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Typeface Review


Reviewed by Thomas Phinney on March 13, 2013

Dapifer is a remarkable work.

Fundamentally, Darden is mixing elements from a number of different eras and usually-distinct classifications. It is a low-contrast old style typeface, but without bracketing of the serifs, hence technically a slab serif. The design is “sourcing strokes from designers as varied as William Morris and Emil Rudolf Weiss,” as Darden puts it. It has echoes of Eric Gill’s work as well. The cap ‘R’ feels completely 1900 Morris-or-ATF to me, while the top arch of the lowercase a is almost Rotis-Semiserif-like. Only, you know, done better. And with an old-style lilt.

The italics are fascinating. I look at the letters individually and I initially have some skepticism. I just don’t like the design of the swoopy incoming x-height serif and outgoing baseline serif on letters such as m, u and n. But a typeface is much more than the sum of its parts, and seeing the italics in action, they simply work—and very well indeed.

In describing such varied sources blended in a single typeface, I fear the regular reader of Typographica may be reminded of Stephen Coles’ rather famous criticism of Roboto on this very site, as a “four-headed Frankenfont” for mixing elements of quite disparate sans serif styles. Should we revile Dapifer for the same reasons?

I think not. The Dapifer forest is more than the sum of its parts. The sin is not truly in the act of blending things from different sources or genres; it’s a question of execution and details. Nobody is knocking Christian Schwartz for taking a Venetian oldstyle of the Morris-meets-ATF style and turning it into a modern newspaper text face, with Houston. I believe Darden has done something more daring, but equally successful.

Thomas Phinney is a font and typography expert and consultant. He is senior technical product manager for fonts and typography at Extensis, including managing the font library for the WebINK web font solution. Thomas is also treasurer of ATypI, the international typographic association. From 1997–2008 he did type at Adobe.


  1. I couldn’t agree more with what Thomas said on this. I was startled when I came to this page … something pleasingly familiar in the Roman with something peculiarly disturbing in the italic. Something is off and something is on. I think I am falling in love.

  2. I concur with Marian and Thomas as well. I have used Dapifer on a few identity projects already, and it has been extremely useful for clients and situations that call for some contradiction.

    You can easily play it very straight with all-caps settings or small text-size settings in the plain roman. Or, you can play it very quirky and idiosyncratic with the heavier weights and italics.

    Especially in the light weights, it has the same feeling I have for Scala: overtones of old-style ‘traditional’ faces but very geometrically constructed and spare enough to pair with moderns like Futura.

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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.

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