The specimen unpretentiously describes Audree as “a variable type system with several hundred styles”. That is factually correct, but it is probably not enough to describe the breadth of this project.
Audree could be categorized as a multiparametric display typeface system — but that doesn’t exactly roll off the tongue, either.
How about this? Audree is like a writer with hundreds of heteronyms who all stem from the same base but are very distinct, and who end up creating their own worlds. Imagine the sort of writer one would have to be to create so many different characters! Perhaps a writer a bit like Fernando Pessoa, who created around 70 heteronyms. Audree goes even further than that.
This family’s many styles are all based on the same skeleton combined with lots of parameters:
- The construction models of expansion and translation contrast (pointed nib and broad-edged nib) yield two different modulation variations.
- One parameter is the contrast: offering both high and low contrast brings the number of styles to four.
- Elements of decoration available for Audree are inline and stencil, and a combination of both. Including a non-decorated style, this means that sixteen different permutations are possible with these parameters.
- Finally, it is possible to spice things up with fifteen (!) different serif constructions.
As far as I can grasp, Audree must have been quite the challenge. After all, “several hundred” styles means the same number of source files, lots of organization, and probably also lots of automation. Given the sheer breadth of the project, Audree must have been incredibly difficult to design, manage, promote, and prepare for sale.
I don’t know how Nikola Djurek and Marko Hrastovec found a way around the first two problems, but they certainly came up with some great ideas for selling and promoting Audree. Typonine’s site features an Audree App that allows you to combine your very own personal Audree variation, and the license is competitively priced.
There are styles — 240 of them, to be precise — to suit all tastes. Looking for something classic? Try E13 (Serif Style 5, Translation, High Contrast, Normal Style). Or maybe you really love San Francisco and you want a typeface that has a lot of hills and freeways, in which case you could use H15 (Serif Style 8, Translation, High Contrast, Inline). What if you’re starting a metal band and you want to have some edgy serifs in your new logo? I would suggest K2 (Serif Style 8, Expansion, Low Contrast, Stencil).
Whenever Typonine releases a new typeface, I get excited because I know it’s going to be something special. Audree doesn’t disappoint. Oh, and be sure to watch the Audree video. Typonine is not only setting a new standard for inventive typefaces, it is also the foundry with the best typeface videos!
Tânia Raposo is a type and graphic designer from Portugal.
She received her Graphic Design BFA at ESAD.IPL, Portugal and her Type and Media Master’s degree at KABK, Netherlands. She has worked as a graphic designer for the studios Itemzero in Lisbon and Atlas in Palma de Mallorca and as a curatorial assistant at the Letterform Archive, and is focusing on freelance jobs in both type and graphic design today.
After moving around Europe and the US she has now settled in the Bay Area.
She buys too many books, collects stamps that look good and wishes one day
Nick Sherman will take her to a Monster Truck Show. This wish has been fulfilled!