TYPE DESIGN INFORMATION PAGE last updated on Mon Oct 28 17:22:14 EDT 2024

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Constellation [Chester Jenkins]

Constellation is a creator and publisher of contemporary typefaces and is run by its two partners, Chester Jenkins (based in New York, born in Montreal) and Tracy Jenkins. They also feature typefaces by Magnus Rakeng, Patrick Giasson, Kris Sowersby, Rick Valicenti, and Jeremy Mickel. Constellation contains the main elements of the previous Village and Thirstype foundries. Typefaces including bespoke typefaces by Chester Jenkins:

• Aero (2011, Chester Jenkins and Jeremy Mickel). Based on Roger Excoffon's Antique Olive.
• Apex Sans (2003), Apex Serif (2003), Apex New (2005) and Apex Rounded (2010). All by Chester Jenkins. Apex Serif and Apex Sans were co-designed with Rick Valicenti.
• Apollo. A bespoke multiline typeface for the Apollo Theater.
• Arbor (2010). Arbor was originally commissioned by the New York Times magazine for use in their 2008 Hollywood special issue. The source was Rob Roy Kelly's book of woodtype samples, and the D and H from Caslon's Italian of the 1820s. An original representative of this Western genre.
• Barclays Center (2012). A bespoke athletic lettering and stencil family.
• Brooklyn (2013, a brutalist typeface) and Brooklyn Stencil (2013, an octagonal stencil). The original was commissioned in 2007 by Michael Bierut for a sports complex.
• The Cooper Hewitt Smithsonian Design Museum in New York City is giving away for free its bespoke house typeface, a sans designed in 2014 by Chester Jenkins. Even the original UFO files are made available.
• Cosmica (2018).
• Endzone Slab (+Condensed) and Endzone Sans (2017) are bespoke typeface done for the NFL.
• Galaxie Cassiopeia (2006). A round connected upright script. By Chester Jenkins.
• Galaxie Copernicus (2009). An interpretation of Christophe Plantin's Plantin (cut by Robert Granjon) and Frank Hinman Pierpont's Monotype revival of Plantin. By Chester Jenkins and Kris Sowersby.
• Indestructible Language (2006, with Mary Ellen Carroll): The Precipice Alliance, a non-profit corporation collaborating with artists to direct public attention to global warming, launched with this inaugural artwork by the contemporary artist Mary Ellen Carroll. This lettering was a collaboration with Ms. Carroll to design letterforms that could be rendered 8-feet tall in neon tubing. Each neon letter was to be placed, in a 900-foot-long installation, in the window bays of all five former American Can factory buildings in Jersey City, New Jersey to be exhibited from November 2006 to April 2007. The 8-foot high, carbon neutral neon letters were clearly visible (and legible) to drivers on both the Pulaski Skyway and the New Jersey Turnpike, and by planes heading to and from Newark International Airport.
• Maharam (ca. 2017). A bespoke Futura revival typeface for Maharam.
• A bespoke sans titling typeface for the NYC Opera.
• Galaxie Polaris, Galaxie Polaris Condensed (2004-2013). Two sans families by Chester Jenkins.
• Oz (1999). A round typeface family by Patrick Giasson. Designed as an homage to Oswald Cooper (whose nickname was Oz), whose Oswald Cooper inspired the fat shapes.
• Pink Sans, Pink Slab and Pink Outline are bespoke typefaces for Victoria's Secret Pink campaign.
• Radio (1998). A retro script family by Magnus Rakeng.
• Robledo Stencil. For Slanted Magazine.
• Sharpie Script. a bespoke script typeface for the identiy of Michael Kors.
• A revival of Frederic Goudy's lost Sherman type for Syracuse University with Michael Bierut and his team at Pentagram.
• For Snickers, Chester designer Chiat Day.

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INTERNAL LINKS
Commercial fonts (small outfits) ⦿ Type designers ⦿ Type designers ⦿ Stencil fonts ⦿ Wood Type ⦿ Brutalist typefaces ⦿ Octagonal typefaces ⦿ Western fonts ⦿ Type scene in New York ⦿ Type design in Quebec ⦿ Fashion mag typefaces ⦿ Corporate typefaces ⦿ Athletic lettering faces ⦿ Neon tube or faux neon typefaces ⦿