Designed by Willy Wiegand and cut by Louis Hoell in 1911 for the Bremer Presse, Bremer Antiqua is an ambassador of the private press movement and its legacy. This is a tribute.
The uppercase and lowercase letters are more harmonized, and with their lowered vertical center, adapted broad nib contrast and altered proportions they are now more suitable for contemporary text settings. Details like assymmetrical serifs are emphasized, normal ones are elongated. There is also a monospaced version with the same characteristics currently in development – assessment pending.
Work in progress, available on request.
Plein is the result of an exploration into broad nib contrast. Its humanist style is rooted in calligraphic exercises with different tools like a flat brush or a broad nib pen. The result is a modest sans serif with angular stroke endings and open letterforms. Covering the designspace between Light and Bold, as well as Italics, Plein is a perfectly restrained companion for everything from signage to longer reading experiences.
Available at fontstore.com
Rowan roots in the urge of wanting to learn how to draw a legible typeface for immersive reading. Primarily, this typeface served as an integral teaching tool to learn as much as possible about all the different problems one encounters in the process of designing type. Three years and a lot of experience later, the basic range of Roman, Italic and Bold was revisited, extended and redrawn to form a fully-fledged family ranging from Light to Bold and matching Italics.
Available at fontstore.com
Picket is best used big. Comissioned to be a very narrow and approachable sans serif display typeface, this family ranges from Extralight to Bold. The low stroke contrast helps to emphasize the vertical rhythm eponymous of the design. Its tongue-in-cheek approach to vertical proportions manifests in an x-height on the verge of becoming too large and verticals lowered to the max in numerals and uppercase letters.
Available at fontstore.com
Designed by Willy Wiegand and cut by Louis Hoell in 1911 for the Bremer Presse, Bremer Antiqua is an ambassador of the private press movement and its legacy. This is a tribute.
The uppercase and lowercase letters are more harmonized, and with their lowered vertical center, adapted broad nib contrast and altered proportions they are now more suitable for contemporary text settings. Details like assymmetrical serifs are emphasized, normal ones are elongated. There is also a monospaced version with the same characteristics currently in development – assessment pending.
Work in progress, available on request.
Plein is the result of an exploration into broad nib contrast. Its humanist style is rooted in calligraphic exercises with different tools like a flat brush or a broad nib pen. The result is a modest sans serif with angular stroke endings and open letterforms. Covering the designspace between Light and Bold, as well as Italics, Plein is a perfectly restrained companion for everything from signage to longer reading experiences.
Rowan roots in the urge of wanting to learn how to draw a legible typeface for immersive reading. Primarily, this typeface served as an integral teaching tool to learn as much as possible about all the different problems one encounters in the process of designing type. Three years and a lot of experience later, the basic range of Roman, Italic and Bold was revisited, extended and redrawn to form a fully-fledged family ranging from Light to Bold and matching Italics.
Picket is best used big. Comissioned to be a very narrow and approachable sans serif display typeface, this family ranges from Extralight to Bold. The low stroke contrast helps to emphasize the vertical rhythm eponymous of the design. Its tongue-in-cheek approach to vertical proportions manifests in an x-height on the verge of becoming too large and verticals lowered to the max in numerals and uppercase letters.
Available at fontstore.com