In anticipation of a fresh new year we bring you three sleeper families who had their heyday long ago and are due for another. Stand out among the copycats and same-olds with these typefaces poised for a reawakening.
In an age of pixel grids that demand plain, rugged type, and a busy advertising landscape with loud letters jostling for your attention, Throhand is a font of fresh air. David Berlow’s 1995 study has a delicate grace that shuns the dull stiffness of much of our contemporary vernacular for the fine printing sixteenth-century. Bestow elegant refinement to type at sizes large (Throhand Pen and Regular) and medium (Throhand Ink).
Elizabeth Cory Holzman’s six Constructa weights are based on a single 1934 font by Morris Fuller Benton called Tower. It was an apt name for a typeface whose letters stand tightly side-by-side with strength and conviction. In fact, this kind of type in general was sometimes called “skyline” in reference to its stature — tall and tough, with straight sides for compact headlines. Skyline sans serifs are en vogue right now, popular for everything from infographics to glossy magazines, so it’s high time the underused slabs of Constructa peek through the clouds.
The ghostlike forms of Raphael Boguslav’s Avia cast a shadow of subtle intrigue on any words they set. With the two additional weights from Jill Pichotta you can fine-tune the tone, from stencilesque Bold to a Light that’s barely there. Avia’s disconnected letters are perfect for photographic overlays or laser-cut dies.