Among the many outstanding new designs released in 2012, a particular grotesque sans serif really struck a chord with me: TypeTogether’s Tablet Gothic. From my point of view, Veronika Burian and José Scaglione created the most useful editorial typeface of the year. Its broad range of 42 weights ranging from thin to heavy, with widths from compressed to wide, gives designers of periodical publications a mighty tool.
Though its roots lie in early British and German Grotesque designs, Tablet Gothic is anything but a historical typeface. On the contrary, it rather appears as a young-at-heart specialist that knows just how to deal with any situation: a conservative fellow with just the right dose of distinct character; a typographic MacGyver. For this reason, Tablet Gothic sets itself apart from others of its ilk that subordinate themselves too much and become bland.
Tablet Gothic was primarily made for print publications, yet its name points to its real strength: apps and mobile devices. Within these environments, designers need several width options due to the limited space available. Aside from its original purpose — setting headlines in newspapers and magazines — the family also performs well in user interface design.
Once the italics are drawn, Tablet Gothic will be TypeTogether’s largest family. There are no signs that this foundry will move into a seven-year-itch phase in 2013. All signs point to their continued high standard of quality and quantity.
Ivo Gabrowitsch is directing FontShop and FontFont (both acquired by Monotype in 2014). He invented the pageview licensing for web fonts. In 2006, he started the Berlin Typostammtisch, a bi-monthly gathering of type lovers. He loves to bike.