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When Vier5 turn their gimlet eye to the subtitles used in cinema, the result is SVT, a spectacularly subtle font
origina… read more
When Vier5 turn their gimlet eye to the subtitles used in cinema, the result is SVT, a spectacularly subtle font originally designed for the Centre d'art Contemporain de Brétigny in France. Boxy and light, this no-frills typeface is about communication in its clearest form.
Grounded on the classical notion of design, Paris-based Vier5 focuses on applying new, up-to-date fonts. They aim to replace visual empty phrases with individual creative statements tailored specifically for the client and medium used. "Design is the possibility of drafting and creating new, forward-looking images in the field of visual communication," Achim Reichert, one-half of the design collective, says of his work. Read more in this (very brief) interview with the artist below.
Grounded on the classical notion of design, Paris-based Vier5 focuses on applying new, up-to-date fonts. They aim to replace visual empty phrases with individual creative statements tailored specifically for the client and medium used. "Design is the possibility of drafting and creating new, forward-looking images in the field of visual communication," Achim Reichert, one-half of the design collective, says of his work. Read more in this (very brief) interview with the artist below.
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About the Designer Vier5
Marco Fiedler and Achim Reichert from Paris-based design team Vier5 seeks tp explore the possibilities of creating what
… read more
Marco Fiedler and Achim Reichert from Paris-based design team Vier5 seeks tp explore the possibilities of creating what they call "new forward-looking images in the field of visual communication". Adamant about developing and applying cutting-edge typography, their unique letterforms have a carefree and often inconsistent form that often looks hand-drawn or have a strong geometric element that is atypical in classic typography.
Many look hand-drawn, scribble-like and others are pixilated or have a strong geometric element but essentially, they possess a disproportionate and slightly off-balance form that is atypical in classic typography.
Vier5 are not your average design collective. They also publish the independent fashion, photography, graphic design, and art magazine Fairy Tale (FT) and run their own fashion label Vier5fashion department.
www.vier5.de
More fonts by Vier5
Many look hand-drawn, scribble-like and others are pixilated or have a strong geometric element but essentially, they possess a disproportionate and slightly off-balance form that is atypical in classic typography.
Vier5 are not your average design collective. They also publish the independent fashion, photography, graphic design, and art magazine Fairy Tale (FT) and run their own fashion label Vier5fashion department.
www.vier5.de
More fonts by Vier5
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Interview with Vier5
A short description about the font:
There is no description from needed. The character is visible. It was origin… read more
There is no description from needed. The character is visible. It was origin… read more
A short description about the font:
There is no description from needed. The character is visible. It was originally designed for different posters for Centre d'art Contemporain de Brétigny/France.
What was the main idea behind designing the font?
The lettering for subtitles in cinema, i.e. English or Armenian films.
How would you characterize your style?
No Style.
How did you come up with the name of the font?
SVT stands for S.V.T., an incorrectly-remembered name of a Parisian company for subtitling.
What inspires you?
Nothing.
Which is the bigger challenge: working on your own personal project or for a client with a strict briefing?
These opposite realities do not exist.
What is the ideal usage of your font?
Ideal use will always take place in future projects.
How would you describe the state your handwriting is in?
It works in a certain way.
Where does the font end, where does the image begin? Is there a line to draw?
It depends on how the viewing takes place. Texts in smaller caps are already seen and processed from images to content, big headlines with uncommon silhouettes have to be read letter by letter before understanding.
Your future plans/projects?
Are in the future.
There is no description from needed. The character is visible. It was originally designed for different posters for Centre d'art Contemporain de Brétigny/France.
What was the main idea behind designing the font?
The lettering for subtitles in cinema, i.e. English or Armenian films.
How would you characterize your style?
No Style.
How did you come up with the name of the font?
SVT stands for S.V.T., an incorrectly-remembered name of a Parisian company for subtitling.
What inspires you?
Nothing.
Which is the bigger challenge: working on your own personal project or for a client with a strict briefing?
These opposite realities do not exist.
What is the ideal usage of your font?
Ideal use will always take place in future projects.
How would you describe the state your handwriting is in?
It works in a certain way.
Where does the font end, where does the image begin? Is there a line to draw?
It depends on how the viewing takes place. Texts in smaller caps are already seen and processed from images to content, big headlines with uncommon silhouettes have to be read letter by letter before understanding.
Your future plans/projects?
Are in the future.