Propos started out with some reading into Roger Excoffon and his beautiful Antique Olive family. Much of the reading was centred around what he wanted to achieve with Antique Olive at the time of casting, when Swiss Typography was coming to the fore. Antique Olive was Excoffon's attempt at reintroducing warmth to the sans-serif genre at a time when traditional grotesques (with interesting proportional differences between the upper and lower cases, and higher contrast) were waning. He wanted something that could speak in a more humanistic voice, not too dissimilar to the perennial G*ll S*ns.
With Propos, I wanted to iterate on these design decisions. I looked at some of the more radical choices that Excoffon made to create something more natural than the Helveticas, and exaggerated them. So, in this sense, Propos is a double-entendre. The first meaning is the translation for the French word Propos, meaning ‘conversation’. Propos was a conversation with Excoffon and Olive, an inquiry into how type can capture the spirit of the designer and the user. Part and parcel of continuing this discourse is the second, more literal code of Propos, that of its innate ‘proposal’, both to Olive and its designer: the proposal that, though peculiar, the font may still be serviceable in a multitude of contexts while capturing an entirely new spiritual reading.
Hover over the type drawer to see the extent of the weights, from Hairline to Heavy.
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Taper draws on a conceptual cue in lieu of a historical reading. Borne of a simple idea, Taper alludes to a waxy, viscous liquid being poured over a broad monolinear skeleton. The result is a collection of relaxed letterforms with drooping serifs that bow and dilate, sloped shoulders and wide-footed stems. All of the above culminates in a quirky display typeface fit for large scale editorial use, begging to be splashed across book covers and billboards alike.
Hover over the type drawer to see stylistic alternates (Q, R, e, q).
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Jeder Grotesque began as a look at a particular poster gothic produced at the very beginning of the 20th Century by A. D. Farmer & Son Type Founding Co. Some interesting features cement a curious design in the larger point sizes, such as overshoots on the lowercase f, t, y being shorn down to flat strokes that meet the ascender, baseline and descender heights. Broad capitals and slightly narrower lowercase characters also gave the fonts a certain modernity. These defining moments betray the logic of an otherwise humanist grotesque and give it a neo-grotesque sensibility. Jeder can oscillate between a humanist grotesque with angled terminals and a neo-grotesque with flat 90° terminals at the click of a button, inspired by these moments. These alternates run throughout the entire character set where relevant, along with specifically treated characters.
Jeder occupies a relatively sober space, however the introduction of a device to seamlessly change between two similar-but-different tones of voice give it a unique personality in a saturated genre. Low contrast, a conventional x-height and fairly open apertures make for a solid sans-serif text face, but with some sharp details Jeder looks great big.
Hover over the type drawer to see the full stylistic alternate set (grotesque to neo-grotesque).
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