After passing some ideas around the office, we’ve come up with our August picks:
Michael chooses Blossomy by Nicole & Petra Kapitza
“There’s nothing ornate or extravagant about the glyphs in Blossomy. The outlines represent true forms of leaves, flowers, stems, branches, and whole plants, even the pots they’re in. Blossomy is beautiful.”
David picks Gnosis by Gábor Kóthay
“This one turned up while digging through the FontBook App on Thursday. I like how the restriction of the design to monolinear forms seems to get at the essence of the letter.”
Meghan picks Agenda by Greg Thompson, after Edward Johnston.
“I dig humanist sanses and this one just has a little extra je ne sais quoi.”
Because we deal with type mostly on a psychological level, the unknown element that tips the scales in favor of a specific design can be difficult to pin down. Quite commonly the answer is simple.
On familiarity: Edward Johnston’s work for the London Underground answered a 1913 commission for a clear, modern type for transport signage. The face’s classical roman proportions themselves played off the familiarity of a roman inscriptional lettering style seen on signage produced by the Ministry of Works. Johnston’s pupil and contemporary Eric Gill famously explored the introduction of humanism to the sans in his similar Gill Sans.