Inspired by a style of lettering invented to convey precision and reliability, Isotope is a new family of typefaces designed to be both luxurious and fit.
If your idea of a luxurious product is one that’s stainless steel rather than gold, you may be a Functionalist. Functionalism is an approach to design that gained popularity in the decade after World War II, especially among German manufacturers of consumer goods, for whom a thing’s visual design was the natural expression of how it was meant to be used. In their desire to be intuitive and straightforward, the designers of a generation of unobtrusive radios, bathroom scales, and turntables would define a new aesthetic, one that still resonates with us as useful, well-built, honest, and timeless.
In the years that followed, the Swiss International Typographic Style would supply the letterforms for this philosophy, and industrial design would forever be associated with Helvetica and Univers. But briefly, before Swiss typography swept the continent, there was a strikingly beautiful species of letterform that arose in Germany — never produced as a typeface, but popular among lettering artists, through whom it became fossilized in company logos. For their precision-built products, companies like Sennheiser, Liebherr, Soehnle and Leifheit would adopt this new style of letterform, to convey the solidity, reliability, and practicality of products from kitchen appliances to bulldozers. It’s this style that we’ve explored in Isotope®.
Where Functionalist lettering was limited to boxy capitals, Isotope reimagines the style across a full range of weights, and a complete character set including a lowercase. The broadest strokes of the style have been preserved — contrasting vertical and horizontal weights, complex letters like S reduced to their most linear essence — to which Isotope brings new subtleties that help make the design not just purposeful, but luxurious and elegant. Corners are intermittently softened, to heighten the momentum through letters like A, M, N, V and W; in the numbers, strokes are sheared at unexpected angles to give them a welcome liveliness. From the initial Ultra at the heaviest end of the spectrum, Isotope descends through eight discrete weights down to a sinewy Thin, where subtle details rescue the design from sterility, to create a typeface that’s smartly clinical, and reassuringly exact.
My thanks to our typeface designers Troy Leinster and Sara Soskolne, who joined me in developing this idea into a fuller and more practical family of typefaces than any of us ever imagined. Their backgrounds in graphic design helped keep the project focused on its end uses, and prompted an ongoing conversation about what the fonts were for. In lesser hands, this lettering might have remained a nostalgic curio — or worse, veered into the sort of streamlined lettering that’s the exclusive province of science fiction. Instead, we found ourselves able to steer Isotope towards associations of luxury, fitness, health, fashion and beauty, as well as engineering, technology, and industry. We’re looking forward to seeing what designers will do with it. —JH
Isotope by H&Co. From $199, exclusively at typography.com.
A new font family restores the chic long vanished from the condensed, high contrast sans serif.
So many of a typeface’s attributes have obvious associations for readers. Extreme weights can suggest delicacy or strength; extreme widths can be bustling or contemplative. Even the size of the lowercase sends a quick signal to the reader: a small lowercase can read as precious, and a large one can feel gentle and good-natured. Rare are those typographic qualities that have an immediate effect on readers but are open to interpretation, and chief among these is contrast, the quality we’re exploring with Peristyle®.
Contrast, the relationship between an alphabet’s thickest and thinnest strokes, is present in all typefaces. It’s a vestige of calligraphy, revealing the distant influence of the broad-edged pen, and it appears in even the most mechanical geometric typefaces. Amplifying a design’s contrast makes it less familiar, and therefore more dramatic, most often in the service of some kind of exoticism: there’ve been high-contrast faces that are newfangled, old-fashioned, futuristic or retro, ones that evoke the mechanized clichés of science fiction, or the streamlined motifs of Art Deco. With Peristyle, we wondered: could we turn up the contrast without looking either backward or forward, to create a typeface for today? Could we use this drama to create a strong personal style that was chic, fashionable instead of fussy, and elegant instead of eccentric?
Peristyle explores the effects of contrast across six weights, from a vertiginous Light to a groovy Black. In place of the repeated gestures that are common to condensed typefaces — a pattern that quickly becomes tiresome — we’ve added a couple of supplementary motifs to keep the design engaging and upbeat. Circular ‘ball terminals’ on letters like y and r help drive them apart from their cousins u and n, and vigorous wedges on letters like k and g help distinguish them from the workaday h and q. These dynamic shapes recur throughout the character set, and across the full range of weights, creating an effervescent rhythm everywhere the font is used.
Having distilled Peristyle down to a sufficiently expressive set of parts, we couldn’t resist further reducing the design down to its parts alone, so we added a stencil design to the family. It’s included as three styles: a standalone Peristyle Stencil font, and two bicolor layers that can be tinted differently and stacked together. (Letters that can be divided into left and right halves irresistably invite the use of color, to create a secondary rhythm of alternating hues.) Peristyle Stencil’s two layered fonts make settings like these easy to design — and an additional piece of back-end logic, built into the fonts themselves, makes it easier than ever to create two-color typography that’s balanced and consistent.
Separating a character into two colors works intuitively when the letterform has two equal halves, but becomes trickier in letters with one stroke (like i, l, and t) or with three (such as m and w) — not to mention more complex characters like g, Ǿ, or %. Without carefully managing which shapes get which color, two-color typography quickly develops unwanted concentrations: above, the sequences Illu, stra, and tio are overwhelmingly blue. Peristyle Stencil solves the problem by automatically reversing the color orientation whenever necessary, in order to maintain an even rhythm of color throughout the line, and a better balance of both colors everywhere.
