It’s a legitimate text face straddling the Transitional and Modern classifications, but it has a sway and subtle (mostly optional) ornamentation that reveals Rushton’s penchant for lettering. Unlike the two faces above, Marcia, the debut from junior Font Bureau designer Victoria Rushton, doesn’t fit in any common category. Each font still offers access to all three styles through the stylistic alt OpenType feature, which is handy. These are not really separate typefaces, but rather one family with a few alternate glyphs - as you can see in Identifont’s Differences tool - but Dalton Maag is cleverly handling the common problem of customer ignorance about these alternates by splitting them into separate fonts. Its three subfamilies also offer an interesting mix of possibilities, ranging from strictly geometric like Futura ( Mk1) to more humanist like Avenir ( Mk3), with one variant sitting between ( Mk2). Objektiv fits in this category, but its ends are just shy of being vertical. The trend really caught fire in the last couple years, but it was probably ignited in 2012–13 with Metric, Geometria, and Equip. In this genre, curves don’t end “naturally” with the cut perpendicular to the stroke (like Futura), nor parallel to the baseline (like Avant Garde), but vertically. And within that class a popular subclass has arisen: those with vertically sheared terminals. You can see these decisions illustrated nicely on the Acumin specimen site which documents a lot of good history about predecessors in the genre as well.Īnother class that has seen a lot of attention from foundries recently is the Geometric Sans. Proportions are optimized for text more than posters and logos. Letter widths lean toward the classical, not rational and uniform. This is reflected in Acumin which takes most of its cues from Univers rather than Helvetica. Adobe’s Principal Designer is much more a man of the Renaissance period than Swiss Modernism. There’s also something intriging about Robert Slimbach working in a style that is clearly not his comfort zone. That’s a fair gripe - the Neo-Grot has been done to death over the last decade - but it’s wise to remember that release dates don’t always reflect design dates: It’s said Acumin was in the works for nearly eight years. It acommodates a very real void in the Adobe Originals collection: the Neo-Grotesque Sans Serif, but the cynical observer might just call it “another Helvetica”. Let’s think about designing one this year.” Lately, as the libraries of these foundries grow and the number of unique possibilities gets ever smaller, it seems those holes have shrunk from classifications to subclasses.Ĭase in point: Acumin. Most foundries, no matter how original their work, have always sought to fill holes in their libraries. Stephen Coles gives his take on the most interesting recent additions. Most of these are recent releases, and some are simply new acquisitions from foundries who were not yet represented on our site. We add hundreds of fonts to the Identifont database every month.
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