![]() Warbler’s attempts to channel the last gasps of pre-Industrial typographic style in Britain, before advertising and mass-market ephemera transformed the design landscape. They turn up the volume on a typeface and amplify its features-a caricature of the Roman whose entire purpose is to stick out. Bolds, on the other hand, tend to be brash. A Bold certainly comes in handy!īut here’s the problem: As I discussed in previous mailings, what I appreciate most about Warbler-and the types William Martin cut for William Bulmer before it-is its quiet, delicate touch, and the quiet, delicate And in turn, more complex typography calls for more complex type families. Roman, Italic, and Small Caps might be enough to typeset a traditional start-to-finish book,īut a more complex document calls for more complex typography to guide the reader through it. Since I released Warbler Text in February, I’ve received more requests for Warbler Text Bold than for anything else. I tried to retain the clunkiness of these styles but without any grittiness I wasn’t going for a warts-and-all revival of early 20th century headline types like Alternate or Railroad Gothic. It can take an angry moment-“Why the heck is this still sitting around like this?”-to give them that final push out the door.īild imagines an alternate universe where an entire family is built around these straight-sided outliers. Many of my fonts sit around in a kind of mostly-complete-but can-I-really-call-it-finished? purgatory (for years, sometimes!). The typeface is named after the German word for “image” and was designed with a singular goal: to set a damn fine headline.įrustration can certainly grind things to a halt, but it can also serve as a fuel that propels projects through periods of doubt and uncertainty. ![]() Started in 2012 at the suggestion of Sam Berlow, Bild’s dense texture, narrow proportions, and straight-sided letterforms make it structured but not rigid. ![]() These weights are clunkier and narrower than the rest of the family, with echoes of Alternate Gothic and ATF Railroad Gothic. 20, outliers in Jackson Burke’s famous midcentury grot. The typeface is named after the German word for “image” and was designed with a singular goal: to set a damn fine headline.īild builds on the features of Trade Gothic Bold and Trade Gothic Condensed No. ![]() These can take the edge off of Pomfret’s super-high contrast and ensure that its hairlines never disappear. While the Micro isn’t quite as elegant as the original Banner style, it opens the door to useful interpolations between the two extremes. Pomfret’s new Micro size is sturdy, wide, and slabby-a big departure from the delicate, slender serifs of the original Banner style. I loved how they glimmered at the very largest of sizes, but they could be a headache-inducing liability in practically any other context. I drew the typeface with razor-thin hairlines, which turned out to be a double-edged sword. I began Pomfret after Roger Black encouraged me to seek inspiration in the work of Bertram Goodhue. Pomfret moves beyond its source material, adopting a more contemporary finish with discretionary ligatures, razor-thin hairlines, and restrained, bracketed serifs. The skeletons of the letters were initially inspired by the tightly-spaced capitals (especially the restrained R and K) found on his cover for The Knight Errant. After years of encouragement from Roger Black, I began the design as an homage to the work of Bertram Goodhue, famous as the architect of the Nebraska State Capitol as well as the typeface Cheltenham. Pomfret is a set of titling capitals with Arts & Crafts flair.
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