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An avid type designer for over 10 years, Critzla from the Berlin-based design collective Pfadfinderei has re-designed
th… read more
An avid type designer for over 10 years, Critzla from the Berlin-based design collective Pfadfinderei has re-designed the ‘Sprint’ font (originally designed by Aldo Novarese) to create a contemporary take of it. Starlet and Star are the perfect logo-maker and available in bold weights. Starlet, the more feminine looking of the two features rounded curves and Star, the masculine partner has a straight, leveled appearance which can be seen clearly in the x-heights with letters such as the ‘m’ and ‘n’.
Critzla is the designer of [::http://die-gestalten.de/fonts/detail/?id=be0db8100cc9278f010d56874825008b Flomaster] and [::http://die-gestalten.de/fonts/detail/?id=402881820693de75010693dea5a10063 Franz Jaeger] fonts also available at Gestalten Fonts.
Related Gestalten.tv Podcast
Pfadfinderei - Boy Scout, Meet Video
Critzla is the designer of [::http://die-gestalten.de/fonts/detail/?id=be0db8100cc9278f010d56874825008b Flomaster] and [::http://die-gestalten.de/fonts/detail/?id=402881820693de75010693dea5a10063 Franz Jaeger] fonts also available at Gestalten Fonts.
Related Gestalten.tv Podcast
Pfadfinderei - Boy Scout, Meet Video
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About the Designer Critzla
Critzla started off as a sign and poster painter in East Germany and launched his career as an independent designer i
… read moreCritzla started off as a sign and poster painter in East Germany and launched his career as an independent designer in 1994—deep-routed in the Berlin music scene—designing flyers, record sleeves, and posters, not to mention the first 12 issues Flyer, a magazine about Berlin’s club scene.Critzla is a founding member of Pfadfinderei, a graphic and motion design studio that doubles as one of the world’s most popular groups of VJs. Whether providing haunting visuals for Moderat or live VJing at the Louis Vuitton store opening in Paris with Pharell, Pfadfinderei have done for visuals what DJs did to music.
He’s also a type geek and a type designer himself. Critzla designed the typeface Localizer for the book of the same name—Gestalten’s first release—and many other fonts through Gestalten Fonts for which he’s a contributing editor since 2003.
More fonts by Critzla
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Interview with Critzla
A short description about you and or the company you work for (What kind of clients do you work for? ie.)
Pfadfi… read more
Pfadfi… read more
A short description about you and or the company you work for (What kind of clients do you work for? ie.)
Pfadfinderei is a collective of 7 designers, with complimentary skills and interests working for agencies as well as in the cultural world. We create classical prints, visuals, visual installations, sets and studio designs as well as fonts. Our main objective and goal is to cope with big tasks together. We’re also a VJ collective and have worked internationally for the last 8 years and performed in China, Japan, America and all over Europe.
What is your direction in graphic design? How would you characterize your style?
Sharp and vector orientated design with no filters, no effects, no sampling and reduced to the max. I used to work as a graphic designer in print and now I’ve moved more and more in to motion graphics, but typography is my passion.
Place of work
Berlin, Europe and Worldwide
A short description about the font
It’s beautiful, handsome, androgynous and an instant logo-maker.
How did you come up with the name of the font?
I wanted to have a real catchy name, nothing too profound, but a name that had both a feminine and masculine character. So came the name, Starlet and Star.
Why did you design this font and what was your inspiration?
Starlet and Star is actually redrawn from the original version “Sprint” by Aldo Novarese. I found the basic form of the original version to have a nice flow but an inharmonic rhythm. I felt that some of the letters had wrong elements and that it disturbed the whole concept. Even the capital letters didn’t seem perfect to me. But there was still something that fascinated my eye and it made me think that with a little correction, it could be a great font.
After working on it for a couple of years, to my surprise, in 2006 I discovered that the Aldo Novarese was the designer of the famous Eurostile font! With newfound respect, I delved into designing the perfect remake of Sprint.
What was this font intended for and what was the main idea behind designing the font?
Another inspiration was the mix of italic and script. It’s perfect for creating instant logos and it’s feminine characteristic makes it even more successful than my FF TradeMarker font released under FontShop in 1999. I tried to bring this ‘instant logo creating font concept’ into Starlet
As I finished Starlet, I felt that there were still too many classical elements. I started changing some signs to create a more modern and masculine alternative with a straighter flow and came up with Star.
What is the ideal usage of your font?
There’s a little story behind finishing the complete character set of this font. I applied the font for the first time for the logo of “Guitar Rig” for Native Instruments. Two years later, NI came back to me asking me if they could use the font for “Guitar Rig” to illustrate the names of other products. But at this time, there was no real font, only the lower case letters existed. The capital “G” and “R” was designed for that logo in particular. With a 6 month exclusivity deal, they finally gave me the task to design the caps and figures of all the signs. Now the 6 month period is over and Starlet and Star are ready to enter the world.
Do you think that too many fonts exist?
The beginning is the end is the beginning...
Your future plans?
Create light versions from both.
Pfadfinderei is a collective of 7 designers, with complimentary skills and interests working for agencies as well as in the cultural world. We create classical prints, visuals, visual installations, sets and studio designs as well as fonts. Our main objective and goal is to cope with big tasks together. We’re also a VJ collective and have worked internationally for the last 8 years and performed in China, Japan, America and all over Europe.
What is your direction in graphic design? How would you characterize your style?
Sharp and vector orientated design with no filters, no effects, no sampling and reduced to the max. I used to work as a graphic designer in print and now I’ve moved more and more in to motion graphics, but typography is my passion.
Place of work
Berlin, Europe and Worldwide
A short description about the font
It’s beautiful, handsome, androgynous and an instant logo-maker.
How did you come up with the name of the font?
I wanted to have a real catchy name, nothing too profound, but a name that had both a feminine and masculine character. So came the name, Starlet and Star.
Why did you design this font and what was your inspiration?
Starlet and Star is actually redrawn from the original version “Sprint” by Aldo Novarese. I found the basic form of the original version to have a nice flow but an inharmonic rhythm. I felt that some of the letters had wrong elements and that it disturbed the whole concept. Even the capital letters didn’t seem perfect to me. But there was still something that fascinated my eye and it made me think that with a little correction, it could be a great font.
After working on it for a couple of years, to my surprise, in 2006 I discovered that the Aldo Novarese was the designer of the famous Eurostile font! With newfound respect, I delved into designing the perfect remake of Sprint.
What was this font intended for and what was the main idea behind designing the font?
Another inspiration was the mix of italic and script. It’s perfect for creating instant logos and it’s feminine characteristic makes it even more successful than my FF TradeMarker font released under FontShop in 1999. I tried to bring this ‘instant logo creating font concept’ into Starlet
As I finished Starlet, I felt that there were still too many classical elements. I started changing some signs to create a more modern and masculine alternative with a straighter flow and came up with Star.
What is the ideal usage of your font?
There’s a little story behind finishing the complete character set of this font. I applied the font for the first time for the logo of “Guitar Rig” for Native Instruments. Two years later, NI came back to me asking me if they could use the font for “Guitar Rig” to illustrate the names of other products. But at this time, there was no real font, only the lower case letters existed. The capital “G” and “R” was designed for that logo in particular. With a 6 month exclusivity deal, they finally gave me the task to design the caps and figures of all the signs. Now the 6 month period is over and Starlet and Star are ready to enter the world.
Do you think that too many fonts exist?
The beginning is the end is the beginning...
Your future plans?
Create light versions from both.