Even though this is a relatively straightforward design, it still threw me a few unexpected curveballs along the way. I’ve also included a Bild Variable font that covers the entire width range between Compressed and Narrow. My hope is that this will allow the typeface to walk the line between a “poster font” like Impact and a versatile sans serif. I also tried to keep some balance of the rigid and organic forms in the typeface, contrasting straight-sided forms like c and p with the curves of s and a. In order to maintain this density, the stroke weight gets significantly thicker as the design gets wider. These new styles are every bit as dense and blocky as the original, but take on a new rhythm now that things aren’t so squished together. This month I’m sending you three new widths of Bild’s Black weight, in Narrow, Condensed, and Extra Condensed. The straight sides of those “round” letters can’t stay straight for quite as long in wider shapes, and the curves become a much more prominent element of the design. More recently, I’ve been curious to see what happens to those straight sides as the letters gets wider. In September 2017, I issued Bild’s Compressed Black, where the straight sides of “round” letters like C, G, and O are well suited to the narrow, dense headlines that it is meant to set.
Back in 2012, Sam Berlow suggested an entire family stemming from these outliers, and I’ve been toying with the idea ever since. These styles stand apart from the majority of Jackson Burke’s famous midcentury grot, with a clunky rigidity more in line with Alternate Gothic or Railroad Gothic. What follows is an abridged version of the Font of the Month Club’s May mailing:Īs longtime club members might recall, Bild is a straight sided sans inspired by two outlier styles found in Trade Gothic, Bold and Condensed No.
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