![]() ![]() Transitional serifs have a stronger contrast between thick and thin strokes (examples include Bookman, Mrs. Generally speaking, Old Style serifs such as Bembo, Caslon and Garamond will combine well with Humanist sans serifs like Gill Sans and Lucida Grande. ![]() 'Serif' and 'sans serif' are very broad classifications, and each can be split into several sub-categories. For example, if you have a really unique display face full of personality, you'll need something more neutral to do the hard work and create a balance. This could be as simple as adjusting the weight, the size or the colour of the same typeface, but when the typefaces vary, careful font pairing is crucial. It's also important that you establish a clear hierarchy. To achieve the perfect contrast, you'll often want to pair a serif font with a sans serif font. You don't often find that similar serifs or similar sans serifs look particularly nice next to each other. If typefaces are too similar, it's likely that they'll conflict. True to the International Style, Neutraface supports over two dozen languages including Central European writing systems.Contrasting fonts can be hard to find as you're effectively searching for two fonts that are totally different but also complement each other rather than causing conflict. Departing from the unusual proportions and stylized fashion of the display version, Neutraface Text features a larger x-height and increased contrast in its strokes for enhanced readability in lengthy passages. ![]() However, in the spirit of Richard Neutra’s approach, a text version of Neutraface was conceived. The font family’s architectural origins lent to its initial creation as a headline typeface. The final Neutraface Display family includes five weights in regular and alternate variations and a unique titling font. An alternate font was also developed by following certain letter forms which often varied from building to building. With limited source imagery, Christian Schwartz composed an entire alphabet and added a complementary lowercase which previously did not exist. House Industries began the inter-disciplinary task of adapting sign lettering to typography by consulting with Dion and closely studying the archives of acclaimed photographer Julius Shulman. House Industries brings the same linear geometry to Neutraface without sacrificing an unmistakably warm and human feel. It is no wonder that Neutra specified lettering that was open and unobtrusive, the same characteristics which typified his progressive architecture. His attention to detail even extended to the selection of signage for his buildings. Although better known for his residential buildings, Richard Neutra’s commercial projects nevertheless resonate the same holistic ecology-unity with the surrounding landscape and uncompromising functionalism. ![]()
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