Israeli designer Oded Ezer and I are very excited to announce Fit Hebrew, a Hebrew-language expansion that Oded drew for my typeface Fit.
Using my Latin version as a starting point, Oded adapted Fit’s rigid design to suit the needs of the Hebrew alphabet. Taking into account the squareness of the letterforms and the direction in which they open, Ezer sensitively applied Fit’s system of alternating curves and corners. And just as my Latin mixes uppercase and lowercase forms to take up more space, Fit Hebrew seamlessly mixes block and cursive forms. Ezer pushes Fit’s Hebrew alphabet to surprising extremes, making it an unforgettable and adaptable tool for titling and poster work.
But wait...there’s more! To celebrate Fit’s first birthday, I’m also giving away this poster of Fit’s Sator Square to all Fit licensees who want one. You can also purchase the poster separately for $15.
It’s hard to believe we are already halfway through January. Here’s a bit more on the design of Extraordinaire, this month’s font for the Font of the Month Club.
When I started my typeface Bungee in 2011, I originally drew its shade as a simple “pin-line” stroke. This turned out to be a lot more difficult than I anticipated; because the shade never touches the letterform, it was hard to know how to end the stroke or what to do when one disappeared behind a curve. In the end, I was never able to get this to feel right for Bungee, and eventually abandoned it in favor of a more conventional drop-shade. But I didn’t let go of the idea.
Bungee’s original pin-line shade
I figured that a single-stroke shade might work better with a single-stroke typeface, but there’s just one problem: hairlines can be kinda boring. So much of what I love about drawing type comes from the contrast of thick and thin, and a hairline has none of that.
So I looked to Art Deco, as practitioners of this style did a ton of weird, interesting stuff with the skeletons of letters. I confess I am a sucker for their high and low waists, exaggerated proportions, and letters like C and S that can get so narrow that they almost disappear.
I found the final piece of the puzzle just last month during a visit to São Paulo for the amazing DiaTipo conference. Wandering past beautiful Art Deco buildings in the city center, I kept seeing this diamond-shaped O appearing in the signage above the doorways. It dawned on me that a pin-line shade would never have to awkwardly disappear behind an O with pointy tops and bottoms, so it would always feel well-defined.
Signs I saw during my day wandering around São Paulo. Many more examples at Tipos Paulistanos.
Out of all this comes Extraordinaire, my proof-of-concept for a variable single-stroke shade. Not unlike my revival of Crayonette, its capitals descend below the baseline so that the small caps are vertically centered. The round endings of the strokes give the face a breezy, informal look that is distinct from the sharpness that I usually associate with Art Deco.
One last thing: Extraordinaire is meant to be used big. Super thin strokes can be tricky to work with and are always a challenge for printers and rendering engines. I hope that club members will take advantage of Extraordinaire’s adjustable weight and shade distance; by using its assortment of styles and/or its variable fonts, you can maintain a consistent stroke weight across different sizes, or layer multiple shades together to create a variety of dazzling effects.
Using Extraordinaire in Adobe Illustrator CC 2018
Managing hairline weight and shade complexity across multiple sizes
That’s all for January! If you aren’t already a member, I hope you’ll consider joining Font of the Month Club and putting this font to some extraordinary use!
The uncial script was a particularly interesting step in the evolution of the Latin alphabet. Characterized by round, open forms, some uncial letters resemble Roman capitals as we know them today, while others begin to lean towards the forms that would eventually become our lowercase.
While uncials date back to the fourth century, the inspiration for Klooster is much more recent. Flipping through a friend’s copy of the D. Giltay Veth’s 1950 book, Dutch Bookplates: A selection of modern woodcuts & wood engravings, I was struck by the expressive energy of the woodcut lettering, particularly in the uncial-esque ex-libris of A.J.E. van den Muijsenbergh.
A.J.E. van den Muijsenbergh, from Dutch Bookplates by D. Giltay Veth
Even though this typeface ended up looking pretty different from the bookplate that inspired it, I sought to capture a bit of that rawness and angularity in Klooster’s loose drawing style. I also gave the face a fair amount of width and bulk, which I think adds to its expressive potential. And it comes with an assortment of alternates, which you can utilize to fine-tune the placement of ascenders, descenders, and uncial forms in your text.
When designing this typeface, my imagined ideal use for it was on the packaging of a beer brewed by monks. So I dubbed it Klooster, the Dutch word for monastery. Klooster is the final Font of the Month Club installment for 2017, but I am already hard at work on a variety of projects for the coming year. Think about joining the club today!
Six months ago, I had the pleasure of sending a bold display cut of Roslindale to the fine members of the Font of the Month Club. This month, I followed up with Roslindale Text, designed specifically for extended reading.
Like its headline companion, Roslindale Text takes its inspiration from De Vinne, a Victorian oldstyle with heavily bracketed serifs and a distinctive diagonal stress. De Vinne was designed in the 1890s by Gustav Schroeder and Nicholas Werner of the Central Type Foundry, and was named for the famed nineteenth century printer Theodore Low De Vinne.
I didn’t see much precedent out there for Italics in the De Vinne style, so as a result Roslindale Text’s italic is mostly improvised. I probably could have done more research, but sometimes it is nice to just get drawing.
The trickiest part of this design was striking the right balance between utility and flavor. I didn’t want to distill all of the De Vinne-ness out of this design, but I knew it needed to be palatable in paragraphs. In addition to the italic, I also added small caps which are well-suited to the design’s Victorian charm. Overall, it is still very much a work in progress, but I feel like it is finally coming together.
Font of the Month Club has been mostly focused on display typography, and I hope that the members enjoyed this little departure into the realm of text. Roslindale’s original Condensed Display is still available as a back issue, so you can sign up today and get the whole family, either for yourself or as a gift for your favorite font aficionado!
