Lonny gets a fresh coat of paint

Like many designers do, we take our work and hold it like a baby. We coddle it in our hands and watch it grow. In this case, our baby (Lonny) has grown out of its old clothes. We needed to get new ones.

As you may have noticed in the latest issue, we’ve done a little redecorating. We’ve shifted from whimsical to a bit more sophisticated. The changes were subtle, but those “little things” can make a big impact (like painting walls a different color).

Here are just a few:

The section headers and titles have been simplified, to focus on the products and photos.

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Our main font changed from TS Bernstein Bold to Geo Sans Light These two fonts are very different. Bernstein is a thicker, wider serif font that appears very friendly and comforting—like Grandma’s quilt. Geo Sans Light is a variation on Futura, a classic font developed in 1927 that is used pretty much everywhere. (If LV uses it, I suppose we’re in good company.) Many of you probably already have it on your computer. Futura is clean, geometric, and modern. It’s so versatile you can use it with a Jonathan Adler rug or a Moroccan lantern.

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We changed from MVB Emmascript to Natural Script. Emmascript has great thick lines, which had ridges to simulate cotton bond paper. It was a bit hard to read, and just wasn’t as chic to go with our new look. I finally found Natural Script, which reads well even at small font sizes.

We changed from bright, vibrant colors to muted, chic tones; various shades of gray and pale oranges and slate blues. Each story still has a personal color, but just a softer, richer feel.

I always make an effort not to use a font for more than one feature story, so in my future posts, I’ll let you know what great fonts I’ve found. Meanwhile,  here’s what’s featured in this issue.

Cath Kidston: Bolero. It kind of reminds me of ‘70s album cover type—like Crystal Gayle or Chicago.

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Rachel Ashwell: Edwardian Script and Bohemia. I was looking for two fonts that appeared very British but still juxtaposed one another, since the title of the story, “Beginning Again,” is an oxymoron.

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Vicente Wolf: Caslon Open Face. Since Vicente travels often, I was inspired to use old maps as a reference.

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Ben Brougham: Bodoni Classic Swashes. I was inspired by Ben’s classic yet playful style. It’s almost ‘60s British haberdashery-like.

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Sarah Winslow: Mrs Saint-Delafield. I wanted a modern take on a more classic script. I found this great font from Sudtipos, which makes fantastic script fonts.

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Callie Jenschke: Neue Hammer Unziale. I wanted an ethnic font, without going over the top. It reminds me of a legible Sanskrit.

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Posted by: Michelle Roque

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