The three-minute film above introduces Peristyle and the team behind it. Troy Leinster and I worked on the typeface together from its earliest stage, and H&Co’s Sara Soskolne provided valuable insights along the way. Our designers Andy Clymer, Colin M. Ford and Graham Weber helped bring the typeface home, and throughout the project, no one was more enthusiastic about Peristyle than our Creative Director, Brian Hennings. Brian found in Peristyle some unexpected affinities with a few truly far-flung species of typeface, and takes the time here to share the useful perspective of someone who uses fonts. We hope you’ll find Peristyle as practical, as companionable, and simply as enchanting as we have, and we look forward to seeing how it serves you. —JH
Peristyle by H&Co. From $79, exclusively at typography.com.
New from H&Co, Inkwell is a tiny universe of fonts in which handwriting meets formal typography.
Sixteen years ago this week, I was designing my wedding invitations. The invitations were set in my typefaces, and printed by a friend who runs a letterpress shop in Berkeley, and the enclosing envelopes were hand-addressed by a calligrapher. Each kind of letterform served a different purpose: the type was dignified, and the calligraphy was personal. But I never really figured out what to do with the map.
Out-of-town guests would need a sophisticated map of the venue, explaining how to get there by road, rail, and air, where they might park, and some sort of assurance that it really was safe to take the subway. Set in type, this looked too institutional: it didn’t feel like it came from the bride and groom, but rather from someone’s marketing communications department. But rendered in calligraphy, it looked ridiculous. I felt like I was directing my friends and relatives to a wedding in Middle Earth.
My dream was to letter this myself. Not in fussy, mannered calligraphy, but in simple block printing, something that was an extension of my own handwriting. I’d have done this, had I the time, skill, and patience. Instead, I filed away an idea for later, that somewhere there might be a useful intersection of type, calligraphy, and handwriting, that might one day become a typeface. Something with the versatility of type, not only because it could be summoned from the keyboard, but because it would have methodical drawings and spacing, a proper character set, and the kinds of relationships that designers depend on — italics, small caps, and so on. But it would also have the expressive dimension of handwriting, with writing’s ability to fluidly change styles to suit the message. (When something is important, I find myself dropping my longhand script in favor of letterspaced capitals, but still punctuating these with the occasional cursive “of” or “for.”) I imagined that a sufficiently large family of types could do the same thing, so I set to work on a prototype as a proof-of-concept for the idea. After simmering for more than a decade, we picked up the project last year, with H&Co typeface designer Jordan Bell leading the charge, and our Andy Clymer graciously lending an indispensable assist. Today we’re very pleased to introduce the result: Inkwell®, a collection of typefaces for expressive writing.
Not quite a typeface, or even a family of typefaces, Inkwell is more like a family of families, featuring a Serif, a Sans, a Script, a Blackletter, a Tuscan, and a set of Open capitals. While it’s designed for serious content — it can effortlessly dispatch detailed maps, complex reference books, or anything displayed in a digital app — Inkwell wears its attitude lightly. It’s “serious” in the sense of thorough, rather than earnest, speaking in a decidedly personal, authorial voice.
Inkwell explores six different genres of type with which readers already have strong associations. It begins with Inkwell Serif, a book face for text, designed to avoid any obvious typographic style and simply look like “plainly lettered text.” It’s provided in romans and italics, with small caps in both postures, with a few unexpectedly sophisticated touches like tabular figures, fractions, and symbols. These styles feature both swash caps and swash small caps, making it possible to dial up the typography’s whimsy in subtle increments.
Inkwell Sans is the companion sans serif, provided in the same twelve parallel styles, again with small caps and numerics throughout. Its capitals are reminiscent of inscriptional lettering, taking nicely to letterspacing, and its lowercase is again designed to be unmannered in style. Where the sans roman was based on my handwriting (or rather, an idealized version of what I might be able to print with great care), the sans italic is the product of Jordan’s hand, and brings a touch of signpainting to the Inkwell family, especially in its heaviest weights.
Designers have been asking us for a script since we first opened for business in 1989, and we’re very pleased to answer with Inkwell Script. Like the rest of the family, Inkwell Script strives to be informal, avoiding the fussiness of the studied calligrapher, and speaking instead with the confidence and joy of an enthusiastic writer. We’ve included small caps in all of its weights, so that acronyms and abbreviations can be set more easily, something you might appreciate if your name ends with “iii.”
I’ve always had a deep fondness for gothic forms, and couldn’t resist making Inkwell Blackletter a part of the family. It’s tempting to write off the blackletter as an archaic style, but it’s very much alive today, and remains the easiest way to signal gravity in anything you do. It’s ceremonial for weddings and graduations, and adds a dash of tradition to the rustic and highbrow alike. Law journals and heavy metal bands both rely on blackletter typefaces for their gravitas, in admittedly different directions. Inkwell Blackletter is happy to serve both masters.
Because written letters can often take a turn for the fancy, we’ve designed Inkwell Tuscan as the decorative member of the family. Tuscan faces are nineteenth century inventions that feature fishtailed serifs, an idea that we’ve implemented in an unusual way to ensure that even serif-free letters like O can be fully embellished. As it progresses from light to dark, Inkwell Tuscan takes on very different flavors, from sweet and bucolic to boisterously burlesque.
The final style is Inkwell Open, a set of capitals inspired by the sorts of letters used by engineers. My father was a theatrical set designer, and I remember his titling his shop drawings in a style like this. I’ve since seen letters like these on blueprints, patent applications, and technical drawings, and even reduced to geometry on a lettering stencil. Open capitals are a useful way to identify something as a heading, or to indicate that something is otherwise elevated above the text.
