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The Relevant typeface has its name from the concept of relevance, the notion of measuring how much something influenc… read more
The Relevant typeface has its name from the concept of relevance, the notion of measuring how much something influences reality, or how well a piece of information or a theory can convey knowledge about reality, regardless of the truth of this knowledge. Relevance follows from an evaluation of the quality of information. Significance always strongly depends on the context of interpretation. This context of interpretation forms the background, intention, and basis of the development of the Relevant typeface.
A sample of the Record Gothic typeface in Ben Rosen’s specimen book ‘Typos – Das Grosse Buch der Druckschriften” from the early 1960s provided the starting point for the development of our Relevant. Particularly the medium-wide, normal-weight font was of interest as it appears fairly clean and settled compared to other font weights. Record Gothic was designed in 1927 by Robert Hunter Middelton for Ludlow Typograph Company.
The company produced a “non-composing” linecaster featuring simple and quick handling, which was primarily used for larger font sizes and headlines. Linking the name ‘Record’ with the technique of highly efficient hot metal typesetting created a successful synergy of name and function. The term “record” stands for recording or dataset, but also peak performance.
The idea of bringing efficiency into play, thereby claiming to achieve type legibility on a purely technical level, and juxtaposing a schoolbook typeface, which was used in German-speaking Switzerland until the 1980s, with the Record Gothic, this was the formal and conceptual approach behind the creation of the Relevant typeface.
These different approaches to type, the Record Gothic as well as the schoolbook typefaces by Just van Rossum were important references for the development of the Relevant. Schoolbook fonts are mostly characterized by their simplified open forms and are, therefore, regarded as “reader friendly,” but this notion pertains more to writing socialization than to typeface legibility.
On the one hand, the Relevant’s small, single-story “a” is a reference to schoolbook type and cursive script, on the other, the attachment of a terminal (Record Gothic) makes it a typographically unconventional interpretation. The appearance of this open and simple shape provided the basis for all the other characters. The deliberately low contrast and only slight tapering are references to handwriting (pointed nib).
Efficiency in general describes the extent to which time or effort is well used for the intended task or purpose. It is often used with the specific purpose of relaying the capability of a specific application of effort to produce a specific outcome effectively with a minimum amount or quantity of waste, expense, or unnecessary effort. “Efficiency” has widely varying meanings in different disciplines.
The “Relevant” typeface emerged from a typographic attempt to create a font family with a systematic architecture, both in terms of development and design, and, at the same time, maintain optimum legibility and readability.
Additional typographic functions/OpenType features such as ligatures, proportional lining figures, superscript, numerator and denominator to build fractions, and additionally an alternated “a” version of the feature “Titling Alternates” or “Stylistic Set 1.”
Hailing from Bern Switzerland, Michael Mischler is a graduate of Schule für Gestaltung Biel where he studied Gra… read more
Hailing from Bern Switzerland, Michael Mischler is a graduate of Schule für Gestaltung Biel where he studied Graphic Design. One of the first graphic designers and editors at Gestalten, Mischler conceived, edited, and designed over 20 publications on various subjects in graphic design, typography, and visual culture throughout his time in Berlin at the publishing house between 1998 and 2006. Mischler co-founded Gestalten Fonts in 2003 and continues to scout out fresh typography talent for the foundry. In 2006, together with Nik Thönen, he also founded the independent font foundry Binnenland.ch. He currently lives and works in Bern.
More fonts by Mika Mischler
A member of the Vienna-based design collective, Re-P.ORG, Nik Thönen is the author of two Gestalten fonts, Blender and Regular fonts. He is interested in functional graphic design reduced to pragmatic language, and can be seen through his work for cultural institutions in the contemporary art sector, film and architecture.
More fonts by Nik Thoenen