Buckram Variable

Bijou Type

Buckram

Gloridot Regular

Gloridot

R41 Olympia Variable

R41 Olympia

R41 Stop Regular

R41 Stop

Ringold Clarendon

Ringold

Sodachrome Left

Sodachrome

Dan is a typographer with over 3 decades of eclectic experience as a typesetter, graphic designer, typeface designer, and educator. He has held senior roles at Monotype, Adobe Fonts, and Type Network, alongside publishing his own typefaces and collaborations through Bijou Type. Since 2009, Dan has published <a href="https://pinkmince.com/">Pink Mince</a>, a zine devoted to queer culture and typography, as well as online wikis for two ongoing type research projects, the Hot Type Club and LetraSlut. He is a member of the board of directors for the <a href="https://woodtype.org/">Hamilton Wood Type &amp; Printing Museum</a>.

Buckram is a readable, hard-working slab serif, as hard-wearing and functional as its namesake cloth. It’s shapes are sturdy and clear, yet still have a touch of warmth and delicacy for your editorial or promotional needs. Buckram comes in seven weights, with an extensive Latin character set that supports approximately 390 languages.

Gloridot is meant for big, solid headlines and titles. The design began with a handful of letters from an unidentified typeface on old magazine cover that Dan Rhatigan was trying to recreate for an issue of his zine, Pink Mince. The grid of dots that formed those few glorious letters at first seemed like a simple system for constructing an alphabet, then grew into a fascinating puzzle as the system expanded into a typeface supporting about 505 languages, plus symbols that can be used to create borders and patterns.

Gloridot banner

Olympia started life as a little-known geometric sans typeface designed by Aldo Novarese exclusively for R41 as a single light weight of dry transfer type, with only numerals and Greek letters. Now R41 Olympia has been expanded by Bijou Type into a full, contemporary multilingual family of 14 styles. In Novarese’s original words: “Very clear linear style with a simplified round shape in an elegant structure. It adapts to high-impact applications where maximum legibility is required — in alphabetical purity.”

“It is the most discussed and imitated font in the international graphic field. It opened new avenues in the simplification of the future alphabetic sign. Some letters, despite being halved, are very legible in the graphic context. It was created to compose not only imaginative phrases but also: trademarks, acronyms, signs, insignia.” —Aldo NovareseFor this new digital version of Stop for R41, it was important to draw inspiration from the dry transfer type they originally manufactured. This new version of Stop is based on the films prepared for R41’s version, but then given many more characters that extend the concept, including a wide variety of accented characters, symbols, and letters for the Cyrillic and Greek alphabets. R41 Stop is also filled with OpenType-enabled alternates for many of its letters, based on adaptations made over the years by designers and signmakers worldwide.

Ringold is for those bold, solid headlines with letters that need to be tight without quite touching. Adjust the tone of your text with faces within the family that share the same proportions and density, but with a shift in personality from one style to the next. Ringold Clarendon is a bit whimsically nostalgic. Ringold Slab is its sharper, more buttoned-down cousin. Ringold Gym beefs up the Slab and makes it more architectural. Ringold Sans takes off the serifs but holds on to some of the warmth. Ringold Soft is a smoother, friendlier spin on the Sans. The 5 styles each support about 505 languages.The big, bold titles of pulpy novels and racy magazines of the sixties and seventies inspired this set of typefaces that can change their tone of voice without lowering the volume. Drawing from 19th century styles, optimized to fit like mid-century phototype, and polished and refined for 21st century clarity.

Ringold banner

Sodachrome consists of two individual fonts — left and right. Set by themselves, those fonts are (to say the least) very odd looking. But when set on top of each other, the two halves produce a whole: a beefy, sturdy serif face. As an added bonus, the letter-halves have been drawn in a way that the overprinted middle reveals a modern sans-serif design.This is the moment where color comes into play: overprinting the two fonts in different colors results in beautiful, three-colored words, and immediately the viewer experiences a bright, refreshing look — the look of Sodachrome!