The entire Inkwell family is designed to be used interchangeably, which opens up some interesting opportunities for designers. At the scale of the paragraph, it means that designers who are accustomed to shifting roman type to italic or bold will have new options, and can move from serif to sans, or script, or swash small caps, or blackletter, to achieve different distances from the center. At the scale of the word, it means that letterforms from different styles can be juxtaposed in unexpected ways — sometimes invisibly, other times with great flourish — making Inkwell a powerful tool for creating logotypes. Included in the Inkwell gallery you’ll find artwork that mixes blackletter capitals with the roman lowercase (and vice versa), script capitals with sans serif roman small caps, blackletter caps with tuscan caps, roman swash caps with the blackletter lowercase, and more. Each of Inkwell’s styles is provided in the same six weights, from Thin to Ultra, yielding a total of 48 font styles, which today we’re introducing at a special price, for those designers looking add something new to their stables. On behalf of everyone at H&Co, I hope you’ll find a place for Inkwell in your collection, and I look forward to seeing how it serves you! —JH
Inkwell by H&Co. From $129, exclusively at typography.com.
Six new typefaces born of fashion, and designed for all kinds of dramatic visual storytelling.
Fashion changes, yet fashion typography endures. Ever since Alexey Brodovitch adorned the pages of Harper’s Bazaar with high-contrast ‘Modern’ typefaces more than eighty years ago, typefaces with billowy curves and fine hairlines have remained a signature of the fashion industry. More recently, as typography has begun to play a more central role in visual storytelling, these typefaces’ exquisite details and proud features have invited larger-than-life applications, allowing them to create the same kinds of enticing visual fantasies as enthralling fashion layouts and well-dressed windows.
Because readers can identify the style at a glance, high-contrast faces are widely used for fashion titles from the newsstand to the web. But Modern typefaces in the elegant and formal Didot style aren’t the only option for creating stylish, transporting typography. To offer designers a new voice to work with, we’ve taken our Chronicle Display family, a smart and newsy design in the ‘Scotch’ style, and extended it into this new collection of bright and graceful typefaces for creating grand, expressive, and picturesque typography. Meet Chronicle Hairline®.
In contrast to the steely detachment of a Modern, Chronicle Hairline is direct and welcoming: a tweed to the Modern’s silk, a Savile Row to its Place Vendôme. Its subtly shaded curves and neatly bracketed serifs give Chronicle Hairline the kind of warmth normally associated with Old Style typefaces. But the clear geometry of its beaks and terminals, its unfussy numbers, and its alert and practical italics, mark Chronicle Hairline as an indisputably contemporary design.
Perhaps most usefully for anyone who works with big type — whether on book covers, posters, banners, architectural lettering, or identity programs — Chronicle Hairline is designed in three different widths: an approachable Hairline, a cosmopolitan Hairline Condensed, and a dignified Hairline Compressed, each in both roman and italic. Together with the Chronicle Display headline faces, the Chronicle Deck series for subheads, and the Chronicle Text collection for text, the new Chronicle Hairline adds an extra helping of sophistication to one of our most versatile and hardest-working type families.
Every organization should brand its custom collateral: the proposals, statements, presentations and reports through which it communicates the most. Office Fonts from H&Co can help: they’re specially designed for users of Microsoft® Word, Excel®, Powerpoint®, Pages®, Numbers®, and Keynote®, the business software that runs typography’s last mile.
You know this company: their logo’s in Gotham, their website’s in Gotham, there’s Gotham in their outdoor advertising and their television spots. There’s Gotham in the window of every branch, and inside, Gotham on the in-store displays and the printed brochures. And then the estimate you’re given from their sales associate will be in Arial, your sign-up contract in Times Roman, and your next two years of monthly statements in something someone picked at the lettershop. Typography can be the least expensive and most effective way of reinforcing a brand, or the quickest way to dilute it.
Meet Office Fonts.
Office Fonts from H&Co allow everyone who speaks for the brand to use the same consistent voice. They’re adaptations of some of our most popular typefaces, specifically created for use in the applications that generate personalized communications. They allow an organization’s branding to extend beyond the projects that designers themselves create, to include the reports, proposals, statements, and presentations prepared by non-designers — often the bulk of how any organization communicates.
How They Work
People use the fonts that are easiest: the ones that live in their font menus, work in their software, look good on screen, and behave in familiar ways. H&Co’s Office Fonts are designed for people who use word processors, spreadsheets, and presentation packages, allowing them to participate in the brand typography.
All Office Fonts from H&Co feature:
— Familiar Families. No one looking for “regular type” should have to choose between Book and Medium. In place of the more detailed palette of styles that can be confusing for both businesspeople and their software, H&Co’s Office Fonts are provided in the customary four-style arrangement of Regular, Italic, Bold, and Bold Italic. Bold and Italic styles are mapped to the standard keyboard shortcuts B and I, to avoid the artificially “smeared” and “sloped” romans for which office documents are notorious.
— Enhanced Clarity. H&Co’s Office Fonts have a larger lowercase, a more generous fit, and clearer gestures, making them easier to read both on screen and in print (compare the A columns, above.) They have a heightened contrast between regular and bold styles, to make boldface type unambiguous (A1), and are engineered with ScreenSmart™ technology to render crisp and clear text on Windows.
— Friendly Features. Only a designer should have to contend with old-style figures, lining figures, or tabular figures. Office Fonts from H&Co include one and only one set of numbers, built on a fixed width to ensure that columns of numbers align neatly (B). Numbers are designed to the same width across all styles in a family, ensuring that highlighting text in boldface won’t disrupt the grid (C). And all Office Fonts feature numbers that coordinate with both lowercase and capital letters, making complex syntax easier to read (D).
— Compatibility. Office Fonts from H&Co are produced in TrueType format, to support even the simplest (and oldest) business applications. The same font files can be installed on either Mac or Windows, making asset management and deployment easier.
