Type News: Ayran

O tryptophan, o tryptophan! How mellowing your impact! It’s Thanksgiving weekend in the United States. Let’s kick back and enjoy the company of old friends and new type.

Christoph “Typefacts” Koeberlin kicks things off with Libero—his free, numerals-only face that’s perfectly suited for Fußball jerseys (or whatever those other sports are wearing these days).

Still hot on the Nebiolo trail, Canada Type resurrects yet another classic. This time around they’ve tackled Paganini, Alessandro Butti’s 1928 Italianate display face. Old style text forms meet ornamented titling type—including a “super-seductive” engraved style.

What would happen if a gothic fraktur hooked up with some sexy, ultra black display type? You might just end up with a jovially plump, brush-ish script like Sutturah. This surprising departure from Rosetta is pleasantly packed full of delicious alternates and swashes.

The Lost Type Co-op is pleased to proffer James Edmondson’s third contribution to their communal foundry. Lavanderia is based on the hand-lettered Laundromat windows spotted in and around San Francisco’s Mission District. With a trio of weights, this delicately condensed script features hundreds of ligatures and an impressive number of OpenType features. Frankly, it’s an unexpectedly high quality package for what’s essentially a “name your own price” typeface. Mr Edmondson also takes us on a tour of Lavanderia’s roots and his creative process.

We simply can’t classify Wolfgang Homola’s Soleil as just another clean, static sans. Asymmetrical counters, a robust x-height, and subtle optical adjustments amidst the geometry provide a certain freshness and fluidity throughout the six weights.

Starting with a Speedball nib, Laura Worthington fashioned Shelby—a natural, monoline script with just a hint of modulation. The semi-connected forms and a bouncy, natural lilt are friendly and approachable. Toss in some OpenType sass and a handful of handcrafted ornaments, and dear Ms Worthington has another unassuming hit on her hands.

Elegant, clean, refined. Vanitas has it covered—with the contrast and chiseled detailing of a didone, the structure of a titling sans, and nary a hairline serif in sight. This four style fashion plate from Reserves is couture, without being cloying.

By his own admission, Dan Sayer is “not a type designer” — however, he is an experimentalist. It was this noodling around and his inherent fascination with typography that lead him to create Avería — The Average Font. By visually interpolating over 700 typefaces that were installed on his laptop, Dan squeezed out a series of multi-style families that are “just your average fonts” — literally and stylistically. Even though the process behind its development is far more interesting than its contrived aesthetic, Sayer recently updated his original project with sans and serif subfamilies.

Scrumptious! For dessert, how about a fat slice of this week’s news:

It’s almost December. Apparently people like to buy things around this time of year; here are a few type-related things that might make it onto your list:

Finally, we are saddened by the unexpected death of Hans Reichel. He’ll be missed.

And that brings us to the end of ths week’s Type News. Don’t be a stranger!

Thanks to Grant Hutchinson for carving this week’s new type.

 

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