Nameplate set in Orwellian by Shiva Nallaperumal. Your typeface could be next. Learn more.
Ads via The Deck
Typeface Review

Odile

Reviewed by Yves Peters on July 11, 2007

Inspired by Dwiggins’ 1937 experimental design, Odile is a vibrant typeface featuring intriguing interior lines and angles which create an interesting tension with the outer curves. The inventive serif structure, with alternating straight and bracketed serifs, and diverging top and bottom serifs, ensures that — while the typeface is perfectly suited for use in extended text — it is extremely attractive in display sizes.

Where the type family truly shines is in the Initials and especially the Deco Initials. Odile is definitely not some half-arsed “fun font” with curly bits all over. The initial caps have a perfectly balanced, interesting texture with carefully designed curves, which are contrasted with abruptly placed straight lines. Just the right amount of flair is added in the Initials, whereas the playful and intricate Deco Initials look like modern reinterpretations of medieval illuminated capitals.

The end result is a fascinating family of typefaces, informal and friendly, and full of delightful idiosyncrasies. It is steeped in love for the source material, respectful of its rich history. Yet the face isn’t afraid to boldly look forward. Odile is an undeniably contemporary design, offering some much-needed vintage charm to counterbalance the tech blandness favoured by the current mainstream.

Contains excerpts of Peters’ article “Anatomy Of A Typeface”, Grafik magazine, October 2006.

Yves Peters is a [typo]graphic designer, drummer with Rosa Luxe*, Grand Theft, Troubleman, and The Secret Reggae Band, and father of three. He writes about type and typography for The FontFeed and Unzipped, his blog for FontShop Benelux. His talent for being able to identify most typefaces on sight is utterly useless in daily life.

Post a Comment

Comments at Typographica are moderated and copyedited, just like a “Letter to the Editor” in a newspaper. Abusive or off-topic comments will not be published. Compliments are appreciated, but will not be published unless they add to the conversation. Thank you!

Colophon

Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles 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.

Brought to you by this month’s nameplate sponsor, FontShop, MyFonts, FontFont, Wordpress, Fused, and the letter B. Read our editorial policy.

Elsewhere