Vesta’s stroke terminals taper almost to a point where they join main strokes. This gives a sparkle and liveliness to the letters when they’re set large, and makes them especially easy to distinguish when set in text sizes. In addition, Vesta has slightly narrower proportions than most sans serif typefaces, making it space economical
Three years after designing Vesta, Unger expanded the family’s versatility by drawing the Big Vesta™ suite of typefaces specifically for use at large sizes. “Big Vesta has a larger x-height than Vesta,” says Unger, “in addition to shortened ascenders and descenders, and tighter letter spacing.” Big Vesta is ideal for typography in headlines, banners and billboards and environmental graphics.
Both Vesta and Big Vesta receive high marks for legibility, thanks to their open letterforms, large counters and horizontal stress. The family’s remarkable readability is testimony to Unger’s design sensibilities.
Most of Unger’s designs were developed primarily for periodicals and publications; therefore, the typefaces perform with grace and ease in almost any environment where clear, inviting copy is required. Vesta and Big Vesta are no exception.
Unger originally licensed the Vesta and Big Vesta fonts from his personal website. Early in 2011, however, he decided that offering Vesta fonts through the Linotype® library would make them available to a wider audience of graphic communicators.