At first I wanted to draw dots myself, but then I remembered about Dusseldot. I got to know it last year, when I was creating a page for the Esh Print and type.today’s collaboration calendar. Each of us was given two typefaces: we must use one of them by all means, and the second one was to be used if you could make it possible. I couldn’t do it, looking at it and thinking: why would anyone even need a typeface like that, what could these unreadable styles even be used for, who would even need those? As it turned out, that person would be me.
I even tried to apply Dusseldot for page numbers, but it attracted too much attention, making it impossible to read body text. So I left it only in page numbers in the list of contents, to mate it with the cover, while for page numbers I used Spectral which was also utilised to set body text.
I initially had in mind a serif for body text, and considered English old-style serifs, but I wanted something with a less obvious story. As a result, I came to Spectral – I really liked its sharp serifs. Of course, Spectral has the story, too, – that is a certain sharp-ish font – which somehow reminds of France, but in all other respects the typeface can be traced to the tradition of almost any European country.