Font Crushes
Call me a sucker for a sexy ligature, but it was lust at first sight. Tall, dark, and handsome, Clifford is the Jude Law of typography. Clifford can dazzle when given a leading role (see above) or just blend into the background and provide a supporting role for your text setting needs. Either way, this versatile winner is handy to have in your back pocket. More Info
Photographs by Sam Taylor Johnson. Fashion editor: Bruce Pask. Originally shot for T magazine, December 2012
Guadalupe is the patron saint of my home parish back in Lubbock, TX (and also the name of one of my favorite aunts) so I have a soft spot already for this lovely new font from Daniel Hernandez. It’s a highly stylized Didot with a refined Latin flavor and a lush set of swashes and alternates. Use with care.
Available from MyFonts.
Introducing Strangelove, FaceType’s homage to Paul Ferro’s hand-drawn titles for Stanley Kubrick’s Dr. Strangelove, shown below.
Paul Ferro is a Cuban-born designer/director and AIGA medalist who also created the titles to the ’80s classic Stop Making Sense.
Available from FaceType.
Face37's Bella is the Beyoncé of serif fonts: scandalously curvy and a little over-dressed for the party, but still a class act. Bodacious poster-weight fonts have been popular for a couple years now, but designer Rick Banks balances the extra junk in Bella’s trunk with refined and elegant hairlines, inspired in part by the extreme contrasts of Herb Lubalin’s work in the '70s. Think Nixon-era New York, Eros Magazine, and especially U&lc.
“I’ve always loved the ridiculous thin hairlines that featured a lot in New York in the '60s and '70s,” Banks tells Creative Review. “Herb Lubalin and Louis Dorfsman were masters at hand drawing thin hairlines,” he continues. “There aren’t that many digital fonts that deal with these extreme hairlines. Possibly due to the complexity of creating them in Font Lab.”
Available for sale through HypeForType.com
