Trussardi – Fragments of Beauty https://frammenti.stefanseifert.com Typeface Works and Essays Fri, 02 Apr 2021 10:36:25 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.5 https://frammenti.stefanseifert.com/wp-content/uploads/2016/12/cropped-Homescree_icon-32x32.png Trussardi – Fragments of Beauty https://frammenti.stefanseifert.com 32 32 Working on Trussardi Small Caps https://frammenti.stefanseifert.com/2018/09/working-on-trussardi-lettering-small-caps/ https://frammenti.stefanseifert.com/2018/09/working-on-trussardi-lettering-small-caps/#respond Sun, 23 Sep 2018 07:49:14 +0000 http://www.seifertfragments.de/?p=2557

During my researches for a Trussardi brand lettering I developed a special Small Caps version of Reflection typefaces. Here is the metrics window and beautiful #Natalia as an inspiration fountain in the background. A particular task was to create a unique and special small cap ‘u’ which was hard to balance on the line without serifs. It introduces also a new intermediate stroke width between the thick stems’ weight and the ultra crossed hairlines. Which was necessary as, of course, without the serifs the ultra thin lines would not be able to create enough color on its right wing. Another subtle detail you may note here are the differently angled stroke ends which are slanted slightly towards the outside. It takes up a typical characteristic of Reflection as you may also observe in stroke ends of capital ‘T’ and other letters, as well. If you want to know more about my methods to develop small caps variants of typefaces read also [German language] Credits: Paolo Roversi | Photography]]>

During my researches for a Trussardi brand lettering I developed a special Small Caps version of Reflection typefaces. Here is the metrics window and beautiful #Natalia as an inspiration fountain in the background. A particular task was to create a unique and special small cap ‘u’ which was hard to balance on the line without serifs. It introduces also a new intermediate stroke width between the thick stems’ weight and the ultra crossed hairlines. Which was necessary as, of course, without the serifs the ultra thin lines would not be able to create enough color on its right wing. Another subtle detail you may note here are the differently angled stroke ends which are slanted slightly towards the outside. It takes up a typical characteristic of Reflection as you may also observe in stroke ends of capital ‘T’ and other letters, as well. If you want to know more about my methods to develop small caps variants of typefaces read also [German language] Credits: Paolo Roversi | Photography]]> https://frammenti.stefanseifert.com/2018/09/working-on-trussardi-lettering-small-caps/feed/ 0 ‘TRU’ Trussardi Lettering https://frammenti.stefanseifert.com/2017/04/tru-trussardi-lettering/ https://frammenti.stefanseifert.com/2017/04/tru-trussardi-lettering/#respond Sat, 22 Apr 2017 16:21:36 +0000 http://www.seifertfragments.de/?p=1856 TRU Trussardi Lettering

During the drawing process of Urbino Typeface I enjoyed doing some lettering researches for the classic Trussardi fashion griffe. This is a detail from FontLab Metrics window during the elaboration of the letters ‘R’ and ‘U’. The latter one is a particular challenge in serif typefaces. It has a delicate balance and symmetry between stems. The right one that has to have the part of hairline, yet, cannot be a slim as in other letters specially when not equipped with a full serif. Urbino Typeface is dealing a lot with these subtle contradictions which arise by being a serif typeface on the one hand, yet, having definitely some of the characteristics of a Sans Serif character on the other. Uppercase letters also show something of almost ancient Roman alphabets carved into stone. Urbino which I derived as an Italic variant of Reflection typeface has a particular long story within my type creations. Much time has been dedicated to it over the years and I still love it a lot.]]> TRU Trussardi Lettering

During the drawing process of Urbino Typeface I enjoyed doing some lettering researches for the classic Trussardi fashion griffe. This is a detail from FontLab Metrics window during the elaboration of the letters ‘R’ and ‘U’. The latter one is a particular challenge in serif typefaces. It has a delicate balance and symmetry between stems. The right one that has to have the part of hairline, yet, cannot be a slim as in other letters specially when not equipped with a full serif. Urbino Typeface is dealing a lot with these subtle contradictions which arise by being a serif typeface on the one hand, yet, having definitely some of the characteristics of a Sans Serif character on the other. Uppercase letters also show something of almost ancient Roman alphabets carved into stone. Urbino which I derived as an Italic variant of Reflection typeface has a particular long story within my type creations. Much time has been dedicated to it over the years and I still love it a lot.]]> https://frammenti.stefanseifert.com/2017/04/tru-trussardi-lettering/feed/ 0 Urbino for Trussardi https://frammenti.stefanseifert.com/2016/12/urbino-for-trussardi/ https://frammenti.stefanseifert.com/2016/12/urbino-for-trussardi/#respond Sat, 24 Dec 2016 08:07:26 +0000 http://www.seifertfragments.de/?p=1488

