Category Archives: Countdown

FF Quixo

This is the first of a new series to count us up to the new year, adding one ornament per day.


We can only wonder how much longer the younger generations will recognize this icon from Frank Grießhammer’s FF Quixo as a telephone. The curly cord turns it into a playful ornament.

The Ornament Series is produced collaboratively by David Sudweeks and Yves Peters.


Here at the end of the year, we’re starting something new. Through the holidays, counting up to January 1, Yves Peters and I will be decorating this blog with ornaments – one per day. The good stuff, often tucked away at the bottom of the glyph palette, ornamental glyphs constitute an interesting area where type designers can play and experiment with contrasting typographic texture, where type can easily decouple from its associated meaning and serve as pure form.

The series will span faces that introduce a little something extra, say, a single fleuron or border set, to faces entirely decorative in nature. And we’ll also take on the symbolic ‘also functional’ category, dingbats, which we find underutilized and ripe graphic / textural material. (We’ll be taking a very inclusive approach to what one might consider ornaments.) That all starts Sunday. Until then, to the Americans and anyone else who observes it — Happy Thanksgiving. We’ll be closed over the holiday to spend time with our families.


The above sample is just a taste of the series, set in Jonathan Perez’s Cadence (background) and featuring a fleuron from Jim Parkinson’s redrawing of Dwiggins’s Electra.

The Ornament Series is produced collaboratively by David Sudweeks and Yves Peters.

Countdown: #%@$*!

I guess I’ll need to make those New Year’s Eve plans after all. Joining us in this moment of disbelief is some grawlix, set in Richard Lipton’s Miller Banner, a large optical size (one up from Display) of Miller.

#%@$*!, set in Miller Banner

Countdown: a

So here we are. The end of the Mayan calendar. Been nice knowing you. Left standing today is a, set in Hendrik Weber’s Edward, a rationalized, and geometrized humanist face based on the lettering Edward Johnston did for the London Underground, and the base from which Eric Gill worked when fitting the alphabet to a type system for British Monotype.

a, set in Edward

Countdown: B

If my reading of the Mayan Calendar is correct, (I actually don’t read Mayan by the way) we’re quickly approaching a hard stop. How will you spend your remaining day(s)? Making the most of today is B, set in David Berlow’s Titling Gothic Skyline Black. Skylines are faces that are generally extra-extra-compressed, causing their general contour to match that of a city full of tall buildings. The name of this particular font perhaps makes more sense seeing it in context of the rest of the Titling Gothic Skyline range, which is only a small subset of the extensive Titling Gothic family.

B, set in Titling Gothic Skyline Black

Countdown: C

End of the world here in about 48 hours. Making the most of today is C, set in Ramiro Espinoza’s Dulcinea, an original script face made for ornate display work.

C, set in Dulcinea

Countdown: D

Wasn’t there something about the earth coming into alignment with the plume of gas and dust created by the supermassive black hole that’s likely at the center of the Milky Way galaxy? No, that’s actually very unlikely. Though the world is set to end on Friday, I believe it is. Marking today off is D, set in Jim Parkinson’s Hotel, an inline sans reminiscent of old still-hanging city signage in San Francisco, and the surrounding neighborhood.

D, set in Hotel

Countdown: E

Our preparations for the end of the world ramp up today as we note how little time we have left. While getting our “So longs” in, we pause a moment with E, set in Michael Hochleitner’s Henriette, a type family inspired by the lettering on street signs of 1920s Vienna.

E, set in Henriette

Countdown: F

We’ve nearly run out of days. Reminding us how few days we have left is F, set in Edwin W. Shaar’s Futura Script, a monolinear commercial script likely named after Futura so it would sell.

F, set in Futura Script


Countdown: G

It won’t be long now. Today’s letter is G, set in Tim Ahrens and Shoko Mugikura’s JAF Domus Titling, a softened sans with Imperial Rome’s inscriptional letter proportions.

G, set in JAF Domus Titling


Countdown: H

End of the world blowout sale. Now ’til the end of the world. 100% off on all fonts you bill to your clients.* Client participation may vary. Get billing. Reminding us how few days we have left is H, set in Manolo Guerrero’s Optica, a design that plays on the mind’s intrinsic bent for pattern recognition.

H, set in Optica

*Pay the marked price for your FontShop order, then bill this amount to your client. FontShop is not responsible for clients who fail to pay before the end of the world.

Countdown: I

End of the world, etc..  Marking today is I, set in Hans Samuelson’s Lucy Samuels, a monolinear, stroke-based face for display work.

I , set in Lucy Samuels

Countdown: J

Twelve days ’til Christmas or something like that today—wait—nope. Only 10 days left.  Standing atop our twelve-shaped monument of a day is J, set in Andreas Seidel’s Vtg Stencil No. 4. I could be wrong, but it seems like I saw the source for this design all over Spain when I visited back in October. Every lamp post and piece of public property bore a trace of it.

J, set in Vtg Stencil No.4

Countdown: k

Head for the hills. It’s more doom and gloom in the forecast, I’m afraid, as we’ve only completed the first half of our countdown to the end. Pausing to remember today is k, set in Laure Afchain’s Malaussène Translation Display, the assertive, topheavy display variant of Malaussène Translation.

k, set in Malaussène Translation Display

Countdown: L

Droughts, floods, earthquakes, volcanoes. With a mere score of days left ahead of us, those Maya will resort to whatever it takes to keep on schedule, so take care world. Meanwhile, l from Falstaff, an original display fat face from the Monotype drawing office closes out another day.


l, set in Falstaff