Hellschreiber Sans & Serif | gestaltenfonts | by JSchmitt

Jörg Schmitt's picture

The birth of the monospaced types dates back to the past. There was a need for the creation of typesets for typewriters. The difficulty was to align the different glyphs in the same width. This led to particular problems with letters like “M” and “l”; the former seemed to be squeezed into the same width of all letters and the second one appeared way too streched. Despite – or perhaps because of – the impression of the typewriter is still popular with Graphic Designers. Nowadays there are even monospaced versions of primarily proportional types; for example the the Sans Mono designed by Lucas de Groot or the DIN Mono.

Then again, why not the other way round?! In the first half of the Nineties, Erik Spiekermann developed a proportional type named ITC Officina based on the Letter Gothic. According to a survey on the 100 best fonts of all time conducted by FontShop, ITC Officina is in an eighth place, far ahead of its forerunner. This was the reason for me to create a wider design with a Serif and a Sans Serif based on the queen of all monosped types – the Courier.



Nick Shinn's picture

Don't know about rock, but paper has on occasion beaten metal:

eliason's picture

ITC American Typewriter is another successful precedent for the concept.

I like the quirky serif choices on italic /y/ of the serif version. Good luck with it!

Jörg Schmitt's picture

@Nick Shinn

that´s a good one :-)

Tank you eliason

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