to indicate different notations, to make two typefaces feel the same at different scales, or for textural variety. All these require different approaches. And always test print.”...
“When choosing fonts, the designer should consider what kind of product they are designing and for what audience. This is true not only for fonts, but also for illustration, when choosing colours and design in general. When combining fonts, I advise you to choose one that is accentuated and decorative to attract attention, and the second neutral, easy to read...
“The biggest challenge for me is to find the right balance between quirkiness and legibility. True display typefaces are meant to be used at large sizes, yet they might be seen from far away and somehow behave as if they were in front of you at 10pt.”...
“The need for singularity and my graphic design background led me to develop over the years a unique and recognizable style.”...
“I would advise designers to avoid setting lengthy passages of text in display fonts and reserve them exclusively for headings or titles, where they can serve as elegant design elements. Individual decorated letters of my fonts look great as a logo. To complement my fonts, I often recommend pairing them with understated serif or sans-serif typefaces, chosen based on the...
“Choosing the right typeface is about more than just selecting what looks good. Different type styles evoke different emotions and associations, making it essential to consider the context in which they’re being used. Display typefaces are usually used as focal points in a design, so they need to do a clear job at establishing hierarchy. This becomes particularly important when...
