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ITC New Veljovic®

By ITC

Jovica Veljovic
ITC
Linotype

The ITC New Veljović® family is significantly enlarged from the original design’s size and numerous refinements have been introduced to create a suite of faces ideally suited to both print and digital imaging. Its extended international character set and collections of alternate glyphs enable a deep, rich and wide range of typographic uses.

“When I first designed the ITC Veljović family I wanted to make it larger,” explains Veljović, “but the phototypesetting technology of the time dictated just four basic weights. In addition, the separate designs for text and display projects that I envisioned would have been very problematic for those who made and used fonts.”

The ITC New Veljović family has been enlarged to five weights of regular and condensed designs optimized for text copy, and an additional collection of “display” designs that are ideal for larger sizes. Each roman design also has a complementary italic counterpart.

With over three decades experience as a type designer, Jovica Veljović’s career dates back to when type was set by photo, rather than digital, technology. He submitted his first design to International Typeface Corporation (ITC) in 1982, and it was released in 1984, bearing his name. The ITC Veljović family was followed by the ITC Esprit™ and ITC Gamma™ designs. His later releases include the Ex Ponto®, Silentium®, and Sava® families. Recently Veljović has designed the Libelle™, Agmena™ and Veljovic Script™ typefaces for the Linotype Library. When asked about the differences between designing typefaces for phototype and digital technologies, Veljović observes, “Today we have larger characters sets to contend with, but we also have better overall control of the design and character spacing. This is the reason I re-designed ITC Esprit and now ITC Veljović. I had also become unhappy with the kerning and character fit – and I thought I could improve the overall design.” When not designing type, Veljović teaches typography and typeface design in Hamburg, Germany. He also fills his time as a typographer, calligrapher and book designer.
“ITC New Veljović has better character proportions, smoother curves – especially in the bolder weights – shorter and better balanced serifs, improved spacing and an extended kerning set,” Veljović explains. In addition, bowls were drawn fuller and characters narrowed slightly in the pursuit of text legibility and space economy. While the italic characters in the ITC New Veljović design are more refined and a closer complement to the roman designs than the original, a sensitive calligraphic vitality is maintained.
Where the original ITC Veljović family has to do double-duty, using the same design for both print and digital environments, the new design benefits from two versions. The regular or “text” designs have simpler shapes than the original, improving legibility in small sizes and allowing for less loss of character definition on digital screens. As a result, the ITC New Veljović family can be an ideal choice for applications as far-ranging as books and periodicals to traditional & mobile advertising.