Today we’re introducing twelve families of Office Fonts, all of them available for purchase and download. Some coordinate with our best-known typefaces (which serve the world’s best-known brands), Office Fonts for Gotham, Archer, Whitney and Sentinel. We’re also introducing Office Fonts for some of our newest releases, including this year’s Whitney Narrow and Operator. Below is just a taste of what Office Fonts can do.
Office Fonts by H&Co, from $199. Exclusively at typography.com.
The Whitney typeface has always been an adroit multitasker. Having grown out of a commission from New York’s Whitney Museum, the typeface was designed to serve two masters: the museum’s publications department, which needed a design both compact and energetic, and the facility’s public signage, which above all required legibility and sturdiness. A later addition designed for headlines, the six-style Whitney Condensed family, made Whitney an even more valuable tool for both publishers and brands.
But one challenge that Whitney has never confronted is the narrow column. As editorial designers know, narrow columns are the bugbear of typography: they’re hostile to wide typefaces, perverting text with overzealous hyphenation, and often demanding that headlines be craftily written. Designers, developers, publishers, and brands now face the challenge of narrow columns every day in the form of the mobile phone: with the ascendancy of apps and the mobile web, fonts are routinely set on a two-inch measure. For these applications — as well as the narrow columns that permeate magazine sidebars and captions, paper packaging, data visualizations, and product literature — we’ve created the compact and economical Whitney Narrow®.
Whitney Narrow was designed to thrive at sizes both large and small. At small sizes, it excels not only in text and informational typography such as charts and graphs, but for rendering the growing universe of fine print that’s often required but infrequently read: the ingredient lists, nutritional information, regulatory notices, disclaimers, and copyright legends that attract compact typefaces. In print, Whitney Narrow renders this fine print with clarity and warmth. For the screen, we’ve created the companion Whitney Narrow ScreenSmart family, a collection of twelve screen-optimized typefaces that’s designed and engineered to perform at sizes as small as nine pixels.
At headline sizes, Whitney Narrow makes a hale companion to the regular-width Whitney. It preserves Whitney’s angular motif (originally inspired by the iconic geometry of Marcel Breuer’s Madison Avenue museum), and features an option to disable these details when they’re not wanted. Above, Whitney Narrow Bold in two different moods: jaunty with its angled stroke endings, and sober without them. These gestures appear in 231 different characters, but can be quieted with a single setting in any application that supports OpenType Stylistic Sets, such as Adobe InDesign, and the Cloud.typography webfont dashboard.
A monospace typeface, a monospace-inspired typeface, and a short film about type design.
About two years ago, H&Co Senior Designer Andy Clymer proposed that we design a monospace typeface. Monospace (or “fixed-width”) typefaces have a unique place in the culture: their most famous ancestor is the typewriter, and they remain the style that designers reach for when they want to remind readers about the author behind the words. Typewriter faces have become part of the aesthetic of journalism, fundraising, law, academia, and politics; a dressier alternative to handwriting, but still less formal than something set in type, they’re an invaluable tool for designers.
I acutely felt the need for such a typeface, and immediately thought of places I’d want to use it on Discover.typography. And while I liked the idea of creating a new typeface that would have this kind of voice — minus the nostalgic clackety-clack look of an actual typewriter face — I wondered if we could achieve these results without the many compromises required of a fixed-width design. Fixed-width faces force every character into a box of the same size, creating charmingly long serifs on the capital I, but tragic, procrustean disfigurements of wider letters like M and W. So I suggested that we relax the system, to create a font that feels monospaced, but behaves more professionally.
Andy made an equally compelling counterproposal, reminding me that the command-line editor — these days, home to so many people who design things — could really be improved by a fully fixed-width typeface. What if, in addition to shedding the unwanted baggage of the typewriter, we also looked to the programming environment as a place where type could make a difference? Like many screen fonts before it, Operator could pay extra attention to the brackets and braces and punctuation marks more critical in code than in text. But if Operator took the unusual step of looking not only to serifs and sans serifs, but to script typefaces for inspiration, it could do a lot more. It could render the easily-confused I, l, and 1 far less ambiguous. It could help “color” syntax in a way that transcends the actual use of color, ensuring that different parts of a program are easier to identify. Andy hoped this might be useful when a technical pdf found its way to a black-and-white laser printer. It was an especially meaningful gesture to me, as someone who, like three hundred million others, is red-green colorblind.
So with designers, developers, and most of all readers in mind, we decided to design it both ways. Operator Mono® is our new family of fixed-width typefaces, with a broader range of weights than a typical typewriter face, and an italic that positively shines in code. Its more editorial companion is the natural-width Operator® family, which offers the voice of typewriting but none of the compromises. Operator extends to nine weights, from Thin to Ultra, and includes both roman and italic small caps throughout. Both families are supported by companion ScreenSmart fonts, specially designed and engineered for use in the browser at text sizes.
Operator by H&Co. From $199, exclusively at typography.com.
Now you can use the H&Co fonts you love to publish apps, digital publications, eBooks, and more. Meet App.typography, the simple font licensing solution for digital publishers.
App developers lavish such care creating thoughtful, lovely experiences, places where users can return again and again, and always feel at home. For all the time we spend browsing the web, we’re spending more and more time using our devices’ native apps, a trend that’s poised to continue with the arrival of mobile-minded projects like Facebook Instant Articles and Apple News. The one thing that all mobile experiences have in common is type, making it more important than ever to get the type right — to use the right fonts to create the sophisticated, expressive environments that users deserve.
We’ve long worked with our clients to bring typography into the mobile space. For some, it means developing cross-channel typography that aligns their print, web, and mobile products; for others it means choosing fonts that solve problems, and help shape the user experience from the outset. We’ve found that the needs of designers, developers, publishers, news organizations, institutions and brands are all a little different, but what everyone wants is for type to be functional, and for licensing to be painless. We want these same things, and more: we want to furnish app developers with the same high-quality tools available to print and web designers. We want developers to have access to everything that a font family has to offer, to be free to match the font to the medium and the experience, and to be relieved of having to count styles, platforms, or downloads. In short, we want to do everything for app developers that Cloud.typography did for web developers, allowing people to use their existing H&Co libraries in a whole new way.
