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Typeface Review


Reviewed by Christian Schwartz on March 4, 2008

Well-drawn one-off display faces are easy to find, especially bouncy sans serifs.

Complete suites of faces in this genre, however, are nearly impossible to find, especially families that are crafted with as much care as Burbank. I really appreciate seeing the attention to detail that usually goes into “serious” text family put into a family primarily intended for display use. Burbank never breaks character, convincingly reproducing bouncy and spontaneous handlettering down to the details without ever looking gimmicky. Even the Small Italics look perfectly natural, and the automatically-inserted alternates subtly maintain the illusion that type set in Burbank Big is real lettering, not just a typographic facsimile. Apparently it took a decade to finish this face – sometimes the simplest ideas are the most challenging to execute well.

Christian Schwartz a type designer and typography consultant who lives and works in New York City. He was awarded the prestigious Prix Charles Peignot in 2007, given every four or five years to a designer under 35 who has made “an outstanding contribution to the field of type design”, and his work has been selected many times for Typographica’s annual reviews.

One Comment

  1. Dave says:

    love the font

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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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