Sowersby is frequently in the latter category with his designs. Others use designs from the past as springboards for new ideas, or try to bring in key characteristics from the original while smoothing over eccentricities that centuries of typeface development can now correct. Strict revivals hem closely to their source materials and retain as much of the character of the original as possible, even when some elements might have fallen out of favor over time as the practice of type design has evolved along with technology. Historic revival fonts reference their source materials in different ways. Many of the lowercase details in Founders can be traced back to other Miller & Richard designs, like the long spur on the 'a' and the wide loop and prominent ear on the 'g'. Sowersby corrected for the leg of the 'R', which in the original design is a bit narrowly set and makes the letter feel top-heavy and unstable, though as the Founders 'R' goes up in weight this quirk starts to return (check out the Notable Glyphs section to the left to see that in action and read more).
The tight apertures on the 'C', 'G', and the serpentine 'S' from Grotesque № 7 remain, and are some of the most defining features of Founders. The capital set from Miller & Richard's № 7 release from 1912 was a key influencer on Founders Grotesk's capital set. Rare is the font that is used this often, and this well. Good designers are drawn to this typeface and it's been used on hundreds of occasions to create stunning work. It was a monumental task to select the artwork to accompany this review because there are so many stellar uses of the font in the wild. If I were to write some asinine '10 ways to get better at typography!' post, I would probably have 'use Founders Grotesk' as one of the list items. No one is better at these types of non-revival revivals than Kris Sowersby. While Founders is refined, it is in no way cold or aloof-it is simply a grotesque design that's been re-birthed a century later by a master of the craft. Typefaces like this can be awkwardly proportioned (sometimes intentionally and endearingly so) and the individual characters can be so loud as to distract from the text as a whole. It is difficult for me to think of a classic grotesque that's as effortless as Founders. Founders has grown into a robust family of widths and styles over the years, but this review will focus on the original version, and we can address the text, mono and condensed versions in separate reviews. Founders is at once both familiar and unique, matter-of-fact and charming. It's difficult to set a word in Founders and have it look bad, and it's often used to drive publication and branding aesthetics all on its own. The low x-height, the double-storey 'g', the spurred 'a' and the apertures that threaten to close off are all classic characteristics of the genre, yet it's a very easy to use typeface with gorgeous proportions. That's an interesting distinction in a genre of typeface design that got its designation because it was considered, well, grotesque.įounders is certainly still a grotesque, mind you. 009 Informationįounders Grotesk is probably the prettiest Grotesque face I've had the pleasure of using.
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Klim Type Foundry Webfont License Agreement1. Historic Influences The capital set from Miller & Richard's № 7 release from 1912 was a key influencer on Founders Grotesk's capital set 3.
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