Rough: New Caledonia and Brown Gothic

Today we take a look at a pair of faces that together introduce a bit of additional texture to the compositions they create. William Addison Dwiggins’s New Caledonia (digitized by Alex Kaczun), and Nick Shinn’s Brown Gothic.

New-Caledonia-and-Brown-Gothic-1 New-Caledonia-and-Brown-Gothic-2
Looking closely at Brown Gothic, you’ll notice the subtle swelling of the strokes at each form’s ends and corners. This light distressing, as its designer calls it, serves both to mimic the impression of metal type—and thus hint at a specific period, and to unify and flavor the face’s overall color. New Caledonia offers a distinctive variation from the norm in terms of texture as well, but not by recreating digitally the effects of analog production. The design’s roughness instead comes from a careful variation of contrast, character gesture and proportion. Together the two fill in for each other and suggest very strongly the typographic texture common to American books and magazines of the 1950s and 60s.
New-Caledonia-and-Brown-Gothic-3 New-Caledonia-and-Brown-Gothic-4 New-Caledonia-and-Brown-Gothic-5That’s it. Great Pairs continues here each Wednesday.

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