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Rumba type specimen
Typeface Review


Reviewed by Jan Middendorp on July 11, 2007

Rumba and PTL Skopex (below) are so different that I find it impossible to choose one over the other. Both were designed by a female graphic designer who has been around for a while — one in Barcelona, one in Berlin — without getting a lot of international exposure.

Rumba was originally Laura Meseguer’s graduation project at the one-year Type + Media course of the Royal Academy in The Hague, and I’ve seen it grow and develop over the months and years. Knowing Laura’s previous work at Type-Ø-Tones as well as her designs for print, I found it fascinating to see how she managed to reconcile the Hague insights (some call it a doctrine) with her own Latin sensibilities and idiosyncrasies. The way the three-piece family is structured is pretty uncommon, too, and useful in its own weird way. All three members basically have the same weight and style, but have been designed to work best at different sizes and in slightly different contexts. Each version is a well-wrought mixture of usability and showmanship. Script faces are published at a dazzling rate nowadays; but Rumba is one of the most personal and most intelligent ones I’ve seen in a while. — Jan Middendorp

Jan Middendorp is a type writer and page maker. He is author of several books about graphic design and typography including his latest, Shaping Text. He is also co-publisher of

One Comment

  1. […] Meseguer is a lettering artist and typeface designer from Barcelona whose 3-font Rumba (a Typographica favorite) explores the idea of typeface variations optimized for a specific range of sizes, but also degrees […]

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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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