Category Archives: “Other Serif”

Le Monde Courrier

le_monde_courrier

View the web font spec­i­men sheet.

A font that almost made it. A serif font designed by Jean François Porchez of Porchez Typo­fonderie, Le Monde Cour­rier attempts to “re-establish a style halfway between writ­ing and printing.”

First, let me say, I love this font! The over­all struc­ture and sys­tem (when viewed on Safari, Chrome, Opera or Fire­fox from my mac) is gor­geous. I want to use it. But I can’t (at least not for extended text).

Unfor­tu­nately, Le Monde Cour­rier has slightly uneven spac­ing at text sizes. For exam­ple, look at the word read­ing (first word, fifth line down) in the top exam­ple at left. The space between the e and a is too loose com­pared to the re and di in the same word. This prob­lem occurs mul­ti­ple times in text, between a vari­ety of let­ter pairs.

And, unfor­tu­nately, the prob­lem gets worse on Win­dows plat­forms (see the lower exam­ple at left, a screen­shot from Safari on Win­dows 7). Let­ters get nar­rower, block­ier, and more loosely spaced. Let­terspac­ing between ed, er, ea, en, and al all get too loose. Granted, the font remains leg­i­ble, but it loses some of its read­abil­ity and grace.

I cat­e­go­rize Le Monde Cour­rier as an “Other Serif” font, because it does not fall neatly into any of the gen­eral his­toric cat­e­gories com­monly used to describe serif type.

Le Monde Cour­rier grace­fully mixes-and-matches approaches to font design. The e, i, and l have italic influ­ence, while most other let­ters are Roman. It has a large x-height, a sin­gle decker g, and an almost mono­line stroke — all of which make the font feel more struc­tured. But it also has gen­er­ous aper­tures, pen-formed ser­ifs, and an implied stress on the bowls — all which help it feel more humanist.

Le Monde Cour­rier is an absolutely lovely font orig­i­nally designed for print. It has a cou­ple of spac­ing and hint­ing issues to work out so it can con­tinue to be absolutely lovely on screen. It’s worth keep­ing an eye on. If we’re lucky, future ver­sions of the font will have bet­ter spac­ing. The web ver­sion of Le Monde Cour­rier has 6 weights and styles and is avail­able from Type­kit.

Filed under "Other Serif", 6 Styles, Fonts That Almost Made It, TypeKit |

Tisa Web Pro

tisa_web_pro

View the web font spec­i­men sheet.

A serif font designed by Mitja Miklavčič and pub­lished by font­font.

I cat­e­go­rize Tisa Web Pro as an “Other Serif” font, because it does not fall neatly into any of the gen­eral his­toric cat­e­gories com­monly used to describe serif type. Accord­ing to Miklavčič, the intent was to “develop a softer, more dynamic ver­sion of a nineteenth-century slab serif wood type.”

Tisa’s almost-slab ser­ifs are slightly tapered, its aper­ture is open and human­ist, its bowls have an implied stress, its x-height is gen­er­ous. The font grace­fully mixes-and-matches var­i­ous his­toric approaches to font design, result­ing in a slightly “square” or “struc­tured” feel­ing font with human­ist qual­i­ties.  The bold is accept­able, but slightly too heavy for my per­sonal preference.

Tisa Web Pro works well cross browser. 4 styles are avail­able via type­kit. The full fam­ily (10 styles, includ­ing a medium weight which is slightly lighter than the bold) is avail­able for licens­ing via fontshop.

Filed under "Other Serif", 10 Styles, 4 Styles, Other Source, TypeKit |

Meta Serif Web Pro

meta_serif_web

View the web font spec­i­men sheet.

A serif font designed by Erik Spiek­er­mann, Chris­t­ian Schwartz, and Kris Sow­ersby. Pub­lished by FontShop.

Meta Serif (for print) was orig­i­nally designed as a com­pan­ion font to Meta. Meta Serif Web Pro is not merely a print font repack­aged for web use—it has been care­fully hinted and looks great on screen.

I clas­sify Meta Serif Web Pro has an “Other Serif” font, because it does not fall neatly into any of the gen­eral his­toric cat­e­gories com­monly used to describe serif type. Ser­ifs look more pen-formed, while ter­mi­nals on the a and f look more drawn. The con­trast between thicks and thins is mod­er­ate, and feels more old-style, but the stress is decid­edly ver­ti­cal and feels tran­si­tional. All of these ele­ments meld grace­fully together to cre­ate a serif font with a slightly “square” or “struc­tured” feel­ing. Meta Serif Web Pro’s x-height is only a hair larger than Georgia’s, but retains read­abil­ity a bit bet­ter at smaller sizes.

Meta Web Pro works cross browser. 4 styles are avail­able via type­kit. A total of 16 styles are avail­able for license directly from FontShop. It also works beau­ti­fully with its com­pan­ion font: Meta Web Pro.

Filed under "Other Serif", 16 Styles, 4 Styles, Other Source, TypeKit |

Merriweather

merriweather

View the web font spec­i­men sheet.

A serif font by Eben Sorkin. I cat­e­go­rize Mer­ri­weather as an “Other Serif” font, because it does not fall neatly into any of the gen­eral his­toric cat­e­gories com­monly used to describe serif type.

Mer­ri­weather grace­fully mixes-and-matches var­i­ous his­toric approaches to font design. Head ser­ifs and some ter­mi­nals feel pen-formed, while foot ser­ifs are rem­i­nis­cent of del­i­cate slab ser­ifs. It has a large x-height, and gen­er­ous aper­tures. It is extremely read­able at smaller sizes, and the bolder weights are well bal­anced and don’t get too heavy on screen. I’ve spent some time using this font this sum­mer, and it is one of my favorite fonts for web text.

Mer­ri­weather cur­rently has 4 weights avail­able via google web­fonts. There is not an italic yet, but Sorkin’s blog promises one is in the works. As well as a sans serif ver­sion! Keep an eye on this font as it devel­ops! It’s read­able, beau­ti­ful, and holds up well cross browser.

Filed under "Other Serif", 4 Styles, Google Fonts |