App.typography is a service that enables you to publish apps, digital publications, or eBooks that incorporate any of the H&Co fonts you’ve bought for your computer. It’s a new model for licensing fonts, one that’s based not on the number of font styles that you choose to embed, but the number of titles that you publish.
For developers, App.typography means the freedom to choose from whichever fonts you’ve bought, including as many styles as necessary to create the perfect experience. We’ve defined “an app” in the broadest possible way, so that the product you create for iOS, Android, and Apple TV — even if the versions for the Apple Watch and the Samsung Galaxy Tab don’t share a single line of code — is covered by a single App.typography subscription.
For publishers, App.typography offers the ability to port your existing typography to digital publications and eBooks, to distribute these in a vast array of different formats, and to cover all of the books that you publish under a single imprint. Use as many fonts as you’ve purchased, to publish as many books as you like, and see them downloaded as many times as possible, all with a single App.typography subscription.
An App.typography subscription covers all the H&Co fonts you’ve purchased for your computer, and all the fonts that you buy in the future. This extends to the entire H&Co library of more than 1,300 styles, including our nineteen families of ScreenSmart fonts that are specially designed for the screen. You’ll find countless solutions for app design in the H&Co library: fonts with tabular figures for game scores and activity timers, compact fonts for narrow columns, and high-performance text faces for extended reading. Spend some time at Discover.typography if you’re looking for inspiration, or get started with App.typography today.
We’ve seen designers choose Archer for everything from wedding invitations to movie titles. Archer has a natural affinity for book jackets and product packaging, and developers have made great use of Archer ScreenSmart on the web. And some of Archer’s most unexpected performances have been among its best, delivering brand identities for news outlets, department stores, and multinational banks. The more designers have done with Archer, the more they’ve wanted to do with it, and the more we’ve wondered what else might be possible. So eighteen months ago, we returned to the drawing board.
Archer was designed to be charming, a delicate book face that never raises its voice. Increasingly, we’ve seen designers coaxing new moods out of Archer, tightly letterspacing its boldest weights to achieve a more boisterous tone. Seeing the potential for a more graphic Archer, we explored how heavy the fonts might go; the answer is a lot heavier. So today we’re introducing Archer Black, Extra Black, and Ultra, each in roman, italic, and small caps, pushing the Archer family to a total of eleven weights. These new styles offer a wealth of new voices: now the ever-polite Archer can be exuberant, adamant, jolly, rustic, solemn, sporty, and vibrant.
New Textures for Text
Archer has always performed in both text and display sizes, a tradition we’ve continued with today’s new styles. The new Archers are vivid at large sizes, and clear in text — and they’re outfitted with all the trimmings needed to articulate content. The new Archer 3 Pro contains small caps, tabular figures, fractions, and even numerical indices. And if you’ve been using Archer’s heavier weights for text, now you use these heaviest weights for emphasis: just as you’ve paired Archer Book and Bold, you can now pair Archer Bold and Ultra.
Now Gotham’s more cosmopolitan than ever: starting today, the entire family speaks another 60 languages, including Russian and Greek.
H&Co is delighted to introduce a massive expansion of our Gotham family. With the addition of more than 29,000 character drawings, all 66 styles of Gotham — plus all 48 Gotham ScreenSmart fonts, specifically designed for the web — now feature the Cyrillic and Greek alphabets. These characters are now included standard in all Gotham packages.
Today’s Gothams tackle sixty additional languages, including Greek, Russian, and a host of languages that use variants of the Cyrillic alphabet. Featuring H&Co’s Cyrillic-X™ spec, the fonts can render not only the major Balto-Slavic languages (Russian, Ukrainian, Serbian, Belarusian, Bulgarian and Macedonian), but also many of the more widely-spoken and under-served languages of Asia, from Abaza (48,000 speakers) to Uzbek (27 million.) In all, today’s enhancements help designers communicate with more than one quarter of a billion new readers worldwide.
For those designers who have already purchased Gotham, we’re delighted to make these upgrades available free.
We’re rolling out these upgrades today, so if you’ve purchased Gotham for your computer, sign in and visit your Font Library. You’ll find a list of all your H&Co fonts, along with links to download their latest versions. If you’re using any of the Gotham webfonts via Cloud.typography, you’ll see an option within your project dashboards’ Character Set panel to add Greek, Basic Russian, or the full Extended Cyrillic set.
And if you haven’t yet made Gotham a part of your collection, now’s the perfect time. Packages begin at $169, with savings of $69 when buying specially-priced Gotham Bundles — and an additional $100 when buying bundles together.
Gotham with Greek & Cyrillic by H&Co. Exclusively at typography.com.
I’ve always wanted to create a decorative display face in the Regency style, one of those stout, industrial alphabets enlivened by bright, detailed illumination. Toward the end of our Surveyor project, a deep exploration of engraved map lettering, this idea started to feel especially relevant: engraved maps were often badged with elaborate title pieces, and the more time we spent with these hatched and shadowed letters, the more we could imagine how some of their visual qualities could be successfully interpreted in a contemporary typeface — and one that would be useful and relevant to designers today. But then there was the matter of draftsmanship: how do you do it? Type design is still largely a manual art, and the thought of devoting years of our lives to drawing tiny curlicues was a bleak prospect indeed. Like the best of dead ends, this was where things started to become interesting.
