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#64 • Dvorak & Friends

Coffee Table Typography
#64 • Dvorak & Friends
By Coffee Table Typography • Issue #64 • View online
Type friends!
First, allow me to express my deepest gratitude to 2 new recent Patreon supporters: Volmer Soares and Vitória Neves, the latter a wonderful type designer from SevenType. Thank you, you wonderful people!
A favourite typographical/book detail I came across recently was shared by Erik Kwakkel; a medieval surgeon’s textbook from the 15th century. Interesting to note the craft of the handwriting and how the tools (gruesome as they looked) fit right in the middle of the words.
One of my favourite articles found these past few weeks is by Anne Morel, titled Information Design in Public Transportation. Anne did an incredible job analysing the overall cartography design of subway maps, as well as the information architecture of a few subway systems, that it’s impossible to detach it from details like typography and textual choices. Unmissable!
For those curious about the reasons on why one should pursue an education to achieve typographical mastery, I stumbled upon this article from the wise people of TypeEd that will do a very good job convincing you why typography really does matter.
Martin Silvertant release an interactive typographical cheat sheet online which I’m in love with; I’m guilty of forgetting what terms like bowl, neck and terminal usually refer to.
CSS Tricks recently published an article on Colourful Typographic Experiments, mostly oriented at font-end developers, but still worth checking if you’re curious about the raw potential of the current potential for typography on the web (hint: we’re at a very exciting stage 🎉)
Last but not least, I loved issue #39 of Robin Rendle’s newsletter, where he writes about the struggle (and the invisible glory) of working on the typography side of a design system. Don’t miss it either.
From a counter on a window seat,
—Ricardo M.

Interface Typography and Sans-Serifs
Fact of Fiction? The Legend of the QWERTY Keyboard
For Want of A Typeface – Internationalization
❦ Fleuron ❧ And Its Origin
A few days ago, I talked about the fleuron ❧ and its origin with a few friends, and realised I know very little about its origins.
The fleuron is a glyph used mostly as a typographical element; either as punctuation (not so common) or as an ornament in text (much more common). Typically in the form of flowers or leaves, since their name literally derives from the floron (flower) of Old French.
Robert Bringhurst dearly calls it a horticultural dingbat.
One of the oldest typographic ornaments, in early Greek and Latin texts, the hedera was used as an inline character to divide paragraphs, similarly to the pilcrow.It can also be used to fill the white space that results from the indentation of the first line of a paragraph, on a line by itself to divide paragraphs in a highly stylized way, to divide lists, or for pure ornamentation.
From a historically perspective, you could very well use fleurons instead of boring old line breaks, so keep that in mind for your next academic paper. In their early days, they would of course be hand drawn and seamlessly integrated into the design of a page
In more modern historic books, line breaks became more common as paragraph dividers, and fleurons became popular to create ornamented borders. Fleurons were crafted the same way as other typographic elements were: as individual metal sorts that could be fit into the printer’s compositions alongside letters and numbers. This saved the printer time and effort in producing ornamentation. Because the sorts could be produced in multiples, printers could build up borders with repeating patterns of fleurons.
Typefaces Du Jour ✍️
JJanon Italic
JJanon Italic
JJanon, from Optimo
I’ve stumbled upon JJanon browsing through Fresh Fonts last week, and it immediately caught my eye as a fantastic, very elegant serif. From the foundry itself, Optimo,
François Rappo is reviving the work of Jean Jannon through this meticulous study of a quintessential 17th century French type. JJannon’s letters reflect a sense of grandeur and attention to detail that defined the baroque era. 
While the Italic variation is definitely an eye catcher, the Regular version definitely works in a very subtle way in normal-length paragraphs, without drawing too much attention to itself:
JJanon Regular
JJanon Regular
May I draw your attention to this Th ligature?
May I draw your attention to this Th ligature?
This contemporary version of JJannon brings to light this historical saga. Rappo masterfully reinvigorates its distinctive elegance and sharpness by preserving the asymmetrical axis, the small inclined bowl of the “a”, and the detailed cupped serifs from the original drawings.
CoolKids • SevenType
CoolKids, designed by Vitória Neves and Luís Bandovas of SevenType, is a beautiful and very playful script typeface that works beautifully for branding design.
The amount of care that went into CoolKids is clear; 4 weights for a script typeface and contextual alternates is no easy feat. The lowercase “f” is as charming as charming can be, and aren’t we glad there’s two of them in “coffee”?
Currently at a discounted initial price, there’s no excuse not to get it if you’re in the market for a script typeface with plenty of personality.
On the Coffee Scene ☕️
This Coffee Beverage Was Grown In A Lab
Did you enjoy this issue?
Coffee Table Typography

A love for words, letters, language—and coffee.
A digest of curated resources, articles and knowledge sharing about the beauty of typography; in design, on the web, or books.
You will read these over your morning cup of coffee, while the aromas of freshly ground beans are still in the air, quickly realising that words are beautiful and that you might need that second cup after all.

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With 💙 from Montreal, Canada