But for whatever reason, Nickel Gothic feels easier. It’s one of the reasons I’ve hesitated to update Bild even though I know I should…I’m still trying to find the thing that makes Bild special.
The Condensed Sans genre is a crowded one. Nickel Gothic gets its extra strength and heft from the corners of the letter, thanks to the tension between the flat tops and bottoms of the exterior shapes and the rounded tops and bottoms of the counterforms. And like with Fern, I’ve been reticent to make the family more than it needs to be. Its source material dates back to 1790, a time when fonts didn’t come with their own Bold variants. Warbler’s attempts to channel the last gasps of pre-Industrial typographic style in Britain, before advertising and mass-market ephemera transformed the design landscape. They turn up the volume on a typeface and amplify its features-a caricature of the Roman whose entire purpose is to stick out. Bolds, on the other hand, tend to be brash. A Bold certainly comes in handy!īut here’s the problem: As I discussed in previous mailings, what I appreciate most about Warbler-and the types William Martin cut for William Bulmer before it-is its quiet, delicate touch, and the quiet, delicate And in turn, more complex typography calls for more complex type families. Roman, Italic, and Small Caps might be enough to typeset a traditional start-to-finish book,īut a more complex document calls for more complex typography to guide the reader through it. Since I released Warbler Text in February, I’ve received more requests for Warbler Text Bold than for anything else.
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