Some screenshots of a development of a Trussardi lettering suggestion. During my collaboration for Trussardi’s stationery I did just for fun some experiments using Urbino typeface for a fine Renaissance orientated brand lettering that could renounce the application of the classic houses’ greyhound symbol. You may note that Bézier curves on the outer lines are kept slanted avoiding to re-construct them in the usual maximal point way. This keeps the letters more dynamic and sober. Bowls were constructed by copying different letters’ parts into glyph window during the drawing. A special focus was on the letter ‘S’ as it is doubled in the logo and attracts the attention first. (As by the way the doubled letters always play an important role in Italian language.) But also other letters as the ‘D’ have particular curve treatment to keep the sign more compact and add a specific italic character to it. During the design of those obviously important letters I also insert many others that have a certain importance for the appearance and over all feeling of a typeface. Spaces are evaluated also in dependence on combinations that may not appear in a lettering, at all.
In a way my way of working is to do a lettering when I am doing a typeface, and doing a typeface when I make a lettering.
 ]]>

Some screenshots of a development of a Trussardi lettering suggestion. During my collaboration for Trussardi’s stationery I did just for fun some experiments using Urbino typeface for a fine Renaissance orientated brand lettering that could renounce the application of the classic houses’ greyhound symbol. You may note that Bézier curves on the outer lines are kept slanted avoiding to re-construct them in the usual maximal point way. This keeps the letters more dynamic and sober. Bowls were constructed by copying different letters’ parts into glyph window during the drawing. A special focus was on the letter ‘S’ as it is doubled in the logo and attracts the attention first. (As by the way the doubled letters always play an important role in Italian language.) But also other letters as the ‘D’ have particular curve treatment to keep the sign more compact and add a specific italic character to it. During the design of those obviously important letters I also insert many others that have a certain importance for the appearance and over all feeling of a typeface. Spaces are evaluated also in dependence on combinations that may not appear in a lettering, at all.
In a way my way of working is to do a lettering when I am doing a typeface, and doing a typeface when I make a lettering.
 ]]> https://frammenti.stefanseifert.com/2016/12/urbino-for-trussardi/feed/ 0 Trussardi Stationery https://frammenti.stefanseifert.com/typeface/trussardi-stationery/ https://frammenti.stefanseifert.com/typeface/trussardi-stationery/#respond Tue, 24 Nov 2015 14:39:02 +0000 https://northeme.com/demo/secret-new-mad/?post_type=nor-portfolio&p=144

Part of my work on the Trussardi S.p.A. stationery supervised by Vogue Italy art director Luca Stoppini was the detailed elaboration of a customized typeface for the traditional Italian fashion griffe. At its base was the Garamond Light of American Type Foundry Font Bureau. A rare in use classic Garamond typeface with extremely delicate treatment of stem and hairline contrast which made it particularly interesting for the overall fine graphic concept. It was also used for the various logotypes of the house together with the Levriero [greyhound] symbol. Credits: Luca Stoppini | Logotype Design]]>

Part of my work on the Trussardi S.p.A. stationery supervised by Vogue Italy art director Luca Stoppini was the detailed elaboration of a customized typeface for the traditional Italian fashion griffe. At its base was the Garamond Light of American Type Foundry Font Bureau. A rare in use classic Garamond typeface with extremely delicate treatment of stem and hairline contrast which made it particularly interesting for the overall fine graphic concept. It was also used for the various logotypes of the house together with the Levriero [greyhound] symbol. Credits: Luca Stoppini | Logotype Design]]> https://frammenti.stefanseifert.com/typeface/trussardi-stationery/feed/ 0