Display Typefaces from Bold Monday

Last year we introduced two multifunctional text families from our Dutch friends, Bold Monday: Nitti Grotesk and Brando. Now we’re ringing in 2015 by going back to the foundry’s roots and bringing all Bold Monday’s display typefaces to Webtype.

When Jacques Le Bailly’s Macula hit the design scene it was greeted with a universal chorus of oohs and ahhs. Not only does it deftly explore with the Escheresque concept of “impossible” construction, but it does it in two different directions for every character, while offering shading and chromatic effects through the use of stackable layer fonts. Macula is still the ultimate “Penrose triangle” typeface. There are many imitators but nothing comes close. Accept no substitutes.

Stanley is a bold, broad-shouldered poster Grotesque. Its roots are in the first sans-serifs of the 19th century, but Pieter van Rosmalen gave his design a contemporary, affable air. Stanley comes with standard, Stencil, and Rough Stencil attire and speaks virtually all Latin-based languages along with Greek and Russian.

Oskar is Paul van der Laan’s family inspired by early 20th-century architectural lettering, particularly that of his native Netherlands. Oscar One has sharp, pointed apexes and open curves (see ‘C G S’) that flatten at their terminals. Oscar Two has flat apexes and circular curves. Both subfamilies come in three weights, each with solid and open inline styles.

Nitti Typewriter is a gritty variation on Nitti, Bold Monday’s popular monospaced family. In a playful nod to the impressions of various imperfect typing machines, styles include one with a dashed underline, one “corrected” with octothorps, one with filled counters, and a cameo version reminiscent of tape labelers. This is no half-hearted novelty fonts: like Nitti, Nitti Typewriter supports Cyrillic, Greek, and Hebrew and offers various alternates including a double-story ‘g’, flat-topped ‘3’. Fractions and a set of circled index numerals are also included.

Pieter van Rosmalen’s plump Pinup is a soft, weighty charmer. The lowercase conveys a casual, almost playful attitude, while all-caps settings are capable of a more sober tone. A variety of stylistic alternates — such as a round-topped ‘A’, v-shaped ‘y’, and curve-tailed ‘K R k’ — are on hand to give Pinup a more individual voice.

Aniek is a warm, informal script with the monolinear contrast and soft endings of a felt tip pen. Where most handwriting fonts slant right, Aniek leans to the left, further distinguishing it from other typographic content on the page. Aniek captures the charm of handwriting but doesn’t mimic all the irregularity and imperfection of the human hand. Its unconnected letters with harmonized proportions and spacing allow Aniek to be surprisingly readable in longer chunks of text.

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