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Typeface Review


Reviewed by Eben Sorkin on July 11, 2007

On first viewing, Amalia presents an attractive tension between the deeply familiar and that agreeable tingly sense of nearly imperceptible novelty. Looking closely reveals a type family quietly breaking conventions of matching serifs, modes of contrast, and letter shape — all to good effect.

Amalia is as masterful in its italic and small caps as in its roman. In fact, the italics are surprisingly pleasant to read. With its classically Dutch set of proportions, Amalia feels open and approachable despite its Didone contrast usually associated with formality and authority. It also features a finely restrained but almost cheeky exuberance. Amalia is a breath of fresh air, deserving the attention of both type designers and users.

Eben Sorkin is a type designer and type publisher living in Boston, Massachusetts. He has been designing fonts for four years and has an MA degree in type design from the University of Reading in the UK. He is also an ATypI board member.

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Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles with Caren Litherland and designed by Chris Hamamoto. Founded in 2002 by Joshua Lurie-Terrell. Relaunched in 2009 by Coles and Hamamoto.

Set in Bureau Grot by Font Bureau, Nocturno Display by Nikola Djurek, Fern (unreleased) by David Jonathan Ross, and JAF Bernini Sans by Tim Ahrens.

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