I’d been discussing this puzzle with Andy Clymer, a senior typeface designer at H&Co. As part of the Surveyor design team, Andy had spent a lot of time with the heaviest members of that family, the ones most closely connected with the Regency style. An accomplished programmer and a procedural thinker generally, Andy had taken a short sabbatical in 2013 to attend the first class of the School for Poetic Computation, an artist-run school in New York that explores the intersections of code, design, and theory. Returning with some fresh ideas about particle studies and 3D modeling, Andy and I met to reframe the project: what sorts of rapid prototyping tools could we build to help explore different options, and how might these help us execute our ideas across the massive scale demanded by a contemporary typeface? Not content to be a mere set of decorated capitals, our typeface would need 1,400 glyphs spanning both roman and italic styles, bringing its esprit to the most esoteric of punctuation marks and accents.
Ultimately, Andy’s scripts would become an entire suite of proprietary tools for interpreting two-dimensional letterforms as three-dimensional objects, through the application of virtual light sources that vary in position, angle, and intensity. Like the best projects at H&Co, the typeface was shaped not only by exchanges between designer and editor, but by the iterative cycle of what the tools can do, what we need the tools to do, and what the tools turn out to be able to do that we didn’t foresee going in. After 53 weeks in development, I’m proud to present a project that seemed unattainable just 54 weeks ago: the new Obsidian® typeface, from the designers at H&Co.
Obsidian by H&Co. From $99, exclusively at typography.com.
Dutch Old Styles are marvelous and versatile typefaces, and one of typography’s dominant species. The style, which dates to the late sixteenth century, features a large lowercase, compact descenders, and a dense texture, together making them an excellent choice for setting headlines. We had the opportunity to explore the style when we were commissioned to create an original typeface for Portfolio magazine, a business title launched by Condé Nast, and designed by Robert Priest and Grace Lee. From out of this work comes Quarto®, a new family of display faces for print and web.
In reviewing the historical artifacts that served as a foundation for the project, we decided that Quarto should not record this period style, but rather interpret some of its more intriguing and open-ended ideas. In one typeface, created by a Flemish punchcutter 444 years ago, we found a compelling tension between opposing qualities: dark, gothic strokes were offset by bright, crisp serifs; a forest of vertical stems was punctuated by moments of lavish roundness. This controlled tension became a theme for the project, and would serve us when Quarto left history behind — which would be sooner than usual.
The typeface that inspired Quarto included only a roman alphabet, so beyond the usual effort of designing plausible numbers, punctuation, and symbols, H&Co Senior Designer Sara Soskolne was faced with inventing a sympathetic and historically appropriate italic. (Our Flemish punchcutter, Hendrik van den Keere, worked in a range of styles throughout his career, but apparently never created a single italic.) Also unsupplied by the historical record were any suggestions about how to design additional weights: “boldface” is a nineteenth century concept, unknown to sixteenth century typefounders, and one of the reasons that contemporary Old Style faces often have either a small range of weights, or none at all. Quarto pushes beyond bold into black, offering a spectrum of styles that preserves the design’s fire and intensity throughout.
Quarto by H&Co. From $199, exclusively at typography.com.
There’s a wonderful materiality about rounded letters. Their lighter weights have an engineered quality: for me, they always bring to mind the controlled movements of a router, steadily cutting channels in brass or steel and leaving behind a spray of metal shavings. Their heavier weights are the stuff of the roadside, both the vacuform plastic letters that advertise gas stations and motels, and the painted signs that herald this week’s prices for groceries or liquor. Applying these tactile qualities to our suave Tungsten family gives us Tungsten Rounded, a new family of six fonts that’s at once earnest, energetic, and wry.
A common dilemma when working with rounded typefaces is what to do when two adjacent letters overlap. For the signpainter, the tiny divet created by two intersecting curves is quickly dispatched with a brush, but the letters in a typeface usually go unsupervised:
In Tungsten Rounded’s heaviest weights, we addressed this problem with a set of 151 alternate characters, designed to interact in more predictable ways. An OpenType feature automatically engages these characters when needed, to ensure that all of the 548 potential collisions are managed correctly, from common pairs like AX, to truly exotic ones such as KÆ.
In contrast to our last release, a hundred-style family inspired by tiny engravings on vintage maps, today we’re introducing a two-style family of forward-looking, stadium-sized letters: meet Nitro & Turbo.
The irrepressibly energetic Nitro grew out of a commission from Michael Bierut at Pentagram, to create an original typeface for the New York Jets. An unusual project, Nitro started not with a moderate weight roman, but with a black italic, usually the most peripheral member of a type family. Instinctively we felt that Nitro could benefit from a companion design, but what? What additional style could offer a visual counterpoint, while sharing the design’s explosive energy and unstoppable momentum?
In place of a companion roman or a set of lighter weights, we decided to explore one of typography’s less obvious directions: the backslant. Like every project that begins with an unvoiced “how hard can it be?”, the answer came back, “harder than you think.” Backslants are eye-catching because they confound expectations, but tricky to draw because they go against the natural motion of the hand, the pen, and the alphabet itself, making them a design challenge as formidable as it is irresistible.
The result of the project is two fonts, the forward-leaning Nitro, and the backward-leaning Turbo. Both fonts have the versatility of a good hot pepper: they add a useful dash of fire to a surprisingly wide range of recipes, and in the right setting, they’re fantastic on their own.
We’re delighted to introduce Surveyor, a new family of fonts for print and web, and sizes large and small.
I love maps, and not just for their vintage charm. I admire them as highly functional pieces of design, packing extraordinary amounts of information into small spaces, and invisibly educating readers about how they’re meant to be read. Spend a few moments with a map, and you’ll find that you’ve learned to distinguish counties, cities, and towns by the styles of type they use, without ever checking the legend. And these are just three of a typical map’s two dozen styles of lettering.
