Notes

April’s font of the month: Roslindale Deck

Roslindale Deck is April’s installment of Font of the Month Club. As always, you can sign up for as little as $24!

So...I’m in a bit of a slump at the moment, creatively-speaking. And with everything going on in the world right now, I’m pretty sure I’m not alone.

I try not to get too worried about slumps; I’ve been working from home for over a decade, and I’m familiar with the way my productivity ebbs and flows. Usually, I find that the best way to deal with this kind of thing is to just keep working through it, focusing on tasks that are more time-consuming but less creatively-demanding so that I can still get things done as I try to find ways to refresh.

Right now, I’m in spring cleaning mode, revising and expanding some families that I’ve started but then left for too long. (I haven’t done a full-family release since January 2017, so it’s probably about time I get to work on some of this stuff!) And as part of that spring cleaning, I’m sending you one of the more recent additions to the Roslindale family: Roslindale Deck. It’s maybe not the most exciting Font of the Month I’ve ever sent out, but I hope it can make up for that by being a genuinely useful and usable addition to your font library. 

My work on Roslindale Deck began several months ago, when Stephen Coles used Roslindale Text for the body text of Typographica’s Favorite Typefaces of 2018 (a worthwhile read, by the way!). We thought that the text font looked nice and sturdy at smaller text sizes (say, 10–12pt or 14–16px), but started to look really clunky in the introductory paragraph that is set slightly larger (15pt or 20px). But this size is far too small for Roslindale Display, which is really optimized for headlines more than twice that size. The solution? Something in between.

Deck (or Dek) fonts have long been used by editorial designers for subheads and short summaries that sometimes appear directly below the headline of an article. They are optimized to cover the nebulous middle ground between text (extended reading at small sizes) and display (short bursts of reading at large sizes).

Roslindale Deck is narrower and tighter than Roslindale Text, with a higher contrast between thicks and thins. Most of my time was spent making small tweaks to the pre-existing Text and Display families until I was happy with the interpolations between them.

Deck optical sizes are still relatively rare outside of editorial design—something that I hope will change as variable fonts with an Optical Size axis become more widespread. Even though they may have started with a relatively specialized use in print newspapers and magazines, it seems to me that there are numerous use cases for medium-size-optimized fonts in contemporary typography, from the large text sizes used in many single-column blogs to blurbs, embedded tweets, and advertising copy.

The overly-complicated family map above shows how I am working to expand Roslindale’s irregularly-shaped designspace. The goal of having a family that travels across weight, width, and optical size (also with italics!), but without widths or weights that I don’t feel are necessary. If you have the Roslindale Display and Roslindale Text back issues already, I’m happy to send you a demo variable font if you want to try it out.

As far as that slump goes, one of the other things I try to do is to focus my creative energies elsewhere for a little while. And right now, that elsewhere is the mandolin, which I have been learning how to play over the past year—I’m taking lessons, even now, via video chat. I’m still pretty bad at playing it, but at least I have my future album cover taken care of! 😜

March’s font of the month: Dattilo DJR Expansion

One of the most common questions I get about Font of the Month Club is, “Do you actually start and finish every font within the span of a single month?”

The answer, of course, is no. Instead, I’m constantly juggling a bunch of projects in the air at once. Some are mere ideas with a few glyphs sketched, while others are nearly complete but in need of some polish. Then, it’s just a matter of choosing something that I think I can whip into shape by month’s end.

I’ve always had a hard time looking at the same font week in and week out, so I love being able to bounce back and forth between different projects. When I return to a font after some time away, I get to see my work with fresh eyes, and I do my best not to forget where I left off.

Dattilo DJR is one of several projects that I’ve left in the air for way too long. I sent you its lightest weight fifteen months ago, and I’ve hardly touched the family since...until now. 😉

Dattilo DJR is a revival of Dattilo, designed by a committee of prominent Italian designers and released in the early 70s by the Nebiolo foundry. I think of it as the slab serif cousin of Forma, which I digitized under the art direction of Roger Black and released in 2016.

This month I’m sending you a beta variable font that covers the heavier end of the Dattilo designspace, as well as four static weights: Regular, Medium, Bold, and Black.

