CHAPTER TEN
I
nitially, it seemed that the book should not have some kind of ‘special’ font. The book is about a whole country and is aimed at a very wide range of readers. It seemed that the font should be as classic and as neutral as possible. Nothing too trendy or hipster. I thought that at most we would print the book title with something interesting, and inside the font would be classic. For a long time we worked with a layout that had a fairly neutral font.
One of the first fonts we worked with. The Sang Bleu Kingdom typeface
But I felt that something was off. It was uncomfortable: the layout didn't match the spirit of the authors, the spirit of the team that was making the book. And it was the font that didn't fit. It had neither boldness nor simplicity.
"KUT" using Denis Serebryakov's font "Gik"
"KUT" using Denis Serebryakov's font "Gik"
"KUT" using Denis Serebryakov's font "Gik"
A typeface based on modular squares (not used)
We found it!!!
We found it. The typeface Panama, The Temporary State,
Roman Gornitsky.