The Edit: five projects including VEDIA DESIGN and Antton Ugarte's identity for Digerolamo

Each and every day, we're lucky to discover dozens of interesting and inspiring projects from around the world. From global identities and campaigns to side projects and independently published books, The Edit is home to five of them; every two weeks. Born from three generations of leather craftsmanship, Digerolamo is a Florence-based leather accessories brand that produces handcrafted bags in a variety of colours. Commissioned to redesign its identity, packaging and website, Bilbao-based duo Clara Briones Vedia of VEDIA DESIGN and Antton Ugarte, as well as web designer and developer Hermes Grau, teamed up to produce a graphic language inspired by the brand’s history. At the forefront of their solution is the pairing of two contrasting typefaces; Greed, a narrow sans serif from Displaay Type Foundry; and Sometimes Times, a 90s-inspired serif from Boulevard LAB. The couple combine both individually and together within Digerolamo’s wordmark; resulting in an elegant aesthetic that feels as vintage as it does contemporary. The typefaces are backdropped by a series of geometric graphic shapes – a choice derived from the rounded shape of the brand’s handmade bags. After years of coding her own website and selling her typefaces via email, French graphic and type designer Margot Lévêque teamed up with Munich-based web developer Carlos Mayo to officially launch her own type foundry. As well as housing a selection of her freelance work, the website is home to her growing library of typefaces, including Romie – an elegant display serif inspired by calligraphy. Speaking to us about the challenges of launching a foundry, Lévêque proclaims that “designing a typeface is the easiest part!” and that figuring out the licensing, pricing and protection is where it really gets difficult. “There are many steps before releasing a foundry,” she tells us, “I searched by myself and finally succeeded step-by-step to find answers;” finally having an end product after nine months of hard work. With no fixed plans for the future, Lévêque explains that she would much rather build “a small, simple and well-mastered catalogue that feels like me” and avoid becoming “a foundry with a LOT of typefaces.”