Matthew Kaney at ITP


Visual Language


Abril Fatface

Abril Fatface, a modern serif with very high stroke contrast. I like the flourish on the “y” and the way the double “t” joins. When it comes to serif type, I have a deep love for slab serifs. They have some of the respectability of serif typefaces, but with a more modern appearance, I think.


If I needed something not as loud, I might use a face like Charis SIL. It’s still a slab (or very close to one) and has very clean shapes, but it’s the sort of typeface that would work well for setting a large block of text.


At the other end is something like Chunk, a heavy slab serif that’s great for titles and headings (even at pretty small sizes).

Century Gothic

Century Gothic, a lovely geometric sans-serif. It’s upper-case letters are hit or miss (in my opinion), so I set this in all lower-case. I like geometric typefaces a lot—this one sets up a nice contrast between the round shapes (like the “a” and “m”) and the straight lines of the “t” and “h”.

League Gothic

Another good sans-serif: League Gothic. It’s tall and thin, but not in a way that looks off. I particularly like the way that the top of the “a” curves around in what appears to be a perfect half-circle.


Finally, another of my favorite geometrics is Avenir. It’s not as stark as something like Futura or Century Gothic, but it still retains enough of those straight lines and perfect circles to be interesting.

Here’s the whole set. In general, I want my typography to be visually distinctive without being too decorative or over the top. I think this set of typefaces strikes that balance well.


In addition, here are a couple type treatments designed to express certain concepts: blinds, dissonance, and angle.

Expressive Type 2

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