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De Pinte, Belgium - January 12, 2012
Ten years ago, one would have hardly believed that slab serifs would regain the popularity they enjoy today, or that they would again occupy such a commanding position in the design of advertisements, magazines and newspapers.
The slab serif, as a genre of letter, came into existence in the early nineteenth century. The first slab serifs were crude looking, even grotesque. Their fat, squarish proportions, monoline forms and dark colour served one goal above all: to make a powerful and compelling impression on readers. Like the nearly contemporary sans serif, slab serifs dominated display lettering and typography in the West for much of the nineteenth century.
After this ‘first wave’ of slab serifs, which lasted for about a century and resulted mainly in single unrelated fonts, mechanical improvements in type production and changing approaches to typeface design brought about better-planned font ‘families’. A ‘second wave’ of slab serifs ensued, and typefaces such as Memphis, Beton, City, Karnack, Rockwell and others invigorated the genre in the late 1920s and throughout the 1930s.
OurType Stan is a reinterpretation of a now almost forgotten slab serif named ‘Wellington’, belonging to this period, which was issued in 1913 by Brüder Butter, a Dresden typefoundry specialising in display type, or ‘Schrift für Werbung’. Wellington was designated a ‘Balken-antiqua’, a slab serif that aimed for elegance and readability in text without sacrificing visual power. The revival of Wellington as OurType Stan is designed by Maurice Göldner, whose first commercial font family is OurType Meran.
The Stan family consists of roman and italic designs in seven weights: Thin, Light, Blond, Normal, SemiBold, Bold, and Black. Its PRO character set includes small caps; lining, old style, and small cap height sets of figures (each in tabular and proportional widths); fractions; comprehensive superiors, inferiors, nominators and denominators; case sensitive punctuation sets; mathematical and monetary symbols; arrows; standard and discretionary ligatures; alternate stylistic sets, and a complete range of accents covering all (Latin script based) Western, Central and East European languages. Additionally, Stan features a variant with longer ascenders and descenders – Stan Plus - specially designed for text allowing generous vertical spacing.
OurType Stan is part of today’s ‘third wave’ of slab serifs. Its design brings out the best of both worlds: the subtle perfume of the past and the ‘esprit’ of the present. Unpretentious and straightforward, Stan is a smart and effective choice for a very wide range of applications.
Produced and released by OurType in 2012, Stan fonts are available in OpenType PRO character set only.
About Maurice Göldner
Maurice Göldner is a typographic designer, born in Germany. He studied communication and graphic design at the Burg Giebichenstein - Hochschule für Kunst und Design, Halle and later type design with Fred Smeijers at the Hochschule für Grafik und Buchkunst in Leipzig, from where he graduated Cum Laude in 2009.
Maurice has a keen interest in lettering and typographic research. His work has been exhibited in Leipzig and Copenhagen. Maurice Göldner's Meran was awarded the Saxon State Award for Design in 2009.
Maurice lives and works in Leipzig.
Founded in 2002, OurType is an independent type foundry led by Fred Smeijers, Corina Cotorobai and Rudy Geeraerts. Its signature collection consists of fine typeface designs that respect traditional values and yet are tailored to contemporary needs. In addition to its renowned designers – Smeijers and Verheul – OurType also publishes fonts from some of the best young talents: Nikola Djurek, André Leonardt, Merel Matzinger, Artur Schmal, Thomas Thiemich, Hendrik Weber, Maurice Göldner, Peter Mohr, Frederik Berlaen, Valentin Brustaux, and Nils Thomsen.