![]() In other words: plenty of tone but no voice. I don’t know how exactly, but the program gave me the eye to see my work had all the necessary human-stuffs, but none of the human. In a flash, a year’s worth of work transformed from living art to soulless cadaver. It took about a week in the program to realize I would never release it. I used it to apply for the condensed program, which I attended in the summer of 2015. I spent all summer and fall designing the letters then proofing them with squirrel hair brushes and One Shot in the drafty carport attached to my one bedroom apartment. Little surprise, that 2014 design was sign-painter inspired. And I released v0.1 of another on Future Fonts today. I guess you could say I know a bit about Gothic Condensed fonts. In the year 2000, when ITC brought the family into digital they didn’t even take the time to include those notorious ligatures in the Condensed styles. The design is now nearly fifty years old, but its use cases have rarely included those readily identifiable interlocking letters. In the marketing, the value is clear: Avant Garde Gothic Condensed has all the fun of Avant Garde, now with a little less wide. And in this rediscovery, the lack of relationship between Lubalin’s tight, interlocking, one-stop logo-maker, and the loosely spaced, not particularly condensed, and (perhaps most important) traditional letterforms seen in Twin Peak’s titles stood out to me.Īvant Garde Gothic Condensed Promotion ( also a Florian Hardwig find) Prior to two months ago, I had forgotten it existed. In contrast to the Lubalin/Carnese version, it has youthful, superellipse-ive curves drawn by Ed Benguiat (among others). The Twin Peaks title font, ITC Avant Garde Gothic Condensed, is a distant cousin of the famous original width created by Herb Lubalin and Tom Carnese. In the wider, more traditional-width fonts there's a lot you can do to differentiate by varying letter spacing or proportions, but where straightforward condensed gothics or grotesques go, most designs look similar.Ĭomment by Florian Hardwig on the Twin Peaks titles post on Fonts In Use. Which says a lot about the Condensed Sans landscape. Fifty-two letters should give you plenty of unique DNA to work with for identification, but it turns out the difference here comes down to the leg of the R and the skeleton of the K. Twin Peaks: damn what a show, and what a title sequence! One worthy of Florian Hardwig's brave font ID-ing in the comment section of Fonts in Use. ![]()
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