Welcome back, serifs

Sam Harrelson on June 29, 2018

I’m a font nerd. I’m constantly working with (and sometimes against) clients who want a particular “look” for their website or app or presentation and trying to push them to look ahead. One of those conversations typically has to do with fonts.

One client I didn’t have to fight with was Guy Sayles. His new site is one of my favorite designs I’ve done in a long while. Part of that has to do with the font Adamina that was used for headlines. It’s whimsical and full of motion but also conveys wisdom and experience. It reminded me a great deal of Guy’s personality, so I had to use it. I think it looks just beautiful on the new From The Intersection site, and I’m glad he trusted my push to use a serif font for the design. We just launched the redesign this week.

The “design world” has been quickly re-adopting serif fonts for ads, apps, and websites over the last couple of years after they were mostly maligned in the early to mid 2010’s. However, as “mid-century modern” has come back into vogue stylistically for furniture and dress, we’re seeing the resurgence of serifs.

I installed iOS 12 betas on my iPhone and iPad this week for testing, and low-and-behold there are serifs! Apple is famous for its attention to detail and its use of Helvetica and then its own San Francisco font. Apple lead the way on San-serif fonts (such as the body text here), so it’s wonderful to see the serifs returning to apps like the renamed Apple Books (formerly iBooks), which makes sense. Apple has even created a new font titled “SF Serif” to mark the occasion.

So, keep in mind that even though you might think you know what “modern” is, there’s always a corner to turn. Find a good guide. And never ever use Comic Sans or Impact. For anything.

A few images from my Apple Books collection showing the new font:

The Way the Stems Meet the Curves

Sam Harrelson on August 30, 2017

youtube_2017_wordmark_before_after

Technically, this is an absolutely fantastic update. They have taken the blunt shapes of the old letters and improved on all of them to create a beautiful wordmark. At small sizes the change is almost imperceptible but at larger sizes the change is a feast. If the way the stems meet the curves on the bottom of each letter doesn’t give you heart palpitations then you might be in the wrong industry. That is really masterful. Dork-swooning aside, every letter is better — better designed and better suited for every size and screen possible. Play a little game of Spot the Difference and you’ll appreciate what I mean. The wider opening of the “Y”, the rounder sides of the “o” and “e”, the contrast in thicks and thins. So good. Also, the kerning couldn’t be better.

via Brand New: New Logo for YouTube done In-house

Details. And kerning.

Don’t be boring or cheap with your logo or wordmark.

Classical Inscriptions, Fonts, and Avatar

Sam Harrelson on March 4, 2016

“The Renaissance was chockablock with copyists who learned and then duplicated Latin epigraphic scripts for various purposes. This imitation game had a great amount of influence on the Renaissance antiquities market at the time (forgeries could be bought all over Italy), but it is also revealed in the fonts we use today–particularly Roman fonts. The invention of fonts by various printers and typesetters in the 15th and 16th centuries was often inspired by lapidary inscriptions from the catacombs or pulled from manuscripts recording antique stones. After all, these inscriptions were increasingly displayed in the houses of the Roman elite, by popes, in churches, and in newly established museums.”

Source: Times New Roman: Classical Inscriptions, Epigraphy Hunters, and Renaissance Fonts – SARAH E. BOND