Gotham Suit

A Bold Names’ Quarrel Disrupts
Elusive World of Fonts & Typefaces

Their muted elegance often goes unnoticed by readers. They can’t be detected by word count, spelling or other resources at writers’ disposal. Their selection is personal. Yet once a font is chosen, a whole world of subtle references is added to the content.
Even designers, unsung heroes of the print trade, may fail to pick the right type. And few knew that two stars of the form, Jonathan Hoefler and Tobias Frere-Jones, had split up.
Called ‘the Beatles of the font designing world,’ an unusually hyperbolic reference to a trade that most people ignore, these two developed a partnership creating some of the most recognizable fonts we’re all familiar with these days.
We’ll get back to their contentions acrimony and ultimate settlement. Their Gotham font has a huge following, but most people are more familiar with Helvetica, in part due to the ominousness of Apple gadgets. Fonts are like that: you don’t even know that you like them.
Typefaces have served way more than their purpose, as design subtly drives people’s tastes and acceptance of new products, a strong sales point. Helvetica, for instance, is so influential that it’s inspired both a Swiss watch company and a Dutch cookie-cutter designer.
Sweden Sans is now that country’s official lettering, playful and patriotic. And, in another welcoming stretch of functionality put at the service of the well being of many, there’s Dislexie, another Dutch designer-created font to help people with the disability to read better.

Since Johann Gutenberg‘s erroneously perceived invention of printing, there’s been a certain fuzziness about what consists a font, what’s the difference between that and the older term type, and whatever the hell does it matter to anyone to know anything about them both.
The 1400s were a time of great inventions, but the one that originated a press loosely resembling printing machines of the Industrial Revolution, came to life at least a century before, Continue reading