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Typeface Review


Reviewed by Dyana Weissman on April 7, 2009

Lakeside is the perfect marriage of design to name, and that is the least of its great qualities.

It’s ambitious. Making a connecting script is not the easiest thing, let alone with so many options. Some people use ambitious as a euphemism for “falls short of its lofty goal”, but this typeface is successful at accomplishing exactly what it intends. It’s relaxed, yet elegant. Looking at it, I am transported back to this past summer, hiking to a secluded spot on the banks of Walden Pond. It’s the kind of typeface a discerning designer would buy first, and then let the right project come to them. Like they were watching a wave hit the shore of a lake on a beautiful day.

Dyana Weissman is a typeface designer at Font Bureau. She has been a presenter at ATypI, TypeCon, and Type Camp, but also enjoys sharing her expertise locally with college students, wizard rock bands, and astrophysicists.


  1. Dan Lidral-Porter says:

    Why is the quotation mark a belt? It should be a hat, not a belt.

  2. I think the placement of the quotation mark is appropriate given the x-height of the typeface. Quotes at cap height would feel far too high in relation to the word or phrase as a whole.

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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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