Posted by Jillian Kurvers on Friday, January 3, 2014 - 00:00
Thanks to typography experts Paul Shaw and Stephen Coles, our first Font Friday of 2014 is filled with some of the most interesting and engaging typefaces to emerge from foundries across the globe. Peruse the list Shaw and Coles have comprised and discover what we think makes them worth their weight in bold.
(Oh, and if you're wondering where the sample text comes from, think fictional band names from This Is Spinal Tap.)
What they say: "Historians of type used to speak of the goût hollandois (or Dutch taste) to describe 17th century types from the Netherlands. Trola is doubly a Dutch face. Not only does it have the characteristics of the goût hollandois style, but it also reflects modern trends in Dutch types."
Designer: Jordi Embodas
What they say: "Audree is an audacious design … [that] seeks to combine multiple lettering styles in one ginormous family. It incorporates Gerrit Noordzij's concepts of translation and expansion and adds to them with contrast (high and low) and decoration (stencil and inline)."
What we like about it: With 15 different serif styles, Audree plays to any occasion, less the mundane.
Designers: Nikola Djurek with Marko Hrastovec
3. Dala Moa
What they say: "Dala Moa is a spin-off of Dala Floda. [It] is not as gorgeous as its forebear – a face we've envied since its 2009 debut – but it feels more contemporary."
What we like about it: This sans serif stencil font has a fragmented look that takes its inspiration from eroded letters on stones. It's elegant even if it does bring to mind epitaphs and tombstones.
Designer: Paul Barnes
Publisher: Commercial Type
What they say: "Hip, young designers of the early 2010s have taken a strong liking to a subgenre of geometric sans serifs with a slight mechanical and unexpected quirkiness. LL Circular certainly sounds at first blush like it has the same pedigree as these trendy faces. But it has a maturity that distinguishes it from more amateur attempts."
What we like about it: Simple at first glance, Circular quickly morphs into a typeface with much greater depth. A font "dedicated to the pursuit of geometric purity," it feels more modern than sterile; more complex than ordinary.
Designer: Laurenz Brunner
What they say: "[Poster] swings its weight around as gracefully as a fat face can swing it. The whole family has a swagger that makes the other attempts feel rigid in comparison."
What we like about it: It's big and bold and can hold its own with size-specific variations that keep it readable and intact. When you need to go big, you have to go Poster.
Designer: Iñigo Jerez
What they say: "While it's not the most practical, Scripto may have the most soul. In an increasingly digital reality that continues to cry out for the handmade, Scripto brings a human touch."
What we like about it: This font has an energy about it that feels uncontrolled, like natural handwriting that's both urgent and imperfect, without losing legibility.
Designer: Franck Jalleau/Bureau Des Affaires Typographiques
Publisher: Bat Foundry