This “Banner” cut of Dattilo DJR is spaced for large display settings, leaning in to the tight-but-not-touching ethos typical of display type in the early 70s. I tried to keep the essential shapes true to the original, and then drew them with rounded corners and slightly-tapering serifs to keep them the same imperfect, ink-blotted world as my digital Forma.

In many ways, the slab serifs turn Dattilo into a much more specific design than Forma is. With a higher contrast of thick and thin strokes, its heaviest weights are perhaps the most individualistic of all. While many contemporary typefaces in this style would warrant a “measure twice, cut once” mentality, I tried to trust my eye a bit more than my ruler in order to prevent the typeface from feeling too pristine or overly-manicured.

I am happy I finally found the time to return to this Dattilo revival, and I hope you find an interesting way to put it to use! (And don’t miss that alternate two-story a!)

Even today, it feels like something of a rarity to find a slab serif built on a neo-grotesque model (like Forma or Helvetica). It’s more organic than geometric; it’s more clean and soft than it is harsh or industrial. To me, it just feels like a breath of fresh air.

February’s font of the month: Megabase

Most typefaces strive to set text with an even color. Of course, by “color” I don’t mean red or blue or purple, but rather the “typographic color” that describes the overall texture and density of text on a page or screen. Essentially, even color is what enables a typeface to remain more-or-less consistent regardless of what words are being set.

If even color is the measure of a typeface’s success, then Megabase fails spectacularly. While the horizontal-stress fonts I’ve made in the past use their serifs to balance out the light and heavy parts of the letterforms, this month’s design has no serifs to fall back on.

I forced myself to embrace Megabase’s uneven color, allowing top-heavy, bottom-heavy, and diagonal forms to stick out like sore thumbs and interrupt the flow of reading. Some words will have unsightly gaps in them, and others will feel way too heavy. The overall texture is punctuated by black bands at irregular heights, like the music roll from a player piano.

Typeface designers have been trying to solve the puzzle of the horizontal-stress sans since the early days of sans-serif type; examples of “Italians” with the serifs removed go back as far as 1840. I love these 19th-century designs such as Gothic Bold (pictured above), and how clunky and uneven they dared to be.

The genre truly hit its stride in the late 1960s and early 1970s, taking on a new space-age resonance with typefaces such as Sintex, Strada, and Zipper. I don’t think I’m 100% satisfied with any of the individual faces from this era (except maybe Jackson), but I definitely sought to capture some of their funkiness in my interpretation.

Interest in the horizontal-stress sans continues to this day. Recent releases include Anouk, Maelstrom Sans, and Signal Compressed, and just the other week, we learned that Cheee began as an interpretation of Sintex.

I’m not entirely sure what I’m trying to do with Megabase, but I think I’m interested in synthesizing the lumbering unevenness of the 19th-century designs with the slick sci-fi curvature of the 20th-century ones.

While most faces in the genre compensate for their thick tops and bottoms by thinning out the middle strokes, Megabase lets all horizontals remain thick. And unlike its forbears, Megabase uses different thicknesses depending on how busy the letter is: T (one horizontal stroke) is thicker than C (two horizontal strokes), which in turn is thicker than E (three horizontal strokes). This sacrifices horizontal alignment between letters, but adds a nice little bounce as the eye travels across the different heights.

The most volatile part of the design is the diagonal strokes, which abruptly break up the system of thick tops and bottoms. The default diagonal forms follow the example of 19th-century designs, reversing the thick-thin contrast of the modern Roman. These thick vertical and diagonal strokes are super disruptive, but I like how they add a bit of chaos and energy.

I’ve also included several alternate sets to give you some control over this volatility. The round forms are more consistently horizontal, and have more of that 70s vibe. The wavy forms take that even further by echoing the designs of the Copacabana sidewalks and the MUNI worm logo. Meanwhile, the streamlined forms go in the other direction, introducing hard corners and asymmetry that feel a bit darker and more severe.

Before I sign off, I want to say thank you to Nick Sherman for coming up with the name Megabase, and André Mora for the helpful critique of the typeface.

I hope that you enjoy Megabase, and that it gives you an excuse to explore all of the other wacky and wonderful designs from this little corner of the typographic universe.

Megabase was supplemented by Megabase Open in October 2018 and is related to Megavolt and Megazoid.

January’s font of the month: Gimlet X-Ray

Gimlet X-Ray was January’s installment of Font of the Month Club. As always, you can sign up for as little as $24!

