Posts tagged fonts
It’s been fun watching Martina Flor’s Supernova script develop over the last year. Today it exploded at Typotheque where it was given the foundry’s typically thorough documentation. This charming illustration from the article explains that scripts rarely have extended families like text typefaces do.
“Through its compact and square lines, Eurostile efficiently expresses modernity and synthesizes the tendency towards a functionalism that solves many aesthetic problems and gives a modern and typical appearance to a printed page.
Its outline is already familiar and unconsciously present whenever we look at a television set, which recalls the typical shape of an “O”, this same impression we get looking at a series of windows of fast moving vehicles. When we look at modern buildings we get the impression of countless letters “H” assembled together. The square shape with narrow curved angles is a typical architectural expression of our times, much as the round arc was of the Roman period, which produced the inscriptional characters of the ogive arch of the Gothic style, which produced the medieval faces.”
Sudtipos is sure to have another hit with the new Storefront typeface, which reminds me a bit of one of my favorite signs: The Berghoff in Chicago. I hope my friend Alejandro Paul won’t mind a little dig, but I think there are some curves here and there that aren’t as smooth as they could be (see the ‘ho’ connection). Still, Ale is in a class of his own with these kinds of novelty script fonts.
Thanks to my smart and talented friends for participating in Typographica’s “Favorite Typefaces of 2011”.
This photofont is a collection of high resolution (21 x 29,7 cm - 300 dpi - cmyk) photoshop documents. Also available separately or words manually spaced by the Novo Typo designers.
Cadence, a pattern typeface by Jonathan Perez
This typeface is a revival of an ornamental metal type font, which comes from a French type specimen of the nineteenth century. I do not know who is the author of the original ornamental design. This work is not a strict revival of the original design: the main thing was to retain the strong aesthetic and conceptual bias, while making the system evolving, notably because of the evolution from metal typesetting to digital typesetting. Cadence is remarkable for its process of construction: contrary to a classic ornamental font combining a lot of simple geometric elements, this one combines a few number of highly-complex non-geometric elements.