Also, note the treatment of the mail symbol across different weights.Īnd for the three remaining people on earth who have yet to watch season two, episode six of Abstract: The Art of Design, you know what you have to do. ↥ Shapes & features rocking my proverbial boat: the angle of the link joining the upper and lower lobes of g, and how the lower counter takes a bite out of it. And they compliment the face beautifully. The symbols, then, are cut from the same cloth, share the same DNA - you get the point. This feature makes for a typeface which has a spring in its step, so to speak in contrast to the architectural stiffness of a Geometric Sans, for example. And it’s precisely this potential which imbues the forms with dynamism. When we apply pressure to a basketball or a spring, we expect them to snap back to their original state, to the status quo ante. WTF is oblateness, you ask? Think of standing on a basketball (don’t actually try this - it’s dangerous) the resulting shape is a compressed sphere or circle, one that bulges a little around the ‘equator’. ↥ Complimentary oblateness.įor example, one of Decimal’s design traits is the oblateness of its rounded letters. But here’s why it’s nice to have them included with the font: because when they’re done right, they look right, they share the same mien, belong to the same family, rather than the illegitimate offspring of a newsletter cobbled together in Microsoft Word 95 by Stan* and Dorothy in accounting. But aren’t there already dedicated symbol fonts? Sure, there are - and some good ones too.
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The Pro version of Decimal comes with 111 symbols. ↥ For optimal ocular and aural satisfaction, the above glyphs pair well with Handel. Outside of the alphabet and numerals, I’m especially fond of the eye symbol, the printer’s fist, and the section mark: The heavier weights of the capital G are especially lovely with that gorgeous underbite in the lowercase g, I like the angle of the link (the stroke connecting the upper and lower lobes), and also love how the counter in the lower lobe takes a bite out of the link stroke. If I were to pick two favorite characters, then I’d go for the lower- and uppercase g. But designer and type-nerd extraordinaire, Jonathan Hoefler, noticed them ages ago, and has been thinking about them ever since. Now, you probably never gave much thought to the letterforms on wristwatch dials. Decimal was initially inspired by the lettering on watch faces. That’s quite enough preamble and so, without further ado, let me introduce you to Decimal, the latest typeface from the Hoefler&Co crew in New York.
They won’t be exhaustive deep dives, but simply aim to showcase good typefaces and outline my reasons for liking them. Mostly they’ll be of recent releases, but from time to time, as the fancy takes me, I might just delve into the archives and pull out something neglected or underrated.
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Talking of ‘deep dives’, if you haven’t already, then revel in Bethany Heck’s splendid Font Review Journal.Īnyway, this is the first in a new series of, I hope, monthly font reviews. To listen to them explain their craft and describe their font-making processes is like watching the child of zero-sugar parents eat its first candy bar. And good type designers relish those details.
Type designers take care of the details so that we aren’t unnecessarily distracted by them.
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