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With wide bridges and clever strokes, Ano Stencil enlivens the page, instantly assembling into a fun and informal pattern. Take whatever visual connotations the stencil genre holds – impermanence, necessity, urgency – this face plays up the best qualities of each.
Eduardo Manso expands his popular Geogrotesque family by an additional two widths, all seven weights now available in Compressed and Extra Compressed. The softened draftsman sans covers an interesting range between the more severe tech sans genre and the familiar neo-grotesques of the mid-twentieth century.
This contemporary Venetian gives the typographer a strong calligraphic base for building typographic systems in books, café menus, and packaging. Its linear forms and long extenders suggest the work of Nicolas Jenson, while its harmonized proportions and sensuous italic curves are all its own.
In Laura Varsky’s latest collaboration with Alejandro Paul, she explores the tone of a flowing, mixed-construction script written with a pointed pen. Its expressive lines and inky texture create a distinctive and instantly recognizable personality. The family includes a set of interchangeable pattern blocks.
Taking stylistic cues from type made to function at micro sizes, as Capo’s horizontal strokes meet its stems, they taper sharply. Though exaggerated, Capo isn’t just a conspicuous display face – it’s also marvelously legible at text sizes. Comes in four weights with all the essentials.
Too sunny to pass for any of the numerous cool-toned sanses available, Graviola broadcasts a positive vibe with its curved diagonals and soft details. While its extreme weights work best for display, its interior styles are well suited to setting text. Eight full weights including italics.
Topping off Wolfgang Homola’s Soleil family is this dazzling contrivance, a set of impossible, Escheresque capitals made for flat – or layered chromatic setting. Comes with figures, punctuation, and an extensive set of symbols. Similar faces include Macula and Frustro.
David Sudweeks interviews type historian, writer, and fellow FontShop editor Ferdinand Ulrich on how he landed the job of organizing Erik Spiekermann’s private design collection, what he’s got out of teaching, and what new ambitious project he’s got in the works.
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