boldness adds contrast

daverowland's picture

I'm in the final stages of a serif typeface where the light weights are practically monoline, and contrast is added as it gets bolder, creating a transition from an almost Egyptian style light slab to a Modern black. Do you know of any other typefaces that do this, and what classification would you give the typefamily?

Maxim Zhukov's picture

Joshua Darden’s Freight™ Text?

Maxim Zhukov's picture

Used to be the other way round, from high-contrast ‘Modern’ to low-contrast square-serif (‘Egyptian’).

daverowland's picture

Cheers, Maxim

Albert Jan Pool's picture

I’d rather classify the typeface family as Modern. The light weight is a Modern Egyptian or Modern Slab Serif if you like. The black weight is a Modern typeface, so Modern is what they have in common. Instead of Modern one could also say Didonic. The trouble with most approaches to classifying typefaces is that they create a system with a fixed number of boxes with rather strict rules instead of describing the typefaces by formal principles. The latter would allow to work with as many ‘boxes’ as needed. Sometimes one only needs to distinguish between Sans and Serif, sometimes between Modern Slab Serif and Humanist Slab Serif, and occasionally one would like to distinguish between Venetian Serif and Humanist Serif, maybe even between Venetian Slab Serif and Humanist Slab Serif. Anyway, the main goal of classifying typefaces should be to enable designers to work with them and communicate their typographic and formal aspects, not putting them into boxes.

Albert Jan Pool's picture

Used to be the other way round, from high-contrast ‘Modern’ to low-contrast square-serif (‘Egyptian’).

That sounds as if the first Egyptians started their life as accompanying black weights of Modern text faces. In typography they served as black weights, but were they family members in the way we nowadays look at a family? What came first? Black modern weights or black egyptians?

Maxim Zhukov's picture

Of course the early Egyptians and Gothics were not part of any family. The very concept of the type family did not exist when those ‘novelty’ styles hit the type market… Those new, exotic, typefaces were meant for combined use with other styles, not by themselves: like capers or grenadine, they were natural born mixers. One could not even think of setting an entire book using black type—Modern, Egyptian, or Gothic.

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