Recently I’ve been converting a lot of my older font families into the new(ish) variable font format...and for the most part, it has been pretty tedious work. It involves wrangling tons of disparate outlines in order to get them working together in a single designspace, where their point structures match and everything interpolates.

It is a tricky balance of family unity on one hand, and specificity and variety on the other. And it has forced me to think a lot about Bézier curves as a medium and how outline interpolation affects the way I design (for better and for worse).

Needing a break from working on Gimlet, I started experimenting with a variable color font that could showcase the internal mechanics of an outline as it transforms inside a variable font. The result is Gimlet X-Ray, a font that wears its insides on the outside.

A variable font this complex is feasible because of a recent OpenType enhancement that we don’t talk about enough: contours are now allowed to overlap.

Gimlet’s overlaps are exposed in Gimlet X-Ray. For example, you can see that the g is defined by one counterform and by three separate shapes. This allows each curve to transform independently from how it intersects with the others.

On top of that, Gimlet X-Ray has its own overlapping contours, with hundreds of thousands of independently-moving squares, circles, and lines. (Probably the hardest part of this project was the trigonometry that I had to re-learn in order to draw the angled handles...SOHCATOAH to the rescue!)

Gimlet X-Ray lets you explore the design across weight and width, and offers additional controls over the the size of the control points and the outline thickness.

As was the case with last month’s font, you can drag the fonts onto my Color Font Customizer, choose your own colors, and download a customized version of the font. Also included is Gimlet X-Ray SVG, which is not a variable font but will give you the colors in Adobe apps. And finally, I stuck a little DrawBot script that shows how you can use the OpenType Stylistic Sets to customize the color layers.

To see the color variable font in all its glory, Chris Lewis helped me put together a Gimlet X-Ray demo page where you can play with the color palettes and variations. I hope you find this to be a fun experiment! 🎨

December’s font of the month: Zenith Slab DJR

Zenith Slab DJR is December’s installment of Font of the Month Club. As always, you can sign up for as little as $24!

I’ve been taught to see a typeface as a kit of parts, a group of repeating elements that are the glue that holds the disparate shapes of our alphabet together. I always find it interesting to see what happens to that kit when a new part is added to the mix.

That’s exactly what I’ve done this month with Zenith Slab DJR. It’s a slab serif take on Zenith DJR, a set of Art Deco capitals based on a fire station inscription in Charlotte, North Carolina. This sans serif version was released in July 2017 as the third-ever font of the month.

Like the sans serif before it, Zenith Slab eschews traditional thick/thin models in favor of an Art Deco-inspired approach that allots a single heavy stem to each letter (popularized by Broadway). This unusual dynamic gives strings of text a distinctive rhythm, which is emphasized by the colorful inlines that lay within the heavy stems.

Zenith Slab adds distinctive angled vertical strokes to the mix, which completely transforms the tone of the typeface. While the sans serif is spare and a little stoic, the slab serif borders on playful. I let the vertical serifs to extend beyond the baseline and cap-height, and I think these little spurs add even more texture and flavor to the design.

This typeface may lack a lowercase, but it makes up for it with a plethora of other features.

Zenith comes with the fonts in two layerable weights, Regular (inline) and Bold (solid). In addition, I’m also including color fonts where the color information is stored within the font itself.

These color fonts are still a little experimental, and I’m hopeful that releasing more color fonts will lead to better support. Until palette customization is implemented, club members can drag the fonts onto my Color Font Customizer, choose their own colors, and download a customized version of the font. The “Color SVG” version is mainly for use in Adobe apps, which don’t support COLR/CPAL yet.

There are also nearly 200 alternate glyphs in Zenith Slab DJR, including an entire set of spurless serifs. There a bit less playful, but maybe more fashionable? Perhaps my favorite alternate set are the diagonals with “backwards” thick/thin contrast, which you can employ to tweak the thick/thin rhythm of your text. 

Like its sans serif counterpart, Zenith Slab supports basic Greek and Cyrillic in addition to the usual Latin alphabet. I love how the design’s triangular forms translate to the Greek Lambda (Λ) and Cyrillic De (Д).

I usually try to consult with native speakers when I work in these scripts, but I completely ran out of time this month. So yeah, let’s think of these as Beta, and your feedback is always welcome. 😅