Comments on: Marlene http://typographica.org/2009/typeface-reviews/marlene/ A journal of typography with a focus on typeface reviews. Sat, 27 Feb 2010 17:05:40 +0000 http://wordpress.org/?v=2.9 hourly 1 By: locksmith http://typographica.org/2009/typeface-reviews/marlene/#comment-38546 locksmith Mon, 21 Dec 2009 14:37:30 +0000 http://new.typographica.org/?p=5393#comment-38546 I guess its Marlene Dietrich inspired. Very german looking. I guess its Marlene Dietrich inspired. Very german looking.

]]> By: rory http://typographica.org/2009/typeface-reviews/marlene/#comment-38383 rory Fri, 21 Aug 2009 09:05:09 +0000 http://new.typographica.org/?p=5393#comment-38383 Marlene is a sexy font lady, with amazing curves and a attitude to suit. But dont get to close she, she'll draw you in and take your heart! Ouch, loving this font! Marlene is a sexy font lady, with amazing curves and a attitude to suit. But dont get to close she, she’ll draw you in and take your heart! Ouch, loving this font!

]]> By: used cars sioux falls http://typographica.org/2009/typeface-reviews/marlene/#comment-38259 used cars sioux falls Fri, 22 May 2009 16:44:01 +0000 http://new.typographica.org/?p=5393#comment-38259 This font looks like a French version of Times New Roman. This font looks like a French version of Times New Roman.

]]> By: Tim Brown http://typographica.org/2009/typeface-reviews/marlene/#comment-38184 Tim Brown Fri, 08 May 2009 22:13:23 +0000 http://new.typographica.org/?p=5393#comment-38184 The lowercase roman a is really something. How about that lip on its serif? The 7 is intriguing. I love the way its outer joint is squared off. Overall it's a relatively lightweight character, but I don't quite notice unless I'm looking critically. Funny how it otherwise blends in with the heavier numerals. "Strong lines that add yet more of a sense of urgency and pace..." – beautiful. The lowercase roman a is really something. How about that lip on its serif?

The 7 is intriguing. I love the way its outer joint is squared off. Overall it’s a relatively lightweight character, but I don’t quite notice unless I’m looking critically. Funny how it otherwise blends in with the heavier numerals.

“Strong lines that add yet more of a sense of urgency and pace…” – beautiful.

]]> By: Nora http://typographica.org/2009/typeface-reviews/marlene/#comment-38091 Nora Sun, 26 Apr 2009 12:46:52 +0000 http://new.typographica.org/?p=5393#comment-38091 This post has been just in time for me ... searching for a book project ... idontknowexactlywhatatypeface ... thank you for leading my view to this tough beauty. This post has been just in time for me … searching for a book project … idontknowexactlywhatatypeface … thank you for leading my view to this tough beauty.

]]> By: Anthony Inciong http://typographica.org/2009/typeface-reviews/marlene/#comment-38080 Anthony Inciong Sat, 25 Apr 2009 17:47:51 +0000 http://new.typographica.org/?p=5393#comment-38080 Among this typeface's most endearing qualities is its temperance. Djurek's design is categorically Modern; the letterforms are brisk and resolute yet they maintain the subtle contrast associated with a broad-nib pen. As a distant student of the writing-centered perspective propagated by Gerrit Noordzij in the Hague, as well as his written account of pointed pen construction as being 'altogether without orientation'*, I have tended to perceive the Modern style as frigid and undisciplined. Marlene sheds that acidulousness by exhibiting a warm impartiality that makes it a highly useable text face for many kinds of projects. Djurek has managed to synthesize the beauty (and sluggishness) of old styles with the vitality and rigorousness of Moderns. *From p. 70 of Noordzij's, The stroke: Theory of Writing, Hyphen Press 2005. Among this typeface’s most endearing qualities is its temperance. Djurek’s design is categorically Modern; the letterforms are brisk and resolute yet they maintain the subtle contrast associated with a broad-nib pen. As a distant student of the writing-centered perspective propagated by Gerrit Noordzij in the Hague, as well as his written account of pointed pen construction as being ‘altogether without orientation’*, I have tended to perceive the Modern style as frigid and undisciplined. Marlene sheds that acidulousness by exhibiting a warm impartiality that makes it a highly useable text face for many kinds of projects. Djurek has managed to synthesize the beauty (and sluggishness) of old styles with the vitality and rigorousness of Moderns.

*From p. 70 of Noordzij’s, The stroke: Theory of Writing, Hyphen Press 2005.

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