Surveyor® is a new family of fonts inspired by the traditional mapmaker’s letter. It revives a style of lettering that’s unique to cartography, one that evolved in the early nineteenth century and endured for as long as maps were printed by engraving. Beyond reviving the shapes of these alphabets, Surveyor celebrates what maps do best, by providing an expressive typographic vocabulary to help designers articulate many different kinds of information. A peek at Surveyor’s style list hints at what’s possible.
We’ve designed Surveyor in three optical sizes: a Text version for body copy, a Display cut for headlines, and a Fine for sizes larger still. Surveyor goes beyond the mapmaker’s roman and italic by including five weights, each of them outfitted with both roman and italic small caps, swash caps, and swash small caps. In its Text size, Surveyor features tabular figures, fractions, and symbols, to help it conquer the most demanding content. And for Cloud.typography users, we’ve created Surveyor ScreenSmart, a family of webfonts for text that contains all of these advanced typographic features, engineered to work in the browser at sizes as small as nine pixels.
Surveyor by H&Co. From $199, exclusively at typography.com.
In 1999, we received an irresistible commission from Michael Bierut at Pentagram: to design a typeface for Lever House, one of New York’s most significant architectural landmarks. In a neighborhood of skyscrapers designed simply to warehouse the maximum amount of rentable real estate, Lever House is a rare building with thoughtful urban values, featuring a grand public colonnade, a welcoming sculpture garden, and an enormous setback that showcases that rarest of midtown luxuries: the sky.
The typeface we created was an airy sans serif, patterned after the existing lettering on the building’s Park Avenue window, and related to the style of its cornerstone inscription. The project revealed some interesting discoveries about the way architects use capital letters, and how a typeface designed specifically for architecture could serve designers especially well. A decade after completing the project, we set about creating a collection of decorative variations inspired the material and environmental qualities of buildings: the interplay of structure and surface, the effects of shadow and light, and the transformative power of perspective. Bringing typographic qualities to mechanical forms turned out to be a formidable challenge, but a fascinating one, ultimately absorbing our designers for more than a year. The result is the family of four new typefaces that we’re delighted to introduce: Landmark Regular, Inline, Shadow, and Dimensional.
Landmark by H&Co. From $99, exclusively at typography.com.
A good type family balances cohesion and diversity. Its styles need to feel related, but each is entitled to its own personality. Nothing’s worse than paying for a collection of two dozen fonts, only to discover that each speaks in exactly the same voice.
Tungsten began as a focussed set of styles that aspired to being disarming instead of pushy. “Smart, tough, and sexy” was how we described the design, a brief that gave us enough latitude to create four distinct designs: a sporty Medium, an articulate Semibold, a stylish Bold, and a persuasive Black. We stopped at four, discovering that so many of the strategies that served the design in these proportions became impractical at lighter weights. Tungsten is all about the interplay between positive and negative space, a relationship that disappears when the strokes become thin, and the spaces cavernous. So while we could make the design perform mechanically at lighter weights, it no longer felt like Tungsten.
But then we discovered something interesting. We found different strategies to use at these proportions, which could make the design look familiar but feel different. We created new designs whose forthrightness came through in different ways: some were elegant, others earnest. And when we started exploring different widths, we found we could gradually turn up the volume, and watch Tungsten go from cool to vibrant to ecstatic.
So today, we’re delighted to introduce The New Tungstens, a set of four different widths, each in eight weights, starting at $199. The full collection includes Regular, Narrow, Condensed and Compressed, and right now you can save $300 when you buy the complete collection of 32 styles.
Type designers are plagued by visions, recurring images which can only be exorcized by turning them into letters. For years we’ve been consumed by a particular quality of curve, overstuffed at the corners and punctuated by sharp edges, and gradually over time we’ve been able to give these apparitions form: first as unrelated characters, later as an alphabet, and finally as a family of fonts.
As these designs developed, we recognized them as something we’d often reached for in vain. There was a vacancy we’d noticed in the typographic spectrum, for a sleek sans serif that’s not only spare, determined, and tranquil, but satisfying. Not just gratifying, like an indulgent dessert or an extravagant gift, but viscerally satisfying, like a precision tool whose form both invites the touch and rewards the hand.
Today we’re very pleased to introduce Idlewild®, this new font family in five weights. For all its distinctiveness and personality, Idlewild delivers an unexpected dividend: it accessorizes with other fonts amazingly well. Idlewild can be approachable, earnest, bright, or cultivated — read on to see how this wide font can yield a wide range of moods.
Idlewild by H&Co. From $99, exclusively at typography.com.
A handmade typeface for a machine-made age: meet the new Ideal Sans family from H&Co, for print, web, and mobile.
Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren’t the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn’t the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same.
Twenty-one years ago, we began tinkering with a sans serif alphabet to see just how far these optical illusions could be pushed. How asymmetrical could a letter O become, before the imbalance was noticeable? Could a serious sans serif, designed with high-minded intentions, be drawn without including a single straight line? This alphabet slowly marinated for a decade and a half, benefitting from periodic additions and improvements, until in 2006, Pentagram’s Abbott Miller proposed a project for the Art Institute of Chicago that resonated with these very ideas. As a part of Miller’s new identity for the museum, we revisited the design, and renovated it to help it better serve as the cornerstone of a larger family of fonts. Since then we’ve developed the project continuously, finding new opportunities to further refine its ideas, and extend its usefulness through new weights, new styles, and new features.
Today, we’re delighted to introduce Ideal Sans®, this new font family in 48 styles. Ideal Sans is a meditation on the handmade, combining different characteristics of many different writing tools and techniques, in order to achieve a warm, organic, and hand-crafted feeling. It’s distinctive at large sizes and richly textured in small ones, and available today in packages starting at $149.
