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Category Archives: “Other Serif”
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.
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.
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.
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.