Caitlin Heales

In a response to the age old question, “How can I make this project stand out?” Award winning type designer and Lettering artist James Lewis brings you VERSA.

With 17 stackable layers, Varying depths, and matching shadows, Versa is the first of its kind.

Drawn with versatility in mind, James has created a type system that allows for customisation like you’ve never seen before, making this the only 3D font you will ever need.

In a typeface category that has been sorely under-represented until now, Aziga is a high (occasionally reversed) contrast, postmodern, deconstructed-reconstructed, serifless (mostly), fashion didone! Aziga lends itself to being set loud and proud, and the consistent angles throughout the glyphs make it a good candidate for more abstract typographic compositions.

For the really graphically inclined (excuse the pun) a rotaion of 66° will make the main diagonals in the font horizontal and vertical.

Features include stylistic and contextual alternates, ligatures and case sensitive forms.

This is an unusual font, that’s for sure, but give it a try and you’ll be rewarded with layouts that really stand out from the crowd.

You may never really know who Charly was, because all of a sudden he was there!

Parkside is a script typeface inspired by typefaces and lettering of the 1930s and 1940s. Unlike metal typefaces from that era, it takes advantage of modern digital typography, where the letter may overlap and automatically change shape to better flow with surrounding letters.

There are six weights (Hairline, Thin, Light, Regular, Bold, and Black). Parkside has extensive language support, covering most Latin-based writing systems. Parkside uses OpenType magic to automatically select letter variations that seamlessly connect to the letters coming before and after.

Cast is a subtle sans serif type family of twelve weights with great properties for professional typography.

Open forms, strive for perfect curves and a modern and slightly technical touch are attributes of Cast.

The weights from light to black (upright and italic) are well graded and the 478 glyphs per style cover an extended range of Latin languages (Latin Extended-A).

Numbers of OpenType features allow different figure sets, fractions and much more.

The manual kerning for every single weight represents the care and the quality of this font.

An outstanding attribute of Cast is the performance in every size. Cast had its beginning in 2007 during Dominique Kerber’s Typedesign study (CAS Typedesign) at the ZHdK in Zurich (Switzerland).

After graduation, Dominique Kerber continued working on this project to release the fully developed font in March 2011.

In June 2018 the type family was extended by the (true) italic. The professional exchange with his former fellow student Alex Meier in a shared studio offered Dominique Kerber enrichment in this lengthy process.

The concept of Cast is to combine the optical and formal requirements to a type in small text with the ones for display or signage use.

Are ink traps necessary for example? Do they look nice in big sizes? How does optimal legibility behave in varying dimensions? What technical opportunities are there? Cast gives its own (possible) answers to these and hopefully some other questions in typography.