[…] many fonts are not suited to be used with most editorial illustration artwork. Either they don’t fit or they even reject each other. Hence, I tried to design a typeface that can sit next to as many illustration styles as possible.
Frömberg lists many sources of inspiration for Canary, including italic manuscripts and writing samples by Arrighi, Fugger, Granjon, Manutius and Tagliente. I wouldn’t be surprised if a good deal can also be ascribed to an admiration of Underware’s body of work, though. The partly connected, slightly left-leaning cursive with a brush-lettered feel merges several of the features that this trailblazing type collective has employed, without being too close a follower of any of their typefaces in particular. Canary comes in six weights equipped with small caps, dozens of ligatures, titling and swash alternates, as well as catchwords.
One year after the release of Canary, the native Berliner moved to The Hague to enroll in the TypeMedia master program at the Royal Academy of Arts — the same place where the Underware members had met in 1998. His graduate project Shequalin, “a text typeface designed for sophisticated humoristic literature and all kinds of typographic shenanigans”, is mouth-watering. It’s not available yet — Frömberg is wise enough to know that “typefaces need to ripe and mature over long time” — but I am already looking forward to the release of Shequalin, or other works by this talented chap.
1 Comment on “Ava & Lucas”
I sat next to Mark in TypeMedia, and man oh man was I astounded by his work ethic. Looking at Canary, it has many hallmarks of professional level type, and was created during his undergrad?!
I see the Underware influence as well, but I think you would be hard-pressed to find a young type designer who favors expressive forms that hasn’t been influenced by that power trio. Or perhaps I just say this because I am an Underware fanboy as well.