Ideal Sans by H&Co. Exclusively at typography.com.
There are stylized typefaces that speak in a singular, powerful voice, and there are versatile ones capable of expressing many different moods. We feel the pull of both extremes, and are especially fascinated by the typographic styles caught in between. Sans serifs based on the rounded rectangle are an interesting study: they’re adaptable enough to have survived almost two hundred years, but in every incarnation they return with a new but overly specific agenda. The ones on enamel railway signs are charming, but a little sleepy; the ones on battleships are somber, if a little aloof. We’ve long wondered if this style could be harnessed to create a more expressive family of types, and recently had the opportunity to find out: Wired commissioned us to design a square sans as their editorial workhorse, one that could handle everything from philosophical essays to down-to-earth service pieces.
The result is Forza®, a new family of sans serifs from H&Co. Forza’s sophisticated visual vocabulary makes it alert and engaging, and its broad palette of weights ensures that Forza can meet the needs of the most demanding designer, from painterly display typography to text-heavy listings. Ardent, disciplined, shrewd, and commanding, Forza offers a range of voices to choose from, and is now available in twelve styles, from $199.
We’re pleased to introduce an expansion of our Whitney® typeface, for our friends in Greece, Russia, Bulgaria, and the Commonwealth of Independent States.
We’ve taken the fonts that already serve more than 140 languages, and extended them into the Greek and Cyrillic alphabets to satisfy sixty more. All editions of Whitney now feature both the Greek alphabet and our Cyrillic-X™ character set, accommodating not only major Slavic languages such as Russian and Ukrainian, but other important populations less well served by digital typography, like the 65,000,000 people who speak Azeri, Kazakh and Uzbek. For designers whose projects have an international scope, Whitney now covers all three official scripts of the European Union.
The new, internationalized Whitney by H&Co. Exclusively at typography.com.
Please welcome Vitesse®, a new slab serif in twelve styles.
Slab serifs are one of typography’s most vibrant categories, yet they remain dominated by two ancient forms: the nineteenth century Antique, and the twentieth century Geometric. Both are vital and living genres — we’ve explored each of them, in our Sentinel and Archer type families — but what of the twenty-first century slab? Vitesse revels in the tension between organic letterforms and mechanical grids, and offers designers a distinctive new voice that’s suave, confident, and stylish. Engineered for responsive handling and a sporty ride, Vitesse is now available, starting at $199.
A few years ago, we started wondering if there was a way to make a flat-sided sans serif that was disarming instead of brutish, one that employed confidence and subtlety instead of just raw testosterone. It was an unusual design brief for ourselves, completely without visual cues and trading in cultural associations instead: “more Steve McQueen than Steven Seagal,” reads one note; “whiskey highball, not a martini” suggests another.
The result is Tungsten®, a tight family of high-impact fonts in four weights: muscular and persuasive, without sacrificing wit, versatility, or style. Now starting at $99.
Is any typeface more in-the-know than a Clarendon? These smart looking slab serifs have the timeless style of a charcoal gray suit, or a well-chosen pair of horn-rimmed glasses: they’re approachable, welcoming, and effortlessly persuasive. Yet they’re tough to use — out of the question for setting text — because they lack italics.
Enter Sentinel®, a new slab serif from Hoefler&Co. A new take on this lovely and useful style, Sentinel is a refreshingly complete family in twelve weights (Light through Black, with italics throughout) that’s designed to shine in sizes both large and small. Featuring text-friendly features like short-ranging figures, and our Latin-X® character set for extended language support, H&Co is delighted to present the entire Sentinel family for just $199.
Fans of our Gotham typeface will be pleased to find that as of this morning, there are three times as many Gothams in the world as there were yesterday.
Designers who work with Gotham have enthusiastically deployed the fonts in a range of environments. We’ve seen Gotham on soda cans, boarding passes, billboards and banner ads; we’ve seen it engraved in marble on a cornerstone, and cast in rubber on the sole of a shoe. One newspaper used Gotham for financial listings, another for saucy tabloid headlines. But what we see the most are designers facing the challenge of making one typeface work across all channels. Last year saw one of the most remarkable examples of this: journalists couldn’t stop writing about something that designers have always known, which is that a candidate for president should use the same font for everything, from lawn signs and flyers to the campaign’s website.
Making a font work everywhere is a tall order. H&Co’s designers love these kinds of challenges, and are driven by an incurable compulsion to make fonts that can answer everyone’s needs. But designing a typeface is an arduous process requiring serious commitment, and we realized early on that if we weren’t careful, there could suddenly be an endless number of very specialized Gothams. The prospect of a “Gotham for embroidery” collection and a “Gotham for box scores” was daunting, and ran counter to one of H&Co’s core philosophies: that type families should be as small as possible, but as large as necessary.
So we organized all of these ideas into a coherent design brief, mapped out a way to bring a larger Gotham family to life, and then devoted years to drawing the new fonts that we’re delighted to present today. Today’s Gotham contains a total of 66 styles, neatly organized into four widths: regular Gotham, the new Gotham Narrow and Extra Narrow, and the newly-expanded Gotham Condensed. They’re available in packages starting at $169, exclusively from their designers at Hoefler&Co.
We’re delighted to introduce Archer®, a new slab serif in forty styles. Sweet but not saccharine, earnest but not grave, Archer is designed to hit just the right notes of forthrightness, credibility, and charm. Romans and italics in eight weights each, including a delicate hairline for display work, and featuring small caps, fractions, tabular figures, and our Latin-X® character set for extended language support. Now shipping in OpenType, with prices starting at $149, plus special savings when you